Pound, one of the most outstanding modern poets, has endeavored his entire artistic gifts for poetry's swift development. He has strived hardly to evolve a number of different methods or techniques for the expansion of modern poetry; evidently, he was ultimately open, the most public, the least repetitive. Moreover, his poetic experiments were ultimately various approximating extreme objectivity as supported by a courageous classical detachment. In addition to that, he as a subtle character, intended an extraordinary nineteenth century notion of grandeur of the romantic scale together with a 20th century notion of precision and economy.
It is worth noting that Pound adopted the 'organic form' whose idea already existed in romantic critical theory, but it is hardly achieved or achieved with any degree of completeness until the twentieth century. In fact, he strongly dismissed the predetermined shapes and forms arguing that it is the poetic experience as well as the poetic instinct that determines both syntax and form. Thus, Pound considered that the packing into a container doesn't sufficiently acknowledge the kind of reciprocity, interchange and mutual modification that can occur between a traditional form and its content. He also believed in the absolute simplicity and directness of utterance, for poetry according to him must be as well written as good prose. Its language must be a fine language, departing in no way from speech saved by a heightened emotional as well as musical intensity. Accordingly, unnecessary epithets and redundant adjectives are elements of aesthetic degradation, for they are one of the things that we couldn't in our daily life, in the stress of some emotion, actually say. Therefore, Pound did bring the language of his poetry nearer to daily speech where even the dullest and most turgid parts of his poems are ultimately pure, direct and extremely clear.
Pound, in his attempt to capture the dominating aesthetic principles of modern poetry, has evolved a magnificent, stylistic technique known under the name of Cantos. In fact, Pound never tried a moment to explain such technique, for he strongly believed that 'beauty should be presented, never explained'. Consequently, he presented infront of the reader four different cantos in which the complete absence of a rhyme scheme pattern and a standard meter is so obvious. As a matter of fact, in offering passages, to put words into a text from the first canto; images from the second; and an interpolation from the third, Pound succeeded to demonstrate to himself as well as to his colleagues how units from a single conception could stand juxtaposed without explanation and without linking, and standout more sharply and clearly as a result. Thus, an impersonal collage of mosaic was the essence of such method in which the items, large or small, invented or quoted, taken from life or recalled from art, were to stand in hard-edge relation, one to another, without explanatory or connective matter.
Once again, it is worth noting that Pound was not by any means a symbolist. Instead, he was an eccentric imagist calling for total objectivity and denouncing slavish subjectivity. Furthermore, in Pound's poetry, the emphasis fell greatly on visual imagery where the visual elements, predominated over aural, and so the mind was turned outward towards the world. In addition, Pound images have a variable significance especially when added one to another, without the imposition of a structure and without logical or narrative continuity. Pound in such method defeated our rigid education that taught us so remorselessly to intellectualize and to ask what things mean. It is difficult for us to believe that an experience has any value until it has been interpreted, which is to say abstracted, linked to other experiences, placed in a category and had its concrete character beaten out of it. Nevertheless, Pound had the chance to prove that all poems which are truly poetry and not simply versified statement must be in some degree open to the differing interpretations where our various needs and personalities with circumstances imposed upon them.
Once again, it is worth noting that Pound was not by any means a symbolist. Instead, he was an eccentric imagist calling for total objectivity and denouncing slavish subjectivity. Furthermore, in Pound's poetry, the emphasis fell greatly on visual imagery where the visual elements, predominated over aural, and so the mind was turned outward towards the world. In addition, Pound images have a variable significance especially when added one to another, without the imposition of a structure and without logical or narrative continuity. Pound in such method defeated our rigid education that taught us so remorselessly to intellectualize and to ask what things mean. It is difficult for us to believe that an experience has any value until it has been interpreted, which is to say abstracted, linked to other experiences, placed in a category and had its concrete character beaten out of it. Nevertheless, Pound had the chance to prove that all poems which are truly poetry and not simply versified statement must be in some degree open to the differing interpretations where our various needs and personalities with circumstances imposed upon them.
Pound, as it is well known, proved to the whole world that poetry is not a form but a quality that is one sense of such quality does not depend upon understanding in the way, or to the degree, that one's sense of the value of a piece of prose is. Hence, Pound succeeds to show clearly that a poem should be sensed in its particularity, without necessarily seeing, or feeling any anxiety about its connection with what precedes and follows.
