Editing Ezra Pound (section)

===''Poetry'' magazine, ''Ripostes'', Imagism===
[[File:EZRA POUND - 10 Kensington Church Walk Holland Park London W8 4NB.jpg|thumb|left|alt=photograph|10 Church Walk, [[Kensington]], London W8. Pound lived on the first floor (far left) in 1909–1910 and 1911–1914.{{efn|Pound lived on the first floor of 10 Church Walk, [[Kensington]], from September 1909&nbsp;– June 1910 and November 1911&nbsp;– April 1914. According to Moody, the two first-floor windows on the left were Pound's.<ref>Moody (2007), between 304 and 305</ref> According to [[Humphrey Carpenter]], Pound was on the top floor behind the window on the far left.<ref name=":2">Carpenter (1988), between 370 and 371</ref>}}]]

In May 1911, H.D. left Philadelphia for London. She was accompanied by the poet Frances Gregg and Gregg's mother; when they returned in September, H.D. stayed on. Pound introduced her to his friends, including Aldington, who became her husband in 1913. Before that, the three of them lived in Church Walk, Kensington—Pound at no.&nbsp;10, Aldington at no.&nbsp;8, and Doolittle at no.&nbsp;6—and worked daily in the British Museum Reading Room.<ref name="Moody 2007, 180"/>

At the British Museum, Laurence Binyon introduced Pound to the East Asian artistic and literary concepts Pound used in his later poetry, including Japanese [[ukiyo-e]] prints.<ref>Arrowsmith (2011), 100, 106–107; Qian (2000), 101</ref> The visitors' book first shows Pound in the Prints and Drawings Students' Room (known as the Print Room)<ref>Arrowsmith (2011), 106–107</ref> on 9 February 1909, and later in 1912 and 1913, with Dorothy Shakespear, examining Chinese and Japanese art.<ref>Huang (2015), [https://books.google.com/books?id=_xElDQAAQBAJ&pg=PT108 108], note 4</ref> Pound was working at the time on the poems that became ''Ripostes'' (1912), trying to move away from his earlier work.<ref>Witemeyer (1981), 112.</ref> "I hadn't in 1910 made a language", he wrote years later. "I don't mean a language to use, but even a language to think in."{{efn|"What obfuscated me was not the Italian but the crust of dead English, the sediment present in my own available vocabulary, which I, let us hope, got rid of a few years later. You can't go round this sort of thing. It takes six or eight years to get educated in one's art, and another ten to get rid of that education.{{pb}}"Neither can anyone learn English, one can only learn a series of Englishes. Rossetti made his own language. I hadn't in 1910 made a language, I don't mean a language to use, but even a language to think in."<ref>Pound (1934), 399</ref>}}

In August 1912 [[Harriet Monroe]] hired Pound as foreign correspondent of ''[[Poetry (magazine)|Poetry: A Magazine of Verse]]'', a new magazine in Chicago.<ref>Carpenter (1988), 185; Moody (2007), 213</ref> The first edition, in October, featured two of his own poems—"To Whistler, American" and "Middle Aged". Also that month Stephen Swift and Co. in London published ''[[Ripostes|Ripostes of Ezra Pound]]'', a collection of 25 poems, including a contentious translation of ''The Seafarer'',<ref>For the original, see [http://www.anglo-saxons.net/hwaet/?do=get&type=text&id=Sfr "The Seafarer"] {{Webarchive|url=https://web.archive.org/web/20080413051623/http://www.anglo-saxons.net/hwaet/?do=get&type=text&id=Sfr |date=13 April 2008 }}, Anglo-Saxons.net; for Pound's, [https://web.archive.org/web/20110501085717/http://rpo.library.utoronto.ca/poem/1664.html "The Seafarer"], University of Toronto.</ref> that demonstrate his shift toward minimalist language.<ref name="Moody 2007, 180"/> In addition to Pound's work, the collection contains five poems by Hulme.<ref>[https://archive.org/stream/ripostesofezrapo00pounrich Pound (1912)].</ref>

[[File:Poetry cover1.jpg|thumb|upright=0.8|alt=book cover|First edition of ''[[Poetry (magazine)|Poetry]]'', October 1912]]

''Ripostes'' includes the first mention of ''Les Imagistes'': "As for the future, ''Les Imagistes'', the descendants of the forgotten school of 1909, have that in their keeping."<ref>Pound (1912), 59; Moody (2007), 180, 222</ref> While in the British Museum tearoom one afternoon with Doolittle and Aldington, Pound edited one of Doolittle's poems and wrote "H.D. Imagiste" underneath;<ref>Doolittle (1979), 18</ref> he described this later as the founding of a movement in poetry, ''[[Imagism]]e''.<ref>Moody (2007), 180, 222</ref>{{efn|Doolittle and Aldington said they had no recollection of this discussion.<ref>Carpenter (1988), 187</ref>}} In the spring or early summer of 1912, they agreed, Pound wrote in 1918, on three principles:<ref>Pound (1918), 95</ref>
{{blockquote|
# Direct treatment of the "thing" whether subjective or objective.
# To use absolutely no word that does not contribute to the presentation.
# As regarding rhythm: to compose in the sequence of the musical phrase, not in sequence of a metronome.
}}

''Poetry'' published Pound's "A Few Don'ts by an Imagist" in March 1913. Superfluous words, particularly adjectives, should be avoided, as well as expressions like "dim lands of peace". He wrote: "It dulls the image. It mixes an abstraction with the concrete. It comes from the writer's not realizing that the natural object is always the ''adequate'' symbol." Poets should "go in fear of abstractions".<ref>[https://www.poetryfoundation.org/poetrymagazine/browse?volume=1&issue=6&page=29 Pound (1913)], 201</ref> He wanted {{lang|fr|Imagisme}} "to stand for hard light, clear edges", he wrote later to [[Amy Lowell]].<ref>Thacker (2018), 5</ref>

{{Quote box
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 | quote=<poem>The apparition&emsp;of these faces&emsp;in the crowd:
Petals&emsp;on a wet, black&emsp;bough.</poem>
 |source= —&nbsp;''[[Poetry (magazine)|Poetry]]'' (April 1913)<ref>Pound (April 1913), [https://www.poetryfoundation.org/poetrymagazine/browse?contentId=12675 12] {{Webarchive|url=https://web.archive.org/web/20210222223126/https://www.poetryfoundation.org/poetrymagazine/browse?contentId=12675 |date=22 February 2021 }}; Pound (2003a), 287</ref>
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An example of Imagist poetry is Pound's "[[In a Station of the Metro]]", published in ''Poetry'' in April 1913 and inspired by an experience on the [[Paris Métro|Paris Underground]]. "I got out of a train at, I think, [[Concorde (Paris Métro)|La Concorde]]", he wrote in "How I began" in ''[[T.&nbsp;P.'s Weekly]]'' on 6 June 1913, "and in the jostle I saw a beautiful face, and then, turning suddenly, another and another, and then a beautiful child's face, and then another beautiful face. All that day I tried to find words for what this made me feel.&nbsp;... I could get nothing but spots of colour." A year later he reduced it to its essence in the style of a Japanese [[haiku]].<ref>Pound (1974), 26</ref><!--add secondary source-->
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