By Leon Surette
A glance essentially at Ezra Pound and occultism, regardless of the name. He examines Pound's revisions of Eliot's The desolate tract, the Cantos, and numerous Yeats poems ("The Castle", etc.)
From Publishers Weekly
Although W. B. Yeats's participation in seances and spirit manipulation is celebrated, critics are inclined to brush aside this as peripheral to his writing. no longer so, in response to Surette, an English professor on the collage of Western Ontario, who perspectives Yeats's poetry as steeped within the occult. an intensive revision of the traditional interpretation of literary modernism, this scholarly, problematic learn argues that Ezra Pound was once as completely imbued with the occult as Yeats was once. Pound's mentors incorporated Yeats and A. R. Orage, a London occultist and Nietzschean from whom Pound imbibed Madam Helena Blavatsky's theosophical knowledge. In Surette's interpreting, Pound's Cantos articulate a theosophical imaginative and prescient of heritage. Surette is much less profitable in becoming T. S. Eliot into his overarching thesis that modernism has roots within the occult. He detects pagan, gnostic and Hindu assets in Eliot's The Waste Land , which he reads as an anguished exploration of spiritual doubt.
Copyright 1993 Reed enterprise details, Inc. --This textual content refers back to the Hardcover edition.
From ebook News
In a thorough revision of the traditional view that literary modernism belongs to 20th-century clinical materialism and that the mythological parts in such modernist works because the Waste Land and The Cantos are simply factitious units, Surette records the origins of modernist aesthetics within the occult, exhibiting that Pound's early intimacy with Yeats was once dependent mostly on a shared curiosity within the occult sciences, and that The Cantos is a deeply occult paintings. Annotation copyright ebook information, Inc. Portland, Or. --This textual content refers back to the Hardcover edition.
"Surette's examine may be a debatable paintings of literary historical past, however it is person who merits recognize for its wide-ranging scholarship, its wit, and the considerate subtlety and reticence with which he offers his demanding thesis." E.F. Harden, selection. "A sturdy e-book on an excellent subject matter. it's going to, and should, modify the best way we learn the twentieth century." Chris Scott, The Ottawa Citizen.
Read or Download The Birth of Modernism: Ezra Pound, T.S. Eliot, WB Yeats, and the Occult PDF
Similar History Criticism books
The outline for this ebook, The Professions of Dramatist and participant in Shakespeare's Time, 1590-1642, might be approaching.
Extra info for The Birth of Modernism: Ezra Pound, T.S. Eliot, WB Yeats, and the Occult
Any such line can, i feel, be drawn within the circumstances of Joyce and Stevens with appreciate to the occult, yet to claim that it truly is good understood is to assert some distance an excessive amount of. And whereas Eliot's brush with occult subject matters could be remoted inside of his profession, it really is hugely uncertain that his mysticism should be so cleanly remoted (for Eliot, see Gordon 1977; Skaff 1986, 2043). definitely, Perkins doesn't hassle to articulate the excellence to any extent further than he explains the putative dependence of impressionism on scepticism and relativism. even if scepticism and relativism are certainly the 2 definitional dogmas of recent enlightened educational humanism, it truly is faraway from seen that they're the guiding ideas of modernism. definitely, it truly is obscure how impressionism is dependent upon such ideas except we argue that subjective perspectivism is derived from them. most likely, the argument may cross whatever as follows. Impressionism as a cultured stream is contiguous with aestheticism in that either, to exploit a Jakobsonian time period, "privilege" inner, subjective, and mental event over exterior, target, and out of the ordinary occasion. The aesthete does so considering the fact that the exterior, out of the ordinary international is chaotic, coarse, and delusive compared to the order, subtlety, and readability of inner event. The impressionist places such a lot of his polemical weight at the "discovery" that the realm we event is a build, fabricated by means of each one folks out of disparate exceptional clues, and for that reason it truly is "relative" and idiosyncratic for every folks and needs to be interested in a sceptical grain of salt. So defined, Perkins's unarticulated contrast among a premodern aestheticism and smooth impressionism turns out to carry up rather well, for the aesthete credulously delivers a few intrinsic superiority to the inner over the exterior, to the subjective over the in simple terms authentic, to the sophisticated over the coarse, etc. she or he offends relativism by means of hierarchizing in any respect, and offends scepticism by means of hierarchizing different types of wisdom. the genuine sceptical relativist - unlike the aesthete - may by no means be dogmatic and will be even much less prone to succumb to the "absolutism" of the mystic's or occultist's declare to wisdom of absolute fact. 162 The start of Modernism but when we glance on the behavior of self-confessed impressionists akin to Ford Madox Ford and Joseph Conrad, we discover that they did actually declare a great fact price for his or her "renderings" of the realm and accordingly can't be thought of to be both relativist or sceptics - at the least, now not within the postmodern or Nietzschean feel. Impressionism has even more in universal with Husserlian phenomenology in that it can appear to carry that the inner psychological ideas governing the development of the perceptions are goal, absolute, and transcendent. it truly is precise that phenomenology - like aestheticism and Nietzscheanism - is sceptical and relativist vis-a-vis medical claims to wisdom, however it is idealist and metaphysical with recognize to its personal claims to unmediated wisdom of the episteme, if no longer of the noumenal.