By Ezra Pound
Ezra Pound’s vintage publication concerning the that means of literature, with a brand new creation by way of Michael Dirda.
This vital paintings, first released in 1934, is a concise assertion of Pound’s aesthetic idea. it's a primer for the reader who desires to continue an energetic, serious brain and turn into more and more delicate to the wonder and thought of the world’s most sensible literature. With attribute vigour and iconoclasm, Pound illustrates his precepts with indicates meticulously selected from the classics, and the concluding “Treatise on Meter” offers an illuminating essay for someone intending to learn and write poetry. ABC of analyzing monitors Pound’s nice skill to open new avenues in literature for our time.
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Extra info for ABC of Reading (New Directions Paperbook)
Among the most important examples of naturalism are the poems of Arno Holz about life in modern Berlin. 8 Much of this growth was spurred by the Gründerzeit, or foundation period, of the German empire after 1871. Many residents of metropolitan Berlin, the imperial capital, were the new working class. 9 In the “Großstadt” (Large City) segment of Holz’s Das Buch der Zeit: Lieder eines Modernen (The Book of the Age: Poems of a Modern Man, 1886), a major collection of naturalist verse, a slice of Berlin life is captured with photographic precision by a poem called “Ein Andres” (Another Thing): Five worm-eaten steps lead up to the top ﬂoor of a workers’ tenement; the north wind likes to linger here, and the stars of heaven shine through the rooﬁng.
The problem, then, seems to lie not with speciﬁc composers or works, but with the art of music itself. ” But Wagner may also just be the only modern musician to understand that such a small-scale perspective is necessary, inevitable. ” He continues, What can be done well today, what can be masterly, is only what is small. — Nothing, however, can cure music in what counts, from what counts, from the fatality of being an expression of the physiological contradiction— of being modern. (p. 188) Just what constitutes that “physiological contradiction” becomes clear from the end of the Epilogue of The Case of Wagner.
In perspectives from the 1870s and 1880s 27 the spring of 1888, at about the same time he was writing The Case of Wagner, Nietzsche notes in a fragment called “Music—and the Grand Style” that “all the arts have ambitions toward the Grand Style,” except music: “Why is it lacking in music? Why up to now has no musician constructed in the manner of the architect of the Pitti Palace? . Does music perhaps belong in that culture where the realm of all sorts of powerful men is coming to an end? ”53 Nietzsche goes on to wonder whether all modern music is not decadent—for him the category in opposition to the Grand Style.