Lowell was determined to change the method of selection from Pound's autocratic editorial attitude to a more democratic manner.

Eliot's personae were Prufrock and Sweeney, Pound's were Cino, Bertran de Born, Propertius, and Mauberley.

Whereas Eliot used " masks " to distance himself from aspects of modern life which he found degrading and repulsive, Pound's personae were poets and could be considered in good part alter-egos who are to be dissociated from " characters " like Malatesta, John Adam, Confucius, or Thomas Jefferson that we find in Pound's later poetry, The Cantos.

Among the works published by the Poetry Bookshop were collections by Charlotte Mew and Richard Aldington as well as Ezra Pound's seminal 1914 anthology Des Imagistes.

Pound's Homage to Sextus Propertius and Hugh Selwyn Mauberley and Eliot's The Waste Land marked a transition from the short imagistic poems that were typical of earlier modernist writing towards the writing of longer poems or poem-sequences.

The early reception of T. S. Eliot and Ezra Pound's poetry, and also the reading of Gerard Manley Hopkins, were considerably enhanced by Leavis's proclamation of their greatness.

" Olivia allowed Dorothy to write a thank-you note when Pound's Canzoni were published — dedicated to Olivia and Dorothy — the only instance in which Dorothy was allowed direct contact with him.

John Harwood, Olivia Sharkespear biographer, writes that Dorothy's lack of resistance seems extreme, even by Edwardian standards ; however, he speculates that Olivia's motives were to keep Dorothy's behaviour controlled, whereas Pound's behaviour was ignored.

In the early 20th century Ezra Pound's anti-usury poetry was not primarily based on the moral injustice of interest but on the fact that excess capital was no longer devoted to artistic patronage, as it could now be used for capitalist business investment.

Carter was also present at the 2009 Aldeburgh Festival to hear the world premiere of his song-cycle On Conversing with Paradise, based on Ezra Pound's Canto 95 ( from the section Rock-Drill ) and one of Pound's ' Notes ' intended for later Cantos, and usually published at the end of the Cantos .< ref >

At one end of the spectrum George P. Elliot has drawn a parallel between Pound and Adolph Eichmann based on their anti-Semitism, while at the other Marjorie Perloff places Pound's anti-Semitism in a wider context by examining the political views of many of his contemporaries, arguing that " We have to try to understand why " anti-Semitism was widespread in the early twentieth century, " and not say let's get rid of Ezra Pound, who also happens to be one of the greatest poets of the 20th C ."

A passage deriving polis from a Greek root word for ploughing also returns us to Pound's belief that society and economic activity are based on natural productivity.

" This reference signalled Pound's intent to close the poem with a final volume based on his own paradisiacal vision.

Pound's " nice, quiet paradise " is seen, in the notes for Canto CXI, to be based on serenity, pity, intelligence and individual acceptance of responsibility as illustrated by the French diplomat Talleyrand.

The critic for Time magazine acknowledged the critical storm around Fleming and Dr. No, but was broadly welcoming of the book, writing that whilst " not all readers will agree that Dr. No ... is magnificent writing, ... pages of it, at least, qualify for Ezra Pound's classic comment on Tropic of Cancer: ' At last, an unprintable book that is readable '.

Yeats, took on a wider importance in the history of literary modernism, as the subsequent correspondence between the two led to the serial publication, at Pound's behest, of A Portrait of the Artist as a Young Man in The Egoist.

In Homage to Sextus Propertius, for example, Pound " translated " parts of Propertius's elegies and by means of various modernizations of diction, drew attention to parallelisms existing between Propertius's situation and Pound's own, especially the pressures of living in an empire at war and Pound's desire to cease writing shorter lyrical poems and start on longer epic structures.

One of the most influential of all the modernist long poems was Pound's The Cantos, a ' poem containing history ' that he started in 1915 and continued to work on for the rest of his writing life.

This generated a crisis of confidence in the British financial system which threatened the Pound's position on the Gold Standard.

The self-definition of movements, dating back at least to Ezra Pound's efforts on behalf of Imagism, could be linked on one front to the production of an anthology of the like-minded.

This relationship was strengthened by Zukofsky's 1929 essay on Pound's long work in progress The Cantos.

She reviewed a wide range of books, but focused especially on contemporary poetry ( for instance, in perceptive reviews of Anna Akhmatova and Pound's Pisan Cantos ).

Kenner's second book, The Poetry of Ezra Pound ( 1951 ) was dedicated to McLuhan, who had introduced Kenner to Pound on June 4, 1948, during Pound's incarceration at St. Elizabeths Hospital, Washington, D. C., where Kenner and McLuhan had driven as a detour from their trip from Toronto to New Haven, Connecticut.

Krayzie Bone also featured on Daz Dillinger's 2008 solo album Only on the Left Side on the song " Meal Ticket " and later on the song " Money Fold ' N " on Tha Dogg Pound's 2009 album That Was Then, This Is Now.

They have since squashed the beef and released a song called " Blaze It Up ", as a bonus track on Tha Dogg Pound's Dogg Chit album.

* " New York, New York " ( Tha Dogg Pound song ), a song on Tha Dogg Pound's 1995 album Dogg Food

Pound's interaction with Ernest Fenollosa's work on the Chinese brought the young sculptor to the galleries of Eastern art, where he studied the ideogram and applied it to his art.

The controversy has intensified since 1940 when Pound's very public stance on the war in Europe and his support for Benito Mussolini's fascism became widely known.

Although Imagism isolates objects through the use of what Ezra Pound called " luminous details ", Pound's Ideogrammic Method of juxtaposing concrete instances to express an abstraction is similar to Cubism's manner of synthesizing multiple perspectives into a single image.

That same month, Pound's book Ripostes was published with an appendix called The Complete Poetical Works of T. E. Hulme, which carried a note that saw the first appearance of the word Imagiste in print.

That month Pound's book Ripostes was published with an appendix called The Complete Poetical Works of T. E. Hulme, which carried a note that saw the first appearance of the word Imagiste in print.

The album was met with critical and commercial acclaim ; it saw the group partake in the conflict between Death Row Records and Bad Boy Entertainment, making it a more widespread East Coast / West Coast rivalry, responding to Tha Dogg Pound's single " New York, New York " with its own " L. A L. A "

Eliot was one of these poets, although it has also been said that ' Imagism ' was the style to which both Pound and Eliot subscribed ( see Pound's Des Imagistes ).

The writing of these poems coincided with Pound's decision to abandon London permanently.

The first of these is the hostilities that existed amongst Pound's modernist friends and the negative impact that it had on all their works.

The relationship got off to a rocky start when Pound arranged for the publication in the magazine Poetry of some of Yeats's verse with Pound's own unauthorised alterations.

Pound's observations with it of the five known satellites of Saturn enabled Halley to correct their movements ; and Newton employed, in the third edition of the Principia, his micrometrical measures of Jupiter's disc, of Saturn's disc and ring, and of the elongations of their satellites ; and obtained from him data for correcting the places of the comet of 1680.

Pound's note opened with a definition of an image as " that which presents an intellectual and emotional complex in an instant of time ".

Pound's involvement with the Imagists marked the beginning of a revolution in the way poetry was written.

Like Pound's, Eliot's poetry could be highly allusive, and some editions of The Waste Land come with footnotes supplied by the poet.

Tha Dogg Pound's debut album, Dogg Food, continued the label's streak of commercial successes ; its members, rappers Kurupt and Daz Dillinger, joined Shakur in ridiculing New York rappers with their single " New York, New York ," featuring Snoop Dogg.

In November 1915 ( see 1915 in poetry ), the poem — along with Eliot's " Portrait of a Lady ," " The Boston Evening Transcript ," " Hysteria ," and " Miss Helen Slingsby "— was published in London in Pound's Catholic Anthology 1914 – 1915, which was printed by Elkin Mathews.

New York: New Directions, 1970 ISBN 0-8112-0527-4 )— memoir of Pound's time with Gaudier-Brzeska, including letters and photos of sculpture

In Audit / Poetry IV. 3, issue featuring Robert Duncan, in his long polemic with Robin Blaser's translation of The Chimeres of Gerard de Nerval, which Duncan believes deliberately and fatally omit the mystical and gnostic overtones of the original, Duncan writes: " The mystical doctrine of neo-Pythagorean naturalism has become like a Nessus shirt to the translator, and in the translation we hear Heracles ' tortured cry from Pound's version of the Women of Trachis from Sophokles: ' it all coheres.

He tutored Mary de Rachewiltz, Pound's daughter with Olga Rudge.

Pound's early association with Marsden and The Egoist encouraged Pound's nascent interest in the relationship between poetry and politics.

Much critical discussion of the poem has focused on the relationship between, on the one hand, the economic thesis on usura, Pound's anti-Semitism, his adulation of Confucian ideals of government and his attitude towards fascism, and, on the other, passages of lyrical poetry and the historical scene-setting that he performed with his ' ideographic ' technique.

What is more relevant is that Pound's anti-Semitism was part of a systematic train of thought and analysis tied in with his economic theories.

Critics like Hugh Kenner who take a more positive view of The Cantos have tended to follow this hint, seeing the poem as a poetic record of Pound's life and reading that sends out new branches as new needs arise with the final poem, like a tree, displaying a kind of unpredictable inevitability.

Canto LXXVI opens with a vision of a group of goddesses in Pound's room on the Rapallo hillside and then moves, via Mont Segur, to memories of Paris and Jean Cocteau.

After opening with a glimpse of Mount Ida, an important locus for the history of the Trojan War, Canto LXXVIII moves through much that is familiar from the earlier cantos in the sequence: del Cossa, the economic basis of war, Pound's writer and artist friends in London, " virtuous " rulers ( Lorenzo de Medici, the emperors Justinian, Titus and Antoninus, Mussolini ), usury and stamp scripts culminating in the Nausicaa episode from the Odyssey and a reference to the Confucian classic Annals of Spring and Autumn in which " there are no righteous wars ".

The canto then closes with two passages, one a pastiche of Browning, the other of Edward Fitzgerald's Rubaiyat of Omar Khayyam, lamenting the lost London of Pound's youth and an image of nature as designer.