“T.S. Eliot” by Ezra Pound (from Instigations)
Il n’y a de livres que ceux où un écrivain s’est raconté lui-même en racontant les mœurs de ses contemporains—leurs rêves, leurs vanités, leurs amours, et leurs folies.— Remy de Gourmont.
De Gourmont uses this sentence in writing of the incontestable superiority of “Madame Bovary,” “L’Éducation Sentimentale” and “Bouvard et Pécuchet” to “Salammbô” and “La Tentation de St. Antoine.” A casual thought convinces one that it is true for all prose. Is it true also for poetry? One may give latitude to the interpretation of rêves; the gross public would have the poet write little else, but De Gourmont keeps a proportion. The vision should have its place in due setting if we are to believe its reality.
The few poems which Mr. Eliot has given us maintain this proportion, as they maintain other proportions of art. After much contemporary work that is merely factitious, much that is good in intention but impotently unfinished and incomplete; much whose flaws are due to sheer ignorance which a year’s study or thought might have remedied, it is a comfort to come upon complete art, naïve despite its intellectual subtlety, lacking all pretense.
It is quite safe to compare Mr. Eliot’s work with anything written in French, English or American since the death of Jules Laforgue. The reader will find nothing better, and he will be extremely fortunate if he finds much half as good.
The necessity, or at least the advisability of comparing English or American work with French work is not readily granted by the usual English or American writer. If you suggest it, the Englishman answers that he has not thought about it—he does not see why he should bother himself about what goes on south of the channel; the American replies by stating that you are “no longer American.” This is the bitterest jibe in his vocabulary. The net result is that it is extremely difficult to read one’s contemporaries. After a time one tires of “promise.” Continue reading