Ezra Pound

 

 

Vorticism.

[Auszug]

 

The painters realise that what matters is form and colour. Musicians long ago learned that programme music was not the ultimate music. Almost anyone can realise that to use a symbol with an ascribed or intended meaning is, usually, to produce very bad art. We all remember crowns, and crosses, and rainbows, and what not in atrociously mumbled colour.

The Image is the poet's pigment. 1 The painter should use his colour because he sees it or feels it. I don't much care whether he is representative or non-representative. He should depend, of course, on the creative, not upon the mimetic or representational part in his work. It is the same in writing poems, the author must use his image because he sees it or feels it, not because he thinks he can use it to back up some creed or some system of ethics or economics.

An image, in our sense, is real because we know it directly. If it have an age-old traditional meaning this may serve as proof to the professional student of symbology that we have stood in the deathless light, or that we have walked in some particular [465] arbour of his traditional paradiso, but that is not our affair. It is our affair to render the image as we have perceived or conceived it.

 

 

[Fußnote, S. 464]

(1) The image has been defined as "that which presents an intellectual and emotional complex in an instant of time."   zurück

 

 

 

 

Erstdruck und Druckvorlage

The Fortnightly Review.
N.S., Bd. 96, Nr. 573, 1. September 1914, S. 461-471.

Gezeichnet: Ezra Pound.

Unser Auszug: S. 464-465.

Die Textwiedergabe erfolgt nach dem ersten Druck (Editionsrichtlinien).

 

 

Zeitschriften-Repertorium

 

 

Literatur

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Edition
Lyriktheorie » R. Brandmeyer