Dear Rick, Marcia, and all,
I think this is indeed a very different process, but I think that to evaluate
what Pound's role in "The Waste Land" is or is not, we need to look at what
the text was and became as well as any comments made about it by either
Pound or Eliot, neither of whom are necessarily more definitive critics of the
effect on what was produced than other critical readers.
For example, in connection with the discussion of the hyacinth garden
section, in the original draft, the line "I remember/ Those are pearls that
were his eyes" was "I remember/ The hyacinth garden. Those are pearls
that were his eyes, yes!" Pound cut "yes!" The hyacinth garden also
disappears but it is not marked by Pound in the typescript. I think there
may be many ways of interpreting these changes, but the reference to the
hyacinth garden identifies the speaker here with the speaker in the first
section. So the mix of "love" (or whatever intensity) and disconnection is
more overt. Pound also marks it "Penelope/J.J." or Molly Bloom's famous
"yes" soliloquy." So that seems to have been a remark that had some
effect in removing it. I am interested in what others make of this, but my
point is simply that the text is probably more telling than the tellers.
Date sent: Sun, 8 Jul 2001 09:39:46 -0400 (EDT)
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Subject: Re: Pound and the Wasteland
Rick Seddon wrote:
> This is interesting. Pound evidently handled his advisory and editorial
> chores much differently from his translations. In his translations he
> very definitely tried to adopt a persona of the original author and
> write a poem as if the original author had known English. The result is
> something very different from what one thinks of as "translation"
> Pound's translations are so much a break with the original that they are
> often considered new creations.--"Homage to Sextus Propertius" set the
> classics world on its ear with virtually all Latin scholars standing in
> line to point out "errors". In his major guide to Pound's poems
> (performing the same service as Southam), Ruthven refers to the author
> of "Homage to Sextus Propertius" as Propoundius.
Dryden discusses three types of translations. The third, imitation, is
just what you describe. The essay is the preface to a new (to Dryden)
translation of Ovid's Epistles.