It may also well have something to do with the art scene in Paris, c1910-1911.
P. M.

Richard Seddon <[log in to unmask]> wrote:


This bears considerable resemblance to my understanding of Pound"s  Image (with a big I).  What is left out is Pound's insistence on powerful language facilitating the emergence of the Image (big I).  I do not mean to suggest in any fashion an equivalence between TSE's "Metaphysical" poetry and Pound's "Imagism" but rather am struck by what appear similarities in their thinking.  Perhaps this was part of what attracted the two men to each other.  They certainly were very different in most other ways.

I will have to give this more thought.  Thanks

Richard Seddon
Portales, NM

On Jan 16, 2013, at 9:45 PM, Nancy Gish <[log in to unmask]> wrote:

  Yet if we examine Eliot's key terms, we find that his idea of "metaphysical" poetry, which in Laforgue, he claimed, made possible his own early poetic voice, is a unity of consciousness achieved by bringing what has been unconscious into consciousness.. Moreover, this involves not only emotion but sensation or the capacity to experience the senses, which become, through poetry, elevated to a level above flesh itself. He uses the word "beatitude" to describe this "intellectual completion."
[What I mean here is that for Eliot experience of emotion and sensation can exist unconsciously but be brought by the right kind of poetry to consciousness; thus it seems to mean that what is "immediate" can rise to a kind of transcendent level. One might think of that as "truth."]