The petal weathers, the petal is rained on, and eventually, that petal wilts and dies, just like each person entering and leaving the view of the author. This creates a couplet effect, an attempt to couple, at least, against the dissonant tension working the lines. We've all seen student poems where something is compared to something very similar. Pound created a poem that strikes an immediate chord to the aware reader. He struggled during a period of a year and a half to complete the poem, and cut it down from thirty lines to a single sentence. This is the exact power and splendor of the Imagist poetry to depict the relationship among the different images to cater a beautiful meaning. Shapiro does not understand the imagist perspective.
It is not complex; rather, the two-line poem is straightforward and to the point. In this image, the reader is presented with the idea of small, fleeting, and weak elements of beauty within the natural world. This short glimpse through the metro doors is the only time that group of people will be as they are in that instant. At the time that Pound wrote this poem, Paris was considered the most modern and sophisticated city in the world. Contrasts are key within the patterns.
The human life is described and summarized in just few imagery that goes beyond the limits of standard imagery. It's what we get in this poem. Early Greeks saw the elegiac celebration of gain-in-loss through the stories of Orpheus, losing Eurydice looking back, tom apart by jealous would-be lovers and thrown into the river, where his head kept singing of his beloved and charmed all the plants and animals to come down to the waters: Perhaps. The metronome that Pound is talking about is the traditional use of meter a set pattern of weak and strong syllables in English poetry. He wrote a 30-line poem and destroyed it; after six months he wrote a shorter poem, also destroyed; and afer another year, with, as he tells us, the Japanese hokku in mind, he arrived at a poem which needs every one of its 20 words, including the six words of its title. Beginning at the turn of the 20th century, modernism broke away from traditional styles, structures, and themes in literature.
Where the line ends is significant, at least where it seems to pause, visually, for beneath the voice the given course of the eye may be countered by the ear's vernacular norms. But what is this poem supposed to sound like? Then, the second line shifts to a peaceful, Japanese garden. For this reason, some critics of the poem think the metro station is supposed to suggest a journey to the Underworld, of the kind that occurs in classical epics like Homer's The Odyssey and Virgil's Aeneid. It is validated by the fact that he wrote numerous poems to which it applies before he had formulated it. So the title isn't just referring to a place where subway trains stop; it's also talking about how the poem works. It is the intellectual part pointing to the continuity of life. Accepting either, moreover, what about Petals on a wet, black bough, a line clearly less dactylic than spondaic? Thus, Pound takes the two words and morphs them together as one to get a greater effect, meaning that when he witnessed mysterious faces in the crowd with various colors and shapes, it rendered a good-looking sight in his eyes.
The flowering bough with the flowerets in bud, which the birds make tremble with their beaks, was never more fresh than she ; wherefore I would not wish to have Rome without her, nor all Jerusalem, but altogether, with hands joined I render me to her, for in loving her the king from beyond Dover would have honor, or he to whom are Estela and Pampeluna. Especially we can compare the previous sence to the later sence, and we find that they are the same. The first-person eye dissolves into more inclusive consideration, an indirect, hard-worn aye, back to the masses, back to the common tribe. Here the sounds-as- syntactically-structured-signs begin to makesense; that is, they move toward meaning. During his time imprisoned, he suffered a mental breakdown, and spent the next twelve years of his life in a psychiatric hospital. Because Pound's style oscillated between minimalist using as few words as possible and epic working on a massive scale , it is difficult to connect him to one particular style. In another sense, we can see that we human being creat the most advanced kind of life including the metro, we are different from the nature, but at the final point, we are the same, living in the shadow and light, and one day will disappear.
In terms of poetry, modernism broke free from the formal restrictions of rhyme and meter, resulting in what is known today as free verse. We will die one day. Is it creditable to give a sonic value to the spaces between the sounds without defining the pause's duration? That's one of the secrets of good literature: there's always more to be considered beyond the parsing, assumptions to be revised, mysteries. Disillusion pitches against true illusion, skepticism against belief. It's meant to be vague; the situation is so common that it could be any station. Structurally, a proportional metric cadences the lines, beginning with the title, syllabically 8-12-7, supra-metrically 4-6-4, and metrically normative as 2-3-3. What if we were to read Pound essentially as a poet of mourning—not elegiac precisely, but fetishistic and transgressive.
Pound's use of living metaphors adds to the fleeting tone of this poem. When the poem is broken into these lines, it resembles a pair of Japanese haiku poems. Of course, the image differs from myth and romance in being instantaneous, without story or sequence, seemingly independent of time and history. The action that takes place between the seeing of the crowd and the seeing of the petals is unpredicated in the two senses of the term. The human face is what blooms, renews, and shines in the dark.
Making the point this way to borrow a phrase of Pound's is like dragging your own heroic corpse around the walls. Then, snap, they close again. In this quick poem, Pound describes watching faces appear in a metro station. The general shape of most petals can be likened to that of an upside down dropp of water or teardrop. As you can see, these lines are about the same subject, and except for 'apparitions' and 'are' the words are basically the same. It is the circle free of space and time limits.
This image connects to our sense of sight and touch, so the reader feels like he or she could reach out and pluck the faces out of the scene like a flower from a tree. Just as Pound's abandonment of linear sentence structure draws more attention to the poem's imagery, so does his departure from the metronome of traditional meter draw more attention to each musical phrase in the poem. And although the style is uncommon, this is not at all because it is ineffective, as Ezra Pound demonstrates easily within this work. What are the visual images, the sensory associations that come up as you read this poem? In other words, the poem has now assumed the format it has in each of its appearances in book, as opposed to periodical, form, from the Elkin Mathews edition of Lustra 1916 onwards, with the exception of the colon as opposed to semi-colon at the end of the first line. Yet it cries out for analysis and discussion, since its striking style and form suggest much in just a few words.
The famous motto of modernism, coined by poet Ezra Pound, was 'Make it new. Written in Japanese famous poetic form haiku, Pound in three lines including the title creates a chain of images like the metro station, the apparition, the faces in the crowd and the petals on a wet black bough. Again, this is a perfect example of that metaphor means and means intensely. The different faces of individual in the metro station is best shown in the poem with an equation of words. The original drafts of In a Station of the Metro was thirty lines long; Pound was able to cut it down to fourteen words in an attempt to focus entirely on the economy of his language, and the important images only.