While my hair was still cut straight across my forehead 2. I never laughed, being bashful. Copyright © 1999 by Garland. There is also a level of formality in the lines involved which Waley misses and which Pound retains. It starts as childish acquaintance, growing to acceptance of the traditional pairing and marriage that ensued.
Because this poem follows the sequence of the characters' lives, it is thematically appropriate that Pound uses time-based imagery and figurative language as well. When she was 15, the wife started to feel more settled in the marriage. I wanted to be with you, as dust with its ashes. In the Chinese poem, due to lack of specified relations of tense or number, the narrative sequence is not explicitly established by syntactical markers. I watched as your lips struggled with your eyes.
At sixteen you departed, You went into far Ku-to-en, by the river of swirling eddies, And you have been gone five months. The Role of the Speaker and Dramatic Situation in The River Merchant's Wife: A Letter In the poem, The River-Merchant's Wife: A Letter Ezra Pound, leaves us in question about a relationship in which there was a dramatic break up between two people. Thus the English translator is called upon to utilize whatever resources in English he or she can muster, in order to present a convincing structure of feeling and sensibility in a new English poem. There is a peculiar aura of intimacy, love, and hushed beauty around these two characters as they are being spoken, one that can only be shared by the addressee who forms a part of this lovely scene. Poets often adjust form or meter in order to bring attention to a specific line. We were both very young, and knew neither jealousy nor suspicion. In the early days of the social network Twitter, while others streamed status updates, Peralta was one of the first to stream original poetry - as Semaphore.
Line 19 indicates that he was as averse to this separation as she was. The Daphne character could actually be a child imagining that she is a tree, and the Apollo character is then an adult, telling her not to let the world subdue her creativity. C They show the speakers feelings and behavior at the start of her marrlage, when she was young and less mature D They Indicate that it is impossible to predict how people will change or grow over time. A river forms the physical barrier between them, as the husband traveled along it to another village. The young woman feels that she is growing older, aging by having to bear this hurt so early in life by an abrupt gap in the onflow of her short-lived happiness. When you came by, walking on bamboo-stilts 4. Along the trellis, playing with green plums.
Lines 15-18 An image of separation is developed in these lines as the husband takes on his role as a river-merchant and travels the waters, conducting his work in the world on a distant island. Ezra Pound, through the role of the speaker, dramatic situation and certain experiences illustrates the purpose of the poem to the reader in several ways. She begins by reminiscing about meeting him during childhood. Because 99% of the time, there is only 1 thing you can say to a standoffish guy that will grab him by the heartstrings- And get his blood pumping at just the thought of you. The New Poetry: An Anthology, Macmillan, New York.
After being pursued relentlessly by the Apollo, Daphne begs her father to change her into a tree so she can escape him. The effect of an intense, repressed emotion is conveyed through carefully selected images and minimal statement -- a method productive of the kind of poetry at which the Imagists were aiming: a precise, objective rendering. It is a new sound and somehow, for me, it remains as much so as does the saxophone and trumpet of John Coltrane and Miles Davis in the sextet that recorded Kind of Blue in the late 1950s. His writing declined drastically after he was imprisoned for his antisemitic and fascist radio broadcasts, which led to a slow decline of his sanity. Then you, my Lover, came riding a bamboo horse. On the walkway, outside, the mosses have taken the steps now.
Wai-Lim Yip One can easily excommunicate Pound from the Forbidden City of Chinese studies, but it seems clear that in his dealing with Cathay, even when he is given only the barest details, he is able to get into the central consciousness of the original author by what we may perhaps call a kind of clairvoyance. Lowering my head, I looked at the wall. This is even truer in line 1 and line 6. Because the young wife in Li Po's poem is unpracticed in grief, she feels all the more sharply what are in fact all the traditional signs of her desertion and solitariness: the moss, the paired butterflies, and the autumn leaves failing in wind. The monkeys make sorrowful noise overhead. And we went on living in the village of Chokan:Two small people, without dislike or suspicion.
The paired butterflies are already yellow with August Over the grass in the West garden -- They hurt me. Because of these innovations, Pound is seen by many as the creator of the modernist aesthetic in poetry. We do not need to know the details of the geography of the river Kiang or how far Cho-fu-Sa is to sense that her wish to see him is very strong, that her desire is powerful enough to make her venture beyond the ordinary geographical bounds of her existence so that their reunion will come sooner. In Pound's version it implies a world of disappointment in what has followed. In Pound's version the emotion of the woman speaker is presented within her confined perspective through particular stages of emotional development and psychological retrospection, out of which emerge different shades of meaning and significance. In this poem Pound incorporates both imagism, a Japanese poetic structure that sacrifices strict rhythm and meter in favor of precise imagery and sharp language, and interpretations of Chinese ideograms, written characters that symbolize the idea of a thing without indicating the sounds used to say it. They ride on it the same way one would ride on a cockhorse.
The wife relates the story of their love and longs for his return. We know that the voice that we read is not that of the poet but rather it is the voice of a young girl. . The extension of the directness and simplicity, the veracity and the actuality aimed at by vers librists, into subtler regions than the commonplace is advisable if they are not to keep in the nursery of art. From American Free Verse: The Modern Revolution in Poetry.
Fine arts painters used to copy strokes of master painters to improve and develop their own styles. There is also a figurative interpretation for this poem. Therefore, these two lines capture the reader's attention just as the poem reaches its climax, and the speaker, the wife, acknowledges the deep sorrow she feels because of her husband's absence. Why should I climb the lookout? I never laughed, being bashful. Copyright © 1982, 1983 by Christine Froula. The wife remembers herself as a little girl, recalls a time when she entered into an arranged marriage without much feeling, and then, spurred by the pain her husband's departure has provoked, slowly realizes how much she cares for him. Two small people, without dislike or suspicion.