In a Station of the Metro
Encyclopedia
"In a Station of the Metro" is an Imagist poem by Ezra Pound
published in 1913 in the literary magazine Poetry
. In the poem, Pound describes a moment in the underground metro station in Paris in 1912; Pound suggested that the faces of the individuals in the metro were best put into a poem not with a description but with an "equation". Because of the treatment of the subject's appearance by way of the poem's own visuality, it is considered a quintessential Imagist
text.
The poem was reprinted in Pound's collection Lustra in 1917, and again in the 1926 anthology Personae: The Collected Poems of Ezra Pound, which compiled his early pre-Hugh Selwyn Mauberley
works.
precise economy of language. Pound was influential in the creation of Imagist poetry until he left the movement to embrace Vorticism
in 1914. Pound, though briefly, embraced Imagism stating that it was an important step away from the verbose style of Victorian literature
and suggested that it "is the sort of American stuff I can show here in Paris without its being ridiculed". "In a Station of the Metro" is an early work of Modernist poetry
as it attempts to "break from the pentameter", incorporates the use of visual spacing as a poetic device, and contains not a single verb.
style , Pound’s process of deletion from thirty lines to only fourteen words typifies Imagism
’s focus on economy of language, precision of imagery and experimenting with non-traditional verse forms. The poem is Pound’s written equivalent for the moment of revelation and intense emotion he felt at the Metro at La Concorde
, Paris.
The poem is essentially a set of images that have unexpected likeness and convey the rare emotion that Pound was experiencing at that time. Arguably the heart of the poem is not the first line, nor the second, but the mental process that links the two together. "In a poem of this sort," as Pound explained, "one is trying to record the precise instant when a thing outward and objective transforms itself, or darts into a thing inward and subjective." This darting takes place between the first and second lines. The pivotal semi-colon has stirred debate as to whether the first line is in fact subordinate to the second or both lines are of equal, independent importance. Pound contrasts the factual, mundane image that he actually witnessed with a metaphor from nature and thus infuses this “apparition” with visual beauty. There is a quick transition from the statement of the first line to the second line’s vivid metaphor; this ‘super-pository’ technique exemplifies the Japanese haiku style. The word “apparition” is considered crucial as it evokes a mystical and supernatural sense of imprecision which is then reinforced by the metaphor of the second line. The plosive word ‘Petals’ conjures ideas of delicate, feminine beauty which contrasts with the bleakness of the ‘wet, black bough’. What the poem signifies is questionable; many critics argue that it deliberately transcends traditional form and therefore its meaning is solely found in its technique as opposed to in its content. However when Pound had the inspiration to write this poem few of these considerations came into view. He simply wished to translate his perception of beauty in the midst of ugliness into a single, perfect image in written form.
It is also worth noting that the number of words in the poem (fourteen) is the same as the number of lines in a sonnet
. The words are distributed with eight in the first line and six in the second, mirroring the octet-sestet form of the Italian (or Petrarchan) sonnet.
Ezra Pound
Ezra Weston Loomis Pound was an American expatriate poet and critic and a major figure in the early modernist movement in poetry...
published in 1913 in the literary magazine Poetry
Poetry (magazine)
Poetry , published in Chicago, Illinois since 1912, is one of the leading monthly poetry journals in the English-speaking world. Published by the Poetry Foundation and currently edited by Christian Wiman, the magazine has a circulation of 30,000 and prints 300 poems per year out of approximately...
. In the poem, Pound describes a moment in the underground metro station in Paris in 1912; Pound suggested that the faces of the individuals in the metro were best put into a poem not with a description but with an "equation". Because of the treatment of the subject's appearance by way of the poem's own visuality, it is considered a quintessential Imagist
Imagism
Imagism was a movement in early 20th-century Anglo-American poetry that favored precision of imagery and clear, sharp language. The Imagists rejected the sentiment and discursiveness typical of much Romantic and Victorian poetry. This was in contrast to their contemporaries, the Georgian poets,...
text.
The poem was reprinted in Pound's collection Lustra in 1917, and again in the 1926 anthology Personae: The Collected Poems of Ezra Pound, which compiled his early pre-Hugh Selwyn Mauberley
Hugh Selwyn Mauberley
Hugh Selwyn Mauberley is a long poem by Ezra Pound. It has been regarded as a turning point in Pound's career , and its completion was swiftly followed by his departure from England. The name "Selwyn" might have been an homage to Rhymers' Club member Selwyn Image. The name and personality of the...
works.
The poem
The poem contains only fourteen words, further exemplifying Imagism'sImagism
Imagism was a movement in early 20th-century Anglo-American poetry that favored precision of imagery and clear, sharp language. The Imagists rejected the sentiment and discursiveness typical of much Romantic and Victorian poetry. This was in contrast to their contemporaries, the Georgian poets,...
precise economy of language. Pound was influential in the creation of Imagist poetry until he left the movement to embrace Vorticism
Vorticism
Vorticism, an offshoot of Cubism, was a short-lived modernist movement in British art and poetry of the early 20th century. It was based in London but international in make-up and ambition.-Origins:...
in 1914. Pound, though briefly, embraced Imagism stating that it was an important step away from the verbose style of Victorian literature
Victorian literature
Victorian literature is the literature produced during the reign of Queen Victoria . It forms a link and transition between the writers of the romantic period and the very different literature of the 20th century....
and suggested that it "is the sort of American stuff I can show here in Paris without its being ridiculed". "In a Station of the Metro" is an early work of Modernist poetry
Modernist poetry
Modernist poetry refers to poetry written between 1890 and 1950 in the tradition of modernist literature in the English language, but the dates of the term depend upon a number of factors, including the nation of origin, the particular school in question, and the biases of the critic setting the...
as it attempts to "break from the pentameter", incorporates the use of visual spacing as a poetic device, and contains not a single verb.
The poem
-
- In a Station of the Metro
- The apparition of these faces in the crowd ;
- Petals on a wet, black bough.
- — Ezra Pound
Analysis
The poem was first published in 1913 and is considered one of the leading poems of the Imagist tradition.Written in a Japanese haikuHaiku
' , plural haiku, is a very short form of Japanese poetry typically characterised by three qualities:* The essence of haiku is "cutting"...
style , Pound’s process of deletion from thirty lines to only fourteen words typifies Imagism
Imagism
Imagism was a movement in early 20th-century Anglo-American poetry that favored precision of imagery and clear, sharp language. The Imagists rejected the sentiment and discursiveness typical of much Romantic and Victorian poetry. This was in contrast to their contemporaries, the Georgian poets,...
’s focus on economy of language, precision of imagery and experimenting with non-traditional verse forms. The poem is Pound’s written equivalent for the moment of revelation and intense emotion he felt at the Metro at La Concorde
Concorde (Paris Metro)
Concorde is a station on lines 1, 8 and 12 of the Paris Métro in the Place de la Concorde in central Paris and the 1st arrondissement.The station was opened on 13 August 1900, almost a month after trains began running on the original section of line 1 between Porte de Vincennes and Porte Maillot on...
, Paris.
The poem is essentially a set of images that have unexpected likeness and convey the rare emotion that Pound was experiencing at that time. Arguably the heart of the poem is not the first line, nor the second, but the mental process that links the two together. "In a poem of this sort," as Pound explained, "one is trying to record the precise instant when a thing outward and objective transforms itself, or darts into a thing inward and subjective." This darting takes place between the first and second lines. The pivotal semi-colon has stirred debate as to whether the first line is in fact subordinate to the second or both lines are of equal, independent importance. Pound contrasts the factual, mundane image that he actually witnessed with a metaphor from nature and thus infuses this “apparition” with visual beauty. There is a quick transition from the statement of the first line to the second line’s vivid metaphor; this ‘super-pository’ technique exemplifies the Japanese haiku style. The word “apparition” is considered crucial as it evokes a mystical and supernatural sense of imprecision which is then reinforced by the metaphor of the second line. The plosive word ‘Petals’ conjures ideas of delicate, feminine beauty which contrasts with the bleakness of the ‘wet, black bough’. What the poem signifies is questionable; many critics argue that it deliberately transcends traditional form and therefore its meaning is solely found in its technique as opposed to in its content. However when Pound had the inspiration to write this poem few of these considerations came into view. He simply wished to translate his perception of beauty in the midst of ugliness into a single, perfect image in written form.
It is also worth noting that the number of words in the poem (fourteen) is the same as the number of lines in a sonnet
Sonnet
A sonnet is one of several forms of poetry that originate in Europe, mainly Provence and Italy. A sonnet commonly has 14 lines. The term "sonnet" derives from the Occitan word sonet and the Italian word sonetto, both meaning "little song" or "little sound"...
. The words are distributed with eight in the first line and six in the second, mirroring the octet-sestet form of the Italian (or Petrarchan) sonnet.
Sources
- Ezra Pound "Vorticism", in The Fortnightly Review, Sept. 1, 1914
- The Cat Empire, "The Crowd", Nov/Dec, 2004
External links
- Extensive criticism page (including some of Pound's own comments)