STANDARDS
OF TASTE IN ART.
Ezra-Pound-Exult-at-Ions
Ah God !
That dawn should come so soon !
" Fair friend and sweet, thy lips ! Our lips again! Lo, in the meadow there the birds give song !
Ours be the love and Jealousy's the pain !
Ah God ! Ah God ! That dawn should come so soon !
" Sweet friend and fair take we our joy again Down in the garden, where the birds are loud,
Till the warder's reed astrain
Cry God ! Ah God ! That dawn should come so soon!
Norwatch
cry
? " Of that sweet wind that comes from Far-Away
Have I drunk deep of my Beloved's breath,
Yea! of my Love's that is so dear and gay.
Ah God! Ah God! That dawn should come so
' soon!
Envoi.
Fair is this damsel and right courteous,
And many watch her beauty's gracious way.
Her heart toward love is no wise traitorous.
Ah God ! Ah God ! That dawns should come so soon !
49
? Planh
It is of the -white thoughts that he saw in the Forest.
WHIOTE
Poppy, heavy with dreams,
W
who art wiser than
hite
Poppy,
Though I am hungry for their lips
love,
When I see them a-hiding
And a-passing out and in through the shadows
There in the pine wood it is,
And they are white, White Poppy,
They are white like the clouds in the forest of the sky Ere the stars arise to their hunting.
White Poppy, who art wiser than love,
1 am come for peace, yea from the hunting Am I come to thee for peace.
Out of a new sorrow it is,
That my hunting hath brought me.
White Poppy, heavy with dreams,
Though I am hungry for their lips When I see them a-hiding
And a-passing out and in through the shadows And it is white they are
But if one should look at me with the old hunger in her eyes,
How will I be answering her eyes? 50
? For I have followed the white folk of the forest.
Aye ! It's a long hunting
And it's a deep hunger I have when I see them
a-gliding
And a-flickering there, where the trees stand apart.
But oh, it is sorrow and sorrow When love dies-down in the heart.
5'
? CHISWICK PRESS I CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON
? BY THE SAME AUTHOR
Personae
Choicely Printed at the Chiswick Press on fine paper. Foolscap Octavo, 2s. 6d. net
SOME EARLY REVIEWS
TheObserversays: "Itissomething,afterall,intangibleand indescribablethatmakestherealpoetry. Criticismandpraisealike give no idea of it. Everyone who pretends to know it when he
" sees it, should read and keep this little book.
:
TheBookman "Nonewbookofpoemsforyearspasthashad
such a freshness of inspiration, such a strongly individual note, or been more alive with undoubtable promise. "
"
ning to end, and in every way, his own, and in a world of his own.
For brusque intensity of effect we can hardly compare them to any other work. It is the old miracle that cannot be defined, nothing more than a subtle entanglement of words, so that they rise out of their graves and sing. "
From a 3^ page detailed critique, by Mr. Edward Thomas, in The English Review-. "He has . . . hardly any of the superficial good qualities of modern versifiers ; . . . He has not the current melancholy or resignation or unwillingness to live ; nor the kind of feeling for nature that runs to minute description and decorative metaphor. Hecannotbeusefullycomparedwithanylivingwriters; . . . full of personality and with such power to express it, that from the first to the last lines of most of his poems he holds us steadily
in his own pure, grave, passionate world. . . . The beauty of it ('In praise of Ysolt') is the beauty of passion, sincerity and in tensity, not of beautiful words and images and suggestions ; , . . the thought dominates the words and is greater than they are. Here (' Idyl for Glaucus') the effect is full of human passion and natural magic, without any of the phrases which a reader of modern versewouldexpectinthetreatmentofsuchasubject. Thisadmir able poet. . . .
The Oxford Magazine: ''This is a most exciting book of poems. "
The Daily Chronicle :
All his poems are like this, from begin
? TheEveningStandard: "Aqueerlittlebookwhichwillirritate many readers. "
The Morning Post; "Mr. Ezra Pound . . . immediately com pels our admiration by his fearlessness and lack of self-conscious ness. "
"
This book has about it the breath of the open air, . . . physically and intellectually the verse seems to reproducethepersonalitywithabrieffulnessandadequacy. Itis only in flexible, lithe measures, such as those which Coventry Patmore chose in his ' Unknown Eros,' and Mr. Pound chooses here that a fully suitable form for the recital of spiritual experience istobefound. Mr. Poundhasatrueandinvariablefeelingforthe
measures he employs . . . this wonderful little book. . . . "
TheDailyTelegraph:"Apoetwithindividuality. . . . Thread of true beauty. . . . lifts it out of the ruck of those many volumes, the writers of which toe the line of poetic convention, and please for no more than a single reading. "
" He has succeeded where all others have failed, in evolving a blend of the imagery of the unfettered west, the vocabulary of Wardour Street, and the sinister abandon of
The Isis (Oxford) :
Mr. Punch, concerning a certain Mr. Ezekiel Ton :
newest poet going, whatever other advertisements may_ say ; announced as "the most remarkable thing in poetry since Robert
Browning," says
:
Borgaic Italy. "
"
At first the whole thing may seem to be mere madness and rhetoric, a vain exhibition of force and passion without beauty. But, as we read on, these curious metres of his seem to have a law and order ot their own ; the brute force of Mr. Pound's imagination seems to impart some
Mr. Scott-James, in The Daily News :
of infectious to his words. . . . With Mr. Pound beauty
quality
there is no eking out of thin sentiment with a melody or a song.
He writes out of an exuberance of incontinently struggling ideas and passionate convictions. . . . He plunges straight into the heart of his theme, and suggests virility in action combined with fierce ness, eagerness, and tenderness. . . . he has individuality, passion, force, and an acquaintance with things that are profoundly mov ing. " Mr. Scott-James begins his half-column review of Mr. Pound's book with a remark that he would "Like much more space in which to discuss his work," and also notes a certain use of spondee and dactyl which "Comes in strangely and, as we first read it, with the appearance of discord, but afterwards seems to gain a curious and distinctive vigour. "
LONDON : ELKIN MATHEWS, VIGO STREET, W.
"
"
By far the and
? The longest Series of Original Contemporary Verse in existence
List of the " Vigo Cabinet" and the "Satchel" Series
LONDON: ELKIN MATHEWS, VIGO STREET, W.
? The Vigo Cabinet Series
An Occasional Miscellany of Prose and Verse Royali6mo. OneshillingneteachPart
No. i.
No. 3. No. 6.
*No. 7.
THE QUEEN'S HIGHWAY. By CANON SKRINE.
SILENCE ABSOLUTE. By F. E. WALROND.
THECYNIC'SBREVIARY. MaximsandAnec dotes from NICHOLAS DE CHAMFORT.
URLYNTHEHARPER,ANDOTHERSONG. By WILFRID WILSON GIBSON.
[Second Edition.
No. 8. IBSEN'S(HENRIK)LYRICALPOEMS. Se lected and Translated by R. A. STREATFEILD.
*No. 9. THEQUEEN'SVIGIL,ANDOTHERSONG. By WILFRID WILSON GIBSON.
[Second Edition.
No. 10. THE BURDEN OF LOVE. By ELIZABETH GIBSON.
No. 11. THECOMPANYOFHEAVEN. ByE. MOORE.
No. 12. VERSES. By E. H. LACON WATSON. *No. 13. BALLADS. ByJOHNMASEFIELD.
No. 15. DANTESQUES. By GEORGE A. GREENE, Litt. D.
No. 16. THELADYOFTHESCARLETSHOES, AND OTHER VERSES. By Lady ALIX
EGERTON.
*No. 17. THETABLESOFTHELAW,ANDTHE ADORATIONOFTHEMAGI. ByW. B.
YEATS.
? No. 18.
STANDARDS OF TASTE IN ART.
E. S. P. HAYNES, late Scholar of Balliol
College, Oxford.
No. 19. FROMACLOISTER. ByELIZABETHGIBSON.
No. 20. SONGSANDSONNETS. ByEVADOBELL.
No. 22. A FLOCK OF DREAMS. By ELIZABETH GIBSON.
No. 23. SOUNDS AND SWEET AIRS. By JOHN TODHUNTER.
No. 24. THE SHADOW OF THE GLEN, AND RIDERSTOTHESEA. ByJ. M. SYNGE. [Second Edition.
No. 25. LOVE'SFUGITIVES. ByELIZABETHGIBSON.
No. 26. AN AUTUMN ROMANCE, AND OTHER POEMS. ByALICEMADDOCK.
No. 27. THE TRAGEDY OF ASGARD. By VICTOR PLARR.
No. 28. THENETSOFLOVE. ByWILFRIDWILSON GIBSON.
*No. 29. POEMSINPROSE. FromCHARLESBAUDE LAIRE. TranslatedbyARTHURSYMONS.
No. 30. SEADANGER,ANDOTHERPOEMS. By R. G. KEATINGE.
No. 31. SHADOWS. By ELIZABETH GIBSON.
No. 32. AN HOUR OF REVERIE. By F. P. STURM. No. 33. POEMSBYAURELIAN.
*No. 34. SELECTIONSFROMLIONELJOHNSON'S POETRY.
No. 35. WHISPER! ByFRANCESWYNNE.
No. 36. THE TENT BY THE LAKE. By FRED. G. BOWLES.
No. 38. THE GATES OF SLEEP. By J. G. FAIRFAX.
By
? THEVIGOCABINETSERIES continued.
No. 39. THE LADY BEAUTIFUL. By FRANCIS ERNLEY WALROND.
No. 40. AWINDOWINWHITECHAPEL. ByISABEL CLARKE.
No. 41. POEMSANDTRANSLATIONS. ByARUN- DELL ESDAILE.
No. 42. RAINBOWSANDWITCHES. ByWILLH. OGILVIE. [Third Thousand.
No. 43. STRAYSONNETS. ByLILIANSTREET.
No. 44. THE HEART OF THE WIND. By RUTH YOUNG.
No. 45. THE BRIDGE OF FIRE. By JAMES FLECKER.
No. 46. SYLVIA'SROSEANDTHEMAYMOON. By GILBERT HUDSON.
No. 47. THE KNOCKING AT THE DOOR, AND OTHERPOEMS. ByALICEMADDOCK.
No. 48. COZDMON'SANGEL,ANDOTHERPOEMS. By KATHARINE ALICE MURDOCH.
No. 49. FRIENDSHIP. ByLILIANSTREET.
*No. 50. CHRISTMAS SONGS AND CAROLS. By AGNES H. BEGBIE ; with seven illustrations
by EDITH CALVERT.
No. 51. A CHRISTMAS MORALITY PLAY FOR CHILDREN. By the Hon. Mrs. ALFRED
LYTTELTON.
No. 52. DAY DREAMS OF GREECE. By CHARLES W. STORK.
*No. 53. THEQUATRAINSOFOMARKHAYYAM. From a Literal Prose Translation by EDWARD HERON-ALLEN. DoneintoEnglishVerseby
ARTHUR B. TALBOT.
? No. 54. VOX OTIOSI. By DAVID PLINLIMMON.
*No. 55. RIVER MUSIC AND OTHER POEMS. By W. R. TlTTERTON.
No. 56. VANDERDECKENANDOTHERPIECES. By GILBERT HUDSON.
No. 57. THE PHILANTHROPISTS AND OTHER POEMS. ByRUTHYOUNG.
*No. 58. GERMANLYRISTSOFTO-DAY. ByDAISY BROICHER.
*No. 59. PHANTASIES. ByGERTRUDEH. WITHERBY.
No. 60. THREEPOEMS. ByCHARLESF. GRINDROD.
No. 61. VERSEPICTURES. ByE. HERRICK.
No. 62. RHYMES IN A GARDEN. By B. G. BALFOUR.
" Fair friend and sweet, thy lips ! Our lips again! Lo, in the meadow there the birds give song !
Ours be the love and Jealousy's the pain !
Ah God ! Ah God ! That dawn should come so soon !
" Sweet friend and fair take we our joy again Down in the garden, where the birds are loud,
Till the warder's reed astrain
Cry God ! Ah God ! That dawn should come so soon!
Norwatch
cry
? " Of that sweet wind that comes from Far-Away
Have I drunk deep of my Beloved's breath,
Yea! of my Love's that is so dear and gay.
Ah God! Ah God! That dawn should come so
' soon!
Envoi.
Fair is this damsel and right courteous,
And many watch her beauty's gracious way.
Her heart toward love is no wise traitorous.
Ah God ! Ah God ! That dawns should come so soon !
49
? Planh
It is of the -white thoughts that he saw in the Forest.
WHIOTE
Poppy, heavy with dreams,
W
who art wiser than
hite
Poppy,
Though I am hungry for their lips
love,
When I see them a-hiding
And a-passing out and in through the shadows
There in the pine wood it is,
And they are white, White Poppy,
They are white like the clouds in the forest of the sky Ere the stars arise to their hunting.
White Poppy, who art wiser than love,
1 am come for peace, yea from the hunting Am I come to thee for peace.
Out of a new sorrow it is,
That my hunting hath brought me.
White Poppy, heavy with dreams,
Though I am hungry for their lips When I see them a-hiding
And a-passing out and in through the shadows And it is white they are
But if one should look at me with the old hunger in her eyes,
How will I be answering her eyes? 50
? For I have followed the white folk of the forest.
Aye ! It's a long hunting
And it's a deep hunger I have when I see them
a-gliding
And a-flickering there, where the trees stand apart.
But oh, it is sorrow and sorrow When love dies-down in the heart.
5'
? CHISWICK PRESS I CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON
? BY THE SAME AUTHOR
Personae
Choicely Printed at the Chiswick Press on fine paper. Foolscap Octavo, 2s. 6d. net
SOME EARLY REVIEWS
TheObserversays: "Itissomething,afterall,intangibleand indescribablethatmakestherealpoetry. Criticismandpraisealike give no idea of it. Everyone who pretends to know it when he
" sees it, should read and keep this little book.
:
TheBookman "Nonewbookofpoemsforyearspasthashad
such a freshness of inspiration, such a strongly individual note, or been more alive with undoubtable promise. "
"
ning to end, and in every way, his own, and in a world of his own.
For brusque intensity of effect we can hardly compare them to any other work. It is the old miracle that cannot be defined, nothing more than a subtle entanglement of words, so that they rise out of their graves and sing. "
From a 3^ page detailed critique, by Mr. Edward Thomas, in The English Review-. "He has . . . hardly any of the superficial good qualities of modern versifiers ; . . . He has not the current melancholy or resignation or unwillingness to live ; nor the kind of feeling for nature that runs to minute description and decorative metaphor. Hecannotbeusefullycomparedwithanylivingwriters; . . . full of personality and with such power to express it, that from the first to the last lines of most of his poems he holds us steadily
in his own pure, grave, passionate world. . . . The beauty of it ('In praise of Ysolt') is the beauty of passion, sincerity and in tensity, not of beautiful words and images and suggestions ; , . . the thought dominates the words and is greater than they are. Here (' Idyl for Glaucus') the effect is full of human passion and natural magic, without any of the phrases which a reader of modern versewouldexpectinthetreatmentofsuchasubject. Thisadmir able poet. . . .
The Oxford Magazine: ''This is a most exciting book of poems. "
The Daily Chronicle :
All his poems are like this, from begin
? TheEveningStandard: "Aqueerlittlebookwhichwillirritate many readers. "
The Morning Post; "Mr. Ezra Pound . . . immediately com pels our admiration by his fearlessness and lack of self-conscious ness. "
"
This book has about it the breath of the open air, . . . physically and intellectually the verse seems to reproducethepersonalitywithabrieffulnessandadequacy. Itis only in flexible, lithe measures, such as those which Coventry Patmore chose in his ' Unknown Eros,' and Mr. Pound chooses here that a fully suitable form for the recital of spiritual experience istobefound. Mr. Poundhasatrueandinvariablefeelingforthe
measures he employs . . . this wonderful little book. . . . "
TheDailyTelegraph:"Apoetwithindividuality. . . . Thread of true beauty. . . . lifts it out of the ruck of those many volumes, the writers of which toe the line of poetic convention, and please for no more than a single reading. "
" He has succeeded where all others have failed, in evolving a blend of the imagery of the unfettered west, the vocabulary of Wardour Street, and the sinister abandon of
The Isis (Oxford) :
Mr. Punch, concerning a certain Mr. Ezekiel Ton :
newest poet going, whatever other advertisements may_ say ; announced as "the most remarkable thing in poetry since Robert
Browning," says
:
Borgaic Italy. "
"
At first the whole thing may seem to be mere madness and rhetoric, a vain exhibition of force and passion without beauty. But, as we read on, these curious metres of his seem to have a law and order ot their own ; the brute force of Mr. Pound's imagination seems to impart some
Mr. Scott-James, in The Daily News :
of infectious to his words. . . . With Mr. Pound beauty
quality
there is no eking out of thin sentiment with a melody or a song.
He writes out of an exuberance of incontinently struggling ideas and passionate convictions. . . . He plunges straight into the heart of his theme, and suggests virility in action combined with fierce ness, eagerness, and tenderness. . . . he has individuality, passion, force, and an acquaintance with things that are profoundly mov ing. " Mr. Scott-James begins his half-column review of Mr. Pound's book with a remark that he would "Like much more space in which to discuss his work," and also notes a certain use of spondee and dactyl which "Comes in strangely and, as we first read it, with the appearance of discord, but afterwards seems to gain a curious and distinctive vigour. "
LONDON : ELKIN MATHEWS, VIGO STREET, W.
"
"
By far the and
? The longest Series of Original Contemporary Verse in existence
List of the " Vigo Cabinet" and the "Satchel" Series
LONDON: ELKIN MATHEWS, VIGO STREET, W.
? The Vigo Cabinet Series
An Occasional Miscellany of Prose and Verse Royali6mo. OneshillingneteachPart
No. i.
No. 3. No. 6.
*No. 7.
THE QUEEN'S HIGHWAY. By CANON SKRINE.
SILENCE ABSOLUTE. By F. E. WALROND.
THECYNIC'SBREVIARY. MaximsandAnec dotes from NICHOLAS DE CHAMFORT.
URLYNTHEHARPER,ANDOTHERSONG. By WILFRID WILSON GIBSON.
[Second Edition.
No. 8. IBSEN'S(HENRIK)LYRICALPOEMS. Se lected and Translated by R. A. STREATFEILD.
*No. 9. THEQUEEN'SVIGIL,ANDOTHERSONG. By WILFRID WILSON GIBSON.
[Second Edition.
No. 10. THE BURDEN OF LOVE. By ELIZABETH GIBSON.
No. 11. THECOMPANYOFHEAVEN. ByE. MOORE.
No. 12. VERSES. By E. H. LACON WATSON. *No. 13. BALLADS. ByJOHNMASEFIELD.
No. 15. DANTESQUES. By GEORGE A. GREENE, Litt. D.
No. 16. THELADYOFTHESCARLETSHOES, AND OTHER VERSES. By Lady ALIX
EGERTON.
*No. 17. THETABLESOFTHELAW,ANDTHE ADORATIONOFTHEMAGI. ByW. B.
YEATS.
? No. 18.
STANDARDS OF TASTE IN ART.
E. S. P. HAYNES, late Scholar of Balliol
College, Oxford.
No. 19. FROMACLOISTER. ByELIZABETHGIBSON.
No. 20. SONGSANDSONNETS. ByEVADOBELL.
No. 22. A FLOCK OF DREAMS. By ELIZABETH GIBSON.
No. 23. SOUNDS AND SWEET AIRS. By JOHN TODHUNTER.
No. 24. THE SHADOW OF THE GLEN, AND RIDERSTOTHESEA. ByJ. M. SYNGE. [Second Edition.
No. 25. LOVE'SFUGITIVES. ByELIZABETHGIBSON.
No. 26. AN AUTUMN ROMANCE, AND OTHER POEMS. ByALICEMADDOCK.
No. 27. THE TRAGEDY OF ASGARD. By VICTOR PLARR.
No. 28. THENETSOFLOVE. ByWILFRIDWILSON GIBSON.
*No. 29. POEMSINPROSE. FromCHARLESBAUDE LAIRE. TranslatedbyARTHURSYMONS.
No. 30. SEADANGER,ANDOTHERPOEMS. By R. G. KEATINGE.
No. 31. SHADOWS. By ELIZABETH GIBSON.
No. 32. AN HOUR OF REVERIE. By F. P. STURM. No. 33. POEMSBYAURELIAN.
*No. 34. SELECTIONSFROMLIONELJOHNSON'S POETRY.
No. 35. WHISPER! ByFRANCESWYNNE.
No. 36. THE TENT BY THE LAKE. By FRED. G. BOWLES.
No. 38. THE GATES OF SLEEP. By J. G. FAIRFAX.
By
? THEVIGOCABINETSERIES continued.
No. 39. THE LADY BEAUTIFUL. By FRANCIS ERNLEY WALROND.
No. 40. AWINDOWINWHITECHAPEL. ByISABEL CLARKE.
No. 41. POEMSANDTRANSLATIONS. ByARUN- DELL ESDAILE.
No. 42. RAINBOWSANDWITCHES. ByWILLH. OGILVIE. [Third Thousand.
No. 43. STRAYSONNETS. ByLILIANSTREET.
No. 44. THE HEART OF THE WIND. By RUTH YOUNG.
No. 45. THE BRIDGE OF FIRE. By JAMES FLECKER.
No. 46. SYLVIA'SROSEANDTHEMAYMOON. By GILBERT HUDSON.
No. 47. THE KNOCKING AT THE DOOR, AND OTHERPOEMS. ByALICEMADDOCK.
No. 48. COZDMON'SANGEL,ANDOTHERPOEMS. By KATHARINE ALICE MURDOCH.
No. 49. FRIENDSHIP. ByLILIANSTREET.
*No. 50. CHRISTMAS SONGS AND CAROLS. By AGNES H. BEGBIE ; with seven illustrations
by EDITH CALVERT.
No. 51. A CHRISTMAS MORALITY PLAY FOR CHILDREN. By the Hon. Mrs. ALFRED
LYTTELTON.
No. 52. DAY DREAMS OF GREECE. By CHARLES W. STORK.
*No. 53. THEQUATRAINSOFOMARKHAYYAM. From a Literal Prose Translation by EDWARD HERON-ALLEN. DoneintoEnglishVerseby
ARTHUR B. TALBOT.
? No. 54. VOX OTIOSI. By DAVID PLINLIMMON.
*No. 55. RIVER MUSIC AND OTHER POEMS. By W. R. TlTTERTON.
No. 56. VANDERDECKENANDOTHERPIECES. By GILBERT HUDSON.
No. 57. THE PHILANTHROPISTS AND OTHER POEMS. ByRUTHYOUNG.
*No. 58. GERMANLYRISTSOFTO-DAY. ByDAISY BROICHER.
*No. 59. PHANTASIES. ByGERTRUDEH. WITHERBY.
No. 60. THREEPOEMS. ByCHARLESF. GRINDROD.
No. 61. VERSEPICTURES. ByE. HERRICK.
No. 62. RHYMES IN A GARDEN. By B. G. BALFOUR.
