Pound discussed the poem extensively in his 1914 essay on Vorticism
One of the primary goals of BLAST seemed to have been to create a specifically English form of the European avant-garde of that time, given their initial association with Marinetti and Italian futurism, then their subsequent (and violent) dissociation. Lewis and the other vorticists make clear in their founding manifestoes in BLAST that the movement is intended to match the need for an art of a more northern' climate rather than a latin' one.
Ezra Pound's Vorticism was widely ..
For this reason we might be forgiven, in searching for definitions and characteristics of this English avant-garde movement, for turning to Ezra Pound, who fortunately for us expressed the foundational principles in a chapter of his 1916 book on the sculpture of vorticist Henri Gaudier-Brzeska.
See also Jane Beckett, “The Abstract Interior,” in Towards a New Art: Essays on the Background to Abstract Art 1910-20 (London: Tate Gallery, 1980): 90-124, 111-13; Peter Brooker, Bohemia in London: The Social Scene of Early Modernism (Basingstoke, UK: Palgrave Macmillan, 2007), 184, n. 11; and Wees, Vorticism and the English Avant-Garde, 68. The curtain may in fact have been the work of Cuthbert Hamilton (see Cork, Art Beyond the Gallery, 195).
Ezra Pound: Poet and Arch-Modernist | Samuel Stevens
that I may perhaps be pardoned this brief recapitulation and retrospect.Introduction – Modernist Journals ProjectPound passed from Classicism to Imagism and then on to Vorticism like a whimsical, an essay where he first tried to make public the main principles of the Imagists.
Jessie Dismorr: a little gallery | Richard Warren
Pound's extensive prose writings, including “A Retrospect,” “Vorticism,” “The Chinese paper topic, conduct research on site, and complete on site an essay of 12-15 pp.
The Rime of the Ancient Mariner | Richard Warren
In Pound’s version of this encounter, Japan—and the East in general—is curiously ahistorical. It is imagined as a timeless repository of cultural forms to which Pound and other European modernists might turn to find their way out of the impasse of their contemporary moment. In the Vorticism essay, Pound cites two examples of haiku: a famous poem by sixteenth-century poet Arakida Moritake (whom Pound does not name), and a spontaneous composition by an anonymous ‘Japanese naval officer,’ relayed to Pound by his friend and fellow poet Victor Plarr (the only one of this trio who is named in the essay—and the only one who produces no poetry). Although Pound’s examples were written four centuries apart, he treats them as reflections of a single, timeless form, apparently so resistant to historical change that their provenance need not even be noted.
Posts about The Rime of the Ancient Mariner written by richardawarren
Blast magazine's second issue, entitled the War Number, deals almost exclusively with the Great War. The plain cover of the first issue is replaced by . The magazine begins with its usual manifestos and explanations of conflict in terms of the magazine's publication. Its "." sums up their excitement about the war, and their look at art's relevance in war time, both of which the writers of the magazine elaborate on tirelessly throughout the rest of the issue. Lewis' position is that violent times call for important art, and that people are more interested in art during these times. (Interest in Vorticist art did indeed dwindle over the next couple of years.) Delighted by the fighting, Lewis explains that the war is not just a war against the German govenrment. It is also a war against German art, which is too traditional and romantic. England is fighting for England, as well as their newest brand of modern, unsentimental art brought forward by Blast. This two front war is vitally important the the future of art, the future of England, and the future of Blast, which he to thinks will live on long past this second issue. It, as we know, does not live on, and evidentally England did not think it was fighting a war against German art, but simply a war against German soldiers.
The Mystery of Fascism by David Ramsay Steele
Without the involvement of Ezra Pound, the Tyro was primarily a magazine about art, rather than politics and poetry. The first issue began with Editorial notes that indicated the shifted focus of the magazine: “To be a rallying spot for those painters, or persons interesting in painting, in this country.” Lewis believed that after the Great War England was on the precipice of a Renaissance “much greater than the Italian Renaissance.” Given the size and length of World War I, and the effect it had on the general countenance of Europeans, Lewis suggested that what the Vorticists were able to accomplish before and during the war was only the beginning. In reality, Vorticism had been on its way out for the seven years in between Blast and Tyro, and there was no English Renaissance in sight. This post war Vorticist art was different. Less Futurist, less Cubist, and less Abstract. It was more classical and more realistic. It focused more on the human form, and was less conceptual. It was less abrasive, and more pleasing to the eye. Pieces like and might never have graced the pages of Blast. Certainly Tyro saw similarly abstract drawings, like , but Lewis’ own art seemed almost uncharacteristic of his original Vorticist creations. In a post war Europe the coarse vexation of Vorticism was no longer feasible. The movement was at a stand still and it would need to widen its scope to achieve the kind of modern Renaissance it hoped to see. It included advertising. It included clay figures. It included short stories. And even after all that Vorticism is just a footnote of Modernism rather than the definition of the camp.