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ENGL 310

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Professor Langdon Hammer: Let's see. T.S. Eliot. In talking about Pound and The Cantos last week, I was talking about translation a lot. In the case of Eliot I'll be talking about quotation, a related but different practice, and one that we'll see again in Marianne Moore. In Pound's case there is a wish in poetry for immediacy, for some kind of seemingly natural language. Pound doesn't want, and doesn't use, quotation marks, just as he doesn't use footnotes. If you look at Pound in any of the editions of his work, from The Cantos backward, you will find that the poems are presented without notes, without any kind of apparatus, without any kind of help. That's because, I think, Pound wants to, in some sense, give you a--he doesn't want to get in your way in any sense. He wants you to have a kind of immediate experience of the writing that he's presenting, even when it comes in the form of quotation. But as I suggested, for Pound, a sort of central practice is translation, which he also

ENGL 310 ENGL 310 Modern Poetry: Lecture 10 Transcript Professor Langdon Hammer : Let's see. T.S. Eliot. In talking about Pound and The Cantos last week, I was talking about translation a lot. In the case of Eliot I'll be talking about quotation, a related but different practice, and one that we'll see again in Marianne Moore. In Pound's case there is a wish in poetry for immediacy, for some kind of seemingly natural language. Pound doesn't want, and doesn't use, quotation marks, just as he doesn't use footnotes. If you look at Pound in any of the editions of his work, from The Cantos backward

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