By Charles Ferrall
Charles Ferrall argues that the politics of Yeats, Pound, Eliot, Lawrence, and Wyndham Lewis was once a reaction to the separation of paintings from an more and more industrialized society. Fascism turned beautiful to those writers since it promised to reintegrate paintings into society whereas at the same time ensuring its autonomy. but apart from Pound and Yeats, those writers all ultimately rejected fascism, who prefer as an alternative to work out the cultured as a sphere in everlasting competition to liberal democracy, instead of the root for a brand new social order.
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In `Sixteen Dead Men' the martyrs of the Uprising `converse bone to bone' with `Lord Edward and Wolfe Tone'44 while their blood sacri®ce in `The Rose Tree' is depicted as a kind of Frazerian vegetation ceremony. However while `Easter, 1916' retains the triangular structure of Cathleen Ni Houlihan it is now strained to its limits: Too long a sacri®ce Can make a stone of the heart. O when may it suf®ce? That is Heaven's part, our part To murmur name upon name, As a mother names her child When sleep at last has come On limbs that had run wild.
13 Thus while Pound intended to write `a poem including history' what he actually ended up writing was a text whose ®gures and abstractions duplicated the very `rhetoric' he repeatedly attacked in his prose. 14 However such `closure' can also be described in more historical terms. '15 If we think, then, of such `rhetoric' as the consequence of a rift which produces on the one side the ®gurative language of a marginalised aesthetic modernity and on the other the abstractions of the instrumental reason of bourgeois modernity, then Pound's attempt to write a `poem including history'16 by abolishing `rhetoric' can also be described as avantgardist in intent.
7 Although Pound's references to Wordsworth are nearly always dismissive, his various Imagist manifestoes and essays are in many ways re-writings of the latter's prefaces. Since at least the Romantics it has been `the primary function of . . 8 However, Frye also points out that it is only during the later phases of language that a distinction between ®gurative language and `prose' can be made: Homer's language is metaphorical to us, if not necessarily to him. In his poetry the distinction between ®gured and literal language hardly exists .