Richard Seddon writes:
> With the two set as discussion points, e. e. cummings seems the more
> mainline modern to me.  His poetry, even that of the country,  seems
urban.
> Frost seems throw-back pastoral; almost Georgian.  Much of

richard,   ...probably yer right, ...but i've always used much of frost for
heidegger..."i cannot rub the strangeness from my eyes,"...the necrophilia,
nso on.

bob


----- Original Message -----
From: Richard Seddon <[log in to unmask]>
To: <[log in to unmask]>
Sent: Wednesday, March 13, 2002 10:20 AM
Subject: Re: Imagism and Joyce


> Kate:
>
> With the two set as discussion points, e. e. cummings seems the more
> mainline modern to me.  His poetry, even that of the country,  seems
urban.
> Frost seems throw-back pastoral; almost Georgian.  Much of Frost's
Imagery,
> like some of H.D., is of the countryside.  Of course as someone has said
the
> Pastoral is about the primitive urges of the Urban so maybe Frost is
> primitive modern?  :>)  In all seriousness I would suppose that a paper
> could be developed along the lines of Frost detailing, through
Pastoralism,
> a rejection of the decayed modern Urb.  (Maybe it has already been done)
> Pound, who relished the Urb, would not probably agree but maybe Eliot
would.
>
> Marianne Moore's images (note: little "i")  of animals, she is an
> objectivist like Robert Creeley not a strict Imagist, might be profitable.
> You might also look at the "Amygism" of Amy Lowell, what Pound thought
> Imagism gone astray,  in order to see vitiation of the idea.
>
> Are you interested in Imagism or Vorticism?  For an excellent discussion
of
> the Ideogramic method, which necessarily has a lot of good info on
Imagism,
> see,  _Ideogram, History of a Poetic Method_ by Laszlo K. Gefin.  Pound's
> work on the Fenolosa papers would probably be of interest also.
>
> Be sure to keep your big "I" Images seperate from your little "i" images.
>
> I don't think the ex-pat idea would work well.  William Carlos Williams
and
> Richard Aldington would be hard to work into such a scheme.
>
> Rick Seddon
> McIntosh, NM, USA
>
> ----- Original Message -----
> From: "Kate Cone" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Wednesday, March 13, 2002 5:48 AM
> Subject: Re: Imagism and Joyce
>
>
> > Tim:
> >
> > I've been reading C's poetry and bio's for over 30 years. In fact, as a
> > result of my research and inquiries to Jay Parini at Middlebury, a Frost
> > scholar and biographer, I've been asked to write the Cummings article
for
> > the Oxford Encyclopedia of American Literature, which Parini is editing.
> > (wheeee!!!)
> >
> > Frost I knew as all American students do -- the anthologized poems. I
> loved
> > the imagery, but didn't "get" how deep they were then. But one little
poem
> > hit me a different way:
> >
> > The Secret Sits
> >
> > We dance 'round a ring and suppose.
> > The secret sits in the middle and knows.
> >
> > Frost
> >
> > ****
> >
> > seeker of truth
> >
> > follow no path
> > all paths lead where
> >
> > truth is here
> >
> > Cummings
> >
> > ****
> >
> > At first I thought of this type of poem as having a Zen influence, but
on
> > further investigation I learned that both C and F were tremendously
> > influenced by Emerson, whose essay "Circles" pretty much pegs the notion
> of
> > coming back: "I keep and pass and turn again." (Brahma).
> >
> > Anyway, the nature poetry of C and F are the most alike in that regard.
> > Where Pound comes in: he was among some other influential poets met in
> > England and was instrumental in getting Frost's first two books
> > well-reviewed in England, essentially "making" Frost the first and
perhaps
> > only best-selling American poet of the 20th century. As a young poet at
> > Harvard, Cummings' notebooks show a keen interest in being part of the
> > imagist movement.
> >
> > I guess what I'm asking for are any thoughts at all about Pound's
> influence
> > and/or dealings with either Frost or Cummings. And with regard to Mr.
> > Savage's comment about Frost's poor treatment of Pound -- if you could
> > elaborate further on that/those incident/s, it would give me more
> insight --
> > was Frost abandoning a poet who helped  him in order to "lay low" from
> > controversy? This will further my theory that Frost "invented" himself
as
> a
> > Yankee farmer poet and didn't want to rock any boat by being involved
> > (publicly) in the politics of the day. Cummings was much more "in your
> > face."
> >
> > Thanks!
> >
> > Kate
> >
> >
> >
> > ----- Original Message -----
> > From: "Tim Romano" <[log in to unmask]>
> > To: <[log in to unmask]>
> > Sent: Wednesday, March 13, 2002 6:15 AM
> > Subject: Re: Imagism and Joyce
> >
> >
> > > Kate,
> > > What do you think their work has in common? I see no similarity,
though
> I
> > > must admit that I don't know cummings's work inside and out.
> > > Tim Romano
> > >
> > > Kate Cone wrote:
> > >
> > > >I am writing my masters thesis on how E.E. Cummings and Robert
Frost's
> > > >poetry are related.
> > >
> >