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Petals on a wet, black bough. Although he doesn't say so, the words "looks like" are implicit at the start of this line. The faces in the crowd "look like" flower petals on a "wet, black bough." A "bough" is a big tree branch, and the word, in case you're wondering, is pronounced "bow," as in "take a bow.".
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Be the first to ask a question about In a Station of the Metro. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Average rating 4. Rating details. More filters. Sort order. Feb 21, Jad Wannous rated it liked it. The apparition of these faces in the crowd; Petals on a wet, black bough. Martina rated it it was amazing Oct 10, Jade rated it it was amazing Oct 02, Reham Bas added it Oct 04, Sprite marked it as to-read Feb 25, John W marked it as to-read Aug 23, John Shannon marked it as to-read Sep 11, There are no discussion topics on this book yet.

Similarly, no two petals will ever look exactly the same, as rains come and go, winters freeze, and new buds bloom. What poem structure is the river-merchants wife in. In a Station of the Metro by Ezra Pound.

Ezra Pound: Poems Summary and Analysis of "In a Station of the Metro" (1913)

Although the poem is not your standard flowery, romantic, descriptive or lengthy work Ezra Pound: Poems study guide contains a biography of Ezra Pound, literature essays, quiz questions, major themes, characters, and a full summary and analysis. Ezra Pound: Poems essays are academic essays for citation.

These papers were written primarily by students and provide critical analysis of Ezra Pound's poetry. Remember me. Forgot your password? Buy Study Guide. What's the relationship between hate and beauty in the poem? What's the relationship between hate and love in the poem? Is there any room for love in the poem's version of the Trojan War? The Greeks have totally misplaced their hate onto Helen; they should really be pissed at Paris for whisking her away.

Helen deserves all of the hate; there's a reason Marlowe wrote that she was "the face that launched a thousand ships. There are so many unanswered questions about Helen—did she go with Paris willingly or not? Did she actually love him? Or was she raped and taken to Troy against her will? There are no answers to these questions, but we have to face facts: no matter what her relationship with Paris was, Helen was the victim of a patriarchal male-dominated society that blamed her for the wars started by men. It ain't easy being a woman in mythological Greece.

Or so H.


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Questions About Women and Femininity 1. Does the poem explicitly deal with Helen's gender? If so, where? And what's the poem's take?


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How does the poem define Helen's femininity? How does it go about linking Helen's femininity to her beauty? Think outside of the poem for a moment: is beauty the purview of women only? Or do men have to deal with the pressures of appearances as well? Does a man's appearance ever get blamed for something big and bad, like war? Greece was misogynistic society and that's why all Grecians hate Helen.

The only way that the patriarchal Greeks can deal with Helen's beauty is to imagine her dead, because a dead woman is no longer a threat. Imagiste," and sent it to Harriet Monroe at Poetry magazine. The movement sprang from ideas developed by T. Imagist poetry aimed to replace muddy abstractions with exactness of observed detail, apt metaphors, and economy of language.

The metaphor provokes a sharp, intuitive discovery in order to get at the essence of life. Other imagists included F. Flint, D. Lawrence, and John Gould Fletcher. Three years later, even Lowell thought the movement had run its course. Pound by then was claiming that he invented imagism to launch H.

Though imagism as a movement was over by , the ideas about poetry embedded in the imagist doctrine profoundly influenced free verse poets throughout the twentieth century. The poetry and prose of H. The poet- seer's writings offer instruments to see beyond usual powers--detail after detail shifts into new focus, words refract as lenses of a microscope, telescope, or cinema projector--three magical lenses actually involved in shaping her unique blend of concrete with psychic vision. Hilda Doolittle was born at the full of the Victorian-style quest for scientific knowledge by diligent personal observation, collection, notation and classification.

Her grandfather was an authoirty on freshwater algae, her father a noted astronomer. To the child, these were awesome men who discovered living bodies in pondwater's green scum or kept long night watch to glean secrets of the heavens. From birth, she was influenced by these devotions to exactitude at reading the universe, interpreting meaning that would be evoked by avid study of detail and its accurate rendition into drawing and written symbol. She absorbed the discipline of their concentrated search, and its mystery, for the myriad specific tiny plants and orbiting sky- presences were invisible to the naked eye.

The methods of these close paternal scientsts may be seen to correspond with two rules of the Imagist crredo: "direct treatment of the 'thing'" and "no word that does not contribute to the presentation. The fortunate memoir by H. In their two adjacent houses, six Wolle children and four young Doolittles shared household intimacies, backyard play, family events, elementary education at Moravian Parochial School, and Grandfather--the microscopist H.

Francis Wolle. It was not until the age of sixty-four that this patriarch turned to his poineer studies in micro-botany. By the time of his death twelve years later, he had become the recognized international authority on freshwater algae, desmids and diatoms, identifying thousands of species of minute living components of the green scum that gathers on lakes and ponds.

These are the cryptograms. We saw that an empty drop of water spread out branches, bright green or vermillion, in shape like a branch of a Christmas tree or in shape like a squashed peony or in shape like a lot of little green-glass beads, strung on a thick stem. The scientist's drawings [see photos pp. His introduction to Diatomaceae of the United States brings to life the landscape and terrain of his searches in flowing montage: The marine forms abound in the sea depths, in marshes which are flooded at high tide, in shallow inlets and the muddy bottoms underlying the sandy surface of the seashore.

The fresh water forms are plentiful on the mossy stones of mountain streamlets, pools bordering rivulets, dripping rocks. Because technology for color printing did not yet exist, the author set up a team system of hand-coloring the plates that came off letterpress in black and white. The method is engagingly described by H.

After the large unfolded sheets with their thousands of drawings by the author printed in black and white came off the press, the tall, white-bearded Rev. Wolle mixed water color tints and painted each figure the hue of the original specimen. Six indigent female relatives were hired and trained to work with paints and brush to produce perfect copies of his key sheets, which the scientist then scrutinized for the least variations.

Of special interest to readers of H. The expensive sheets, covered with thousands of cryptic drawings, catalogued and named in variations of category, as "Melosira crotonensis Violets in clump from hills, tufts with earth at the roots, violets tugged from rocks, blue violets, moss, cliff, river-violets, yellow violets' gold, burnt with a rare tint-- violets like red ash among tufts of grass. We bring deep-purple bird-foot violets.

We bring the hyacinth-violet, sweet, bare, chill to the touch-- and violets whiter than the in-rush of your own white surf In "Pursuit," she applies the detecting eye of a scientist observing structure for clues: the green stems show yellow-green where you lifted-turned the earth-side to the light; this and a dead leaf-spine, split across, show where you passed.

In a Station of the Metro | Modern American Poetry

The poems "Sea Violet" and "Sea Rose" demand that we look closely at small things to discover beauty and endurance. Wolle describes how microscopic diatoms may attach stalks to "stones, wood or other adjacent objects to prevent In the above stanza, H. To Hilda, the astronomical markings were mysterious, cryptic signs, coded keys to heavenly constellations. The "signs" her father wrote upon paper were not to be touched and his concentration was not to be disturbed.

As the father spends evenings working under a concentrated "cone of light," the mother sits effaced in the dark, hands busy with knitting, an occupation she could manage while sitting in shadow. If I let go I, this one drop, this one ego under the microscope-telescope of Sigmund Freud I fear to be dissolved utterly. What is more, she lifts Helen--her self-identity, and her mother's first name--out of the shadows, into the brightly lit concentration of the lens, and magnifies her. The early poem "Helen" is charged with the dynamics of a cinematic held shot; the epic late poem Helen in Egypt includes dream and memory in the struggle for transformation, and takes us into rhythms of a motion picture that may be replayed.

Images break apart from the matrix, thoughts are juxtaposed in counterpoint with outer stimuli. The brain, desperately trying to link up the welter of impressions, gives way to a period of illness, an incubation that helps her emerge to a fuller sense of herself. In the first section, Hermione's mind is pictured as "a patchwork of indefinable assocation" p. We follow her eyes and her thoughts.

More by Ezra Pound

The tulip tree made thick pad, separate leaves were outstanding, separate leaf-discs, in shadow. Her Gart [H. She lost the bird, tried to focus one leaf to hold her on to all leaves; she tried to concentrate on one frayed disc of green, pool or mirror that would refract image.