Ezra Pound and Fenollosa. Perhaps inspired by Pound's public engagement with Japanese themes, Ernest Fenollosa's newly-widowed wife made arrangements in late 1913 to send the orientalist's unpublished scholarly papers to Pound.
Ernest Fenollosa. "Translation of Chinese classics including poetry," v. 1 of 2. A. MS. line-by-line translation of poems by Rihaku (Li Po) transliterated by his Japanese teachers Mori and Ariga. Tokyo, ca. 1900. Ezra Pound. Upon receiving Fenollosa's scholarly papers, Pound poeticized a number of Fenollosa's line-by-line translations of the works of Chinese poet Li Po (Rihaku in Japanese), publishing the result as the much-noted volume Cathay. James Legge, translator. Pound began to teach himself Chinese and by 1940 Chinese characters and ideas took a central place in the text of his Cantos.
Ezra Pound. Exhibition Introduction Beinecke Library Home Page All contents copyright (C) 1997 Beinecke Rare Book & Manuscript Library, Yale University All rights reserved. On "Sonnets from an Ungrafted Tree" On "Sonnets from an Ungrafted Tree" Michael Callon Millay's "Sonnets From an Ungrafted Tree" beckons the reader to consider marriage, gender, and identity within the context of a household that is crumbling under the weight of a failed marriage and the patriarch's death.
The woman returns to the house and husband as a kind of familiar stranger, and the fact that she returns "Loving him not at all," highlights a seemingly irreconcilable fissure between them. As much as the poem is about this wound in their relationship, it is also about the woman's confinement in "his house" and the possibility of her constructing a new identity after his death. In stanza "X," the narrator queries, " And if the man were not her spirit's mate, / Why was her body sluggish with desire? " The desire that surfaces at various nodes in the poem seems to belie sexual energy, it defies it and displaces it within the bleak walls of a house and husband that are returned to out of duty instead of love.
Sandra M. Edna St. Vincent Millay. Edna St.
Vincent Millay (February 22, 1892 – October 19, 1950) was an American lyrical poet and playwright.[1] She received the Pulitzer Prize for Poetry in 1923, the third woman to win the award for poetry,[2] and was also known for her feminist activism and her many love affairs. She used the pseudonym Nancy Boyd for her prose work. The poet Richard Wilbur asserted, "She wrote some of the best sonnets of the century. "[3] Early life[edit] The three sisters were independent and spoke their minds, which did not always sit well with the authority figures in their lives. Millay entered Vassar College in 1913 when she was 21 years old, later than usual. New York City[edit] Edna St. After her graduation from Vassar in 1917, Millay moved to New York City. Millay was openly bisexual. Career[edit] In January 1921, she went to Paris, where she met and befriended the sculptor Thelma Wood.[18] Main house at Steepletop, where Millay spent the last years of her life Death and Steepletop legacy[edit]
Sonnets from an ungrafted tree—By Edna St. Vincent Millay.