Analysis
The poem was first published in 1916 and is considered one of the leading poems of the Imagist tradition. Pound’s process of deletion from thirty lines to only fourteen words typifies Imagism’s focus on economy of language, precision of imagery and experimenting with non-traditional verse forms. The poem is Pound’s written equivalent for the moment of revelation and intense emotion he felt at the Metro at La Concorde, Paris.
The poem is essentially a set of images that have unexpected likeness and convey the rare emotion that Pound was experiencing at that time. Arguably the heart of the poem is not the first line, nor the second, but the mental process that links the two together. "In a poem of this sort," as Pound explained, "one is trying to record the precise instant when a thing outward and objective transforms itself, or darts into a thing inward and subjective."
By linking human faces, a synecdoche for people themselves, with petals on a damp bough, the poet calls attention to both the elegance and beauty of human life, as well as its transience. A dark, wet bough implies that it has just rained, and the petals stuck to the bough were shortly before attached to flowers from the tree. They may still be living, but they will not be for long. In this way, Pound calls attention to human mortality as a whole - we are all dying. This is the essence of the poem.
The word “apparition” is considered crucial as it implies both presence and absence - and thus transience as mentioned previously. It gives human life a spiritual, mystical significance, but one that we can never be sure of.
The plosive word ‘Petals’ conjures ideas of delicate, feminine beauty which contrasts with the bleakness of the ‘wet, black bough’. What the poem signifies is questionable; many critics argue that it deliberately transcends traditional form and therefore its meaning is solely found in its technique as opposed to in its content. Additionally, some have interpreted the poem to be a Memento Mori. However when Pound had the inspiration to write this poem few of these considerations came into view. He simply wished to translate his perception of beauty in the midst of ugliness into a single, perfect image in written form.
It is also worth noting that the number of words in the poem (fourteen) is the same as the number of lines in a sonnet. The words are distributed with eight in the first line and six in the second, mirroring the octet-sestet form of the Italian (or Petrarchan) sonnet.
Read more about this topic: In A Station Of The Metro
Famous quotes containing the word analysis:
“Ask anyone committed to Marxist analysis how many angels on the head of a pin, and you will be asked in return to never mind the angels, tell me who controls the production of pins.”
—Joan Didion (b. 1934)
“Analysis as an instrument of enlightenment and civilization is good, in so far as it shatters absurd convictions, acts as a solvent upon natural prejudices, and undermines authority; good, in other words, in that it sets free, refines, humanizes, makes slaves ripe for freedom. But it is bad, very bad, in so far as it stands in the way of action, cannot shape the vital forces, maims life at its roots. Analysis can be a very unappetizing affair, as much so as death.”
—Thomas Mann (1875–1955)