Classic and Contemporary Poetry: Explained

In "Another Canto," John Cameron Andrieu Bingham Morton satirizes Ezra Pound, one of the most influential figures in modernist poetry. Morton takes a jibe at Pound's often esoteric style, particularly his frequent use of foreign phrases and words. The poem is short but manages to encapsulate a critique of what the author perceives as intellectual posturing on the part of Pound.

"Monsieur Ezra Pound croit que / By using foreign words," the speaker begins, immediately drawing attention to the elitism often associated with the use of foreign terms in English poetry. This practice can be seen as a tactic to separate the informed readers, who would understand or look up the foreign phrases, from those who would not. This is followed by the observation that Pound aims to "persuade the little freaks / Who call themselves intellectuals," thereby skewering not just Pound, but also the self-proclaimed intellectuals who idolize him. It's a critique of both the creator and the audience, suggesting a kind of symbiotic pretentiousness between the two.

The kicker comes in the lines "To believe that he is saying / Quelque chose très deep, ma foi!" By using French words to parody Pound's own style, Morton points out the irony in using foreign words to appear profound ("très deep"). "Ma foi," which translates to "my faith," adds an extra layer of irony, subtly suggesting that the admiration of Pound's work is almost like a religious following based on a blind faith in his perceived depth.

Morton's satire serves to question not just Ezra Pound but also broader trends in modernist literature and intellectual circles. It critiques the opaqueness and pretentiousness that can sometimes be mistaken for depth and sophistication. While Pound's use of multiple languages and historical references in his poetry often serve to enrich the tapestry of his work, giving it layers of meaning and resonance, it can also act as a barrier, creating a form of literary elitism. Morton's poem warns of the dangers of such elitism, urging both poets and readers to distinguish between what is genuinely profound and what is merely posing as such.

It should be noted that Morton's poem is more than just a criticism; it's also a reminder to poets and audiences alike to be wary of the veneer of complexity. True art, it suggests, doesn't need to obfuscate its meaning to be considered deep or intellectual. In this short but impactful piece, Morton provides a counterpoint to the modernist style, arguing for clarity and accessibility, thereby democratizing the very essence of what poetry could and should be

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