Classic and Contemporary Poetry: Explained

"L'Art, 1910" by Ezra Pound is a short yet striking poem that delves into the relationship between art and perception, between the image and the reality it represents. In just two lines, the poem encapsulates a tension inherent in the act of artistic creation and consumption. On one hand, there is the aesthetic pleasure derived from art, encapsulated in the sensuous image of "Crushed strawberries!" On the other, there is the toxic quality of the medium that brings forth this beauty, symbolized by "Green arsenic smeared on an egg-white cloth."

The poem opens with a curious juxtaposition: "Green arsenic smeared on an egg-white cloth." Arsenic, a toxic substance, contrasts sharply with the innocent image of an "egg-white cloth," which could symbolize purity or a blank canvas. This line can be read as a metaphor for the dangers that often accompany the act of creation. Arsenic could represent the potentially hazardous materials used in art-making or more metaphorically, the darker aspects of human experience that art often explores.

Then, without pause, the poem beckons: "Crushed strawberries! Come, let us feast our eyes." This is an invitation to experience art, to savor its visual richness as one would savor a sumptuous meal. The image of "Crushed strawberries" evokes vividness, ripeness, and sensuality. Yet the reader cannot forget the mention of arsenic that came before it. The poem therefore becomes a testament to the dual nature of art: its ability to capture and convey beauty while also containing elements that may be unsettling, challenging, or even harmful.

Pound's use of exclamation marks in the second line serves to emphasize the sensory delight offered by art. However, the exclamations also introduce a sense of urgency or a warning, heightening the paradox between the allure of art and its inherent complexities.

Though set in the context of 1910, the title "L'Art" (French for "The Art") gives the poem a timeless quality. It is as though Pound is commenting on the enduring, universal condition of art itself. Given that the poem was written in the early 20th century, a time of tremendous experimentation and upheaval in the world of art, the poem can also be read as a snapshot of the anxieties and excitements of that era.

In its brevity, "L'Art, 1910" raises more questions than it answers, acting as a small but provocative lens through which to view the complexities of art and its relationship with the human experience. It challenges the reader to confront the dualities inherent in art-the beautiful and the unsettling, the inviting and the toxic-and to consider how these dualities coexist not just on the canvas, but in life itself.

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