Classic and Contemporary Poetry: Explained

In the poem "Pagani's, November 8," Ezra Pound captures a moment of revelation in just two lines, marking it with a date to suggest both the specificity and universality of the event. The poem immediately brings two characters into focus: a "Normande cocotte," a woman from Normandy presumably involved in some sort of romantic or sexual commerce, and a "very learned British Museum assistant." The poem's intrigue arises from the discovery that their eyes are essentially the same.

Pound is highlighting the idea that despite vastly different social standings, occupations, and presumably, educational levels, these two people share something profoundly human. The eyes are often termed the 'windows to the soul,' and here they reveal an underlying humanity that defies societal labels. This poem illustrates a timeless theme, the idea that beneath the roles and costumes of daily life, people are driven by the same essential needs, dreams, and fears.

The setting is also crucial. Pagani's, likely a café or meeting place, becomes the stage for this subtle but profound realization. It's a public space where different social strata can intersect, even if just for a moment. It's also indicative of the time Pound spent in European cities, absorbing not just high culture but the everyday life of the streets and cafes.

The woman is described as "very beautiful," an external attribute, while the museum assistant is "very learned," a quality rooted in intellect. The poem implies a kind of equivalence between beauty and intellect, or at least questions the value or distinction we place on them. This momentary epiphany reveals the limitations of these social markers. It suggests that such markers are superficial, incapable of capturing the complexity and depth of a human being.

Pound's use of the term "cocotte," which could imply a woman of flexible morals or an escort, against a "British Museum assistant," a role suggesting intellect and perhaps a degree of social standing, creates an interesting juxtaposition. It challenges the reader to think about what these roles and titles actually mean. Do they define us? Do they divide us? Or do they, ultimately, mean very little when we look into the eyes of another human being?

This very brief poem opens up an array of inquiries into the nature of human connection, social inequality, and the silent, potent recognitions that can occur in the most ordinary of circumstances. Pound compresses complex ideas about social class, beauty, intellect, and essential humanity into a fleeting café scene, inviting us to ponder these ideas long after the poem is read. It's a brief but resonant piece that grapples with themes that are as relevant today as they were when Pound penned them.

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