Classic and Contemporary Poetry: Explained

In "Salvationists," Ezra Pound again utilizes his poetry as a platform for societal critique and an exploration of artistic integrity. The poem comprises three short sections, each inviting "my songs" to engage in specific acts of rebellion against various aspects of society and culture that Pound finds objectionable. Although brief, this work is charged with a kind of intellectual elitism and vehemence that is emblematic of Pound's broader oeuvre.

The poem starts with a provocative invitation: "Come, my songs, let us speak of perfection- / We shall get ourselves rather disliked." The idea of pursuing "perfection" in art often carries a subtext of challenging established norms, and Pound is aware that this will not make him popular. The mission here is to disturb the status quo and question the prevailing values of the society, even at the cost of being "disliked."

The second section calls for the resurrection of the term "Rusticus," which can be translated to 'rural' or 'rustic' but is presented here as a pejorative. Pound proposes to "apply it in all its opprobrium / To those to whom it applies," suggesting a criticism of those who are unsophisticated or uncultured in his eyes. There's a tone of haughty dismissal when he writes that these 'rustic' individuals will not be made "immortal" through his poetry. Instead, they will be considered "In delicate / Opulent silence." The phrase "delicate / Opulent silence" almost mocks the idea of genteel discretion, signaling that Pound's silence is more of a blatant refusal to engage with what he considers to be unworthy subjects than a respectful reticence.

The third section carries forward this combative stance, urging the songs to "take arms against this sea of stupidities," a phrase that evokes Shakespeare's Hamlet ("against a sea of troubles"). Yet, while Hamlet is reflective, Pound is assertive. He itemizes the "stupidities," "vulgarities," and "imbeciles" he aims to battle, naming fictional examples like "Mumpodorus" and "Nimmim" along with a general swipe at "all the Bulmenian literati." These invented names serve as stand-ins for the types of people and institutions Pound opposes-those he believes are contributing to a decline in artistic and intellectual rigor.

While "Salvationists" may appear confrontational and even arrogant, it is crucial to view it in the context of Pound's overarching goal: to challenge, provoke, and ultimately elevate the state of art and culture. This is not a poem of mere complaint but a call to action. Pound is urging not just himself but also his "songs"-which can be read as his fellow artists or his artistic endeavors-to rise against complacency and mediocrity. By doing so, he aims to foster a culture that is more thoughtful, more critical, and, ideally, closer to the "perfection" he mentions at the outset.

In summary, "Salvationists" encapsulates Ezra Pound's contentious relationship with the society and culture of his time. Through the lens of this poem, he presents himself as an intellectual warrior, brandishing his art like a weapon against the decline of taste and thoughtfulness-a role he embraced throughout his tumultuous career.

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