Classic and Contemporary Poetry: Explained

"The Study in Aesthetics" by Ezra Pound is an intriguing exploration of the nature of beauty and the essence of aesthetics, captured through ordinary yet profoundly revealing moments. It deals with the complex relationship between external circumstances and inner perceptions, using a seemingly simple narrative to delve into the subject.

The poem starts by presenting "very small children in patched clothing," who are depicted as being "smitten with an unusual wisdom." When they see something beautiful, they stop playing to exclaim, "Guarda! Ahi, guarda! ch' e be' a!" This is an Italian expression of admiration, akin to saying, "Look! Ah, look! How beautiful!" The children's unfiltered, instinctual reaction symbolizes a form of innate wisdom, an untainted aesthetic judgment unblemished by the complexities of adult perception.

However, the poem takes an interesting turn with the introduction of "the young Dante," whose last name is unimportant. Pound suggests that names like Dante and Catulli are common in Sirmione, pointing to the ubiquity of beauty and genius; they could be anyone, even the local children. This young Dante is seen amid a frenzy of activity as his elders are packing sardines for the market. Despite the seemingly mundane setting, the boy is captivated by the "bright fish," finding beauty in the simplest of things. When prevented from touching the sardines, he nevertheless admires those already arranged, murmuring the same phrase that the small children had used: "Ch' e be' a."

The ending line, "And at this I was mildly abashed," casts a veil of introspection over the entire poem. The narrator is somewhat shamed or humbled by the boy's unsophisticated yet authentic perception of beauty. This suggests that perhaps, in our quest for an elaborate understanding of aesthetics, we have moved away from the purest form of beauty-the kind that doesn't need the validation of theory or the jargon of experts, the kind that is immediate and visceral.

In a world where the term 'aesthetics' often assumes a heavy load of intellectualism and elitism, Pound's poem brings us back to its essence: the simple, spontaneous recognition of beauty, devoid of any need to quantify or categorize. The juxtaposition of patched clothing, wooden fish boxes, and the poetic names of Dante and Catulli serve to ground the notion of aesthetics in everyday life. It reminds us that the sublime can be found in the mundane, that beauty does not discriminate, and that perhaps, we could learn a thing or two from the unclouded judgments of children and young Dantes running amok in fish markets.

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