Classic and Contemporary Poetry: Explained

Ezra Pound's "War Verse (1914)" delivers a searing indictment of what he perceives as the inadequacies and insincerities of "two-penny poets," those who seek to capitalize on the tragedy of war for artistic or personal gain. The poem serves as a comment on the moral responsibilities of artists during times of conflict and crisis, questioning the ethics of writing about war when not directly involved in it. Given that Pound himself was a poet who often wrote about war and societal issues, the poem also invites questions about the poet's own position within the structure he criticizes, making it a complex and multi-layered work.

The opening lines, "O two-penny poets, be still!," come as an imperative, a command to silence. Pound implies that there is a kind of sacrilege in speaking too lightly or too commercially about the agonies and complexities of war. The phrase "two-penny poets" is itself a diminutive, emphasizing the idea that the works produced by these poets are cheap, not only in economic value but also in moral and aesthetic worth.

The poem argues that these poets have "nine years out of every ten / To go gunning for glory," suggesting that there are ample opportunities to seek artistic or personal acclaim without exploiting a tragedy. The use of the word "gunning" introduces the imagery of war, but Pound quickly undercuts it with the term "pop-guns," drawing a distinction between the real-life risks taken by soldiers and the far less consequential pursuits of the poets.

Pound cautions against trying to "scrape your two-penny glory / From the ruins of Louvain," referencing the destruction of Louvain during World War I, which was a major cultural and humanitarian loss. He extends this caution to "the smouldering Liege, / From Leman and Brialmont." All these places were theatres of suffering and devastation during the war, and Pound finds it reprehensible that anyone would seek to turn such suffering into fodder for self-aggrandizement or poetic expression that is disengaged from the real cost of these events.

By saying "give the soldiers their turn," Pound seems to advocate for a kind of poetic or artistic abstention, allowing those who are actually risking their lives to have the undiluted attention and respect they deserve. This raises questions about the role of the artist in society, especially during times of upheaval and suffering. Should the artist be a passive observer, a chronicler, or an active participant? And what constitutes ethical engagement with tragedy?

In "War Verse (1914)," Pound confronts these questions head-on, providing no easy answers but offering a stern warning against the pitfalls of insincerity and opportunism. He challenges both himself and others to consider the ethics of artistic production in the face of human suffering, a topic that remains as vital today as it was during the years of World War I. The poem, in its brevity and sharpness, encapsulates the tension between the need to bear witness and the danger of exploitation, making it a resonant and thought-provoking work.