116 T. S. Eliot, ‘Reflections on Contemporary Poetry, I’,Egoist 4 ( 1917 ), 118 – 19
(p. 118 ).
117 T. S. Eliot, ‘Observations’,Egoist 5 ( 1918 ), 69.
118 Harriet Monroe and Alice Corbin Henderson,The New Poetry: An Anthology
(New York: Macmillan, 1917 ), p. xxxix.
119 T. S. Eliot, ‘Reflections on Contemporary Poetry, III’,Egoist 4 ( 1917 ), 151.
120 T. S. Eliot, ‘Reflections on Contemporary Poetry, IV’,Egoist 6 ( 1919 ), 39 – 40
(p. 39 ).
121 T. S. Eliot, ‘Tradition and the Individual Talent’, in hisSelected Essays, pp.
17 , 16.
122 Ezra Pound, ‘Harold Monro’,Criterion 11 ( 1932 ), 581 – 92 (p. 590 ),EPP,V,p. 363.
123 Some Imagist Poets(Boston, MA: Houghton Mifflin, 1916 ), p. vi. The preface
was actually written by Richard Aldington.
124 Pound, ‘Harold Monro’, p. 363.
125 Reproduced in Schuchard,Eliot’s Dark Angel,p. 21.
126 Interview inWriters at Work: The Paris Review Interviews, selected by Kay
Dick (Harmondsworth: Penguin, 1972 ), p. 119.
127 T. S. Eliot, ‘The Possibility of a Poetic Drama’, inTheSacredWood
(London: Methuen, 1920 ), p. 63.
128 Re ́my de Gourmont,Selected Writings, ed. and trans. Glenn S. Burne (Ann
Arbor: University of Michigan Press, 1966 ), p. 96.
129 Ibid.,p. 99.
130 Walter Pater, ‘Style’, inAppreciations(London: Macmillan, 1910 ), p. 19.
Louis Menand discusses its relevance to Pound throughoutDiscovering
Modernism(New York: Oxford University Press, 1987 ).
131 Eliot, ‘Tradition and the Individual Talent’, p. 15.
132 T. S. Eliot,Knowledge and Experience in the Work of F. H. Bradley(London:
Faber & Faber, 1964 ), p. 146.
133 Friedrich Schlegel,Critical Fragments 60 ,inFriedrich Schlegel’sLucindeand
the Fragments, trans. Peter Firchow (Minneapolis: University of Minnesota
Press, 1971 ), p. 150 ;Athenaeum Fragments 116 , in ibid., p. 175.
134 Schlegel,Critical Fragments 42 , in ibid., p. 148.
135 Ideas 95 , in ibid., p. 250.
136 Eliot, ‘The Function of Criticism’, p. 23.
137 Schlegel, Critical Fragments 103 ,p. 154 ; Athenaeum Fragments 116 (my
italics), p. 175. Schlegel also anticipates Eliot when he maintains that
disparate poetic ideas come together by the sudden ‘chemical’ operation of
the poet’s wit, and that an impersonal detachment is necessary for poetry, for
‘inorderto write well about something, one shouldn’t be interested in it any
longer’ (Athenaeum Fragments 366 ,p. 221 ;Critical Fragments 37 ,p. 146 ).
138 Walter Benjamin, ‘The Concept of Criticism in German Romanticism’, in
hisSelected Writings, ed. Michael W. Jennings, 3 vols. (Cambridge, MA:
Belknap, 1996 – 2002 ): I, 1913 – 1926 , ed. Marcus Bullock and Michael
W. Jennings ( 1996 ), 116 – 200 (pp. 181 – 3 ); Philippe Lacoue-Labarthe and
Jean-Luc Nancy,The Literary Absolute, trans. Philip Barnard and Cheryl
Notes to pages 52 – 7 207