By Hugh Kenner
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Extra info for The Pound era
Example text
Devoid of information about those artists, the spectator could nowise take a time machine to their world. Nor would any evolutionary curve pass through them. Here was a lost visual mode thrust into the present, undimmed. No one could begin to imagine how it had felt to draw such things; one could only look at the confident lines. Picasso came from Barcelona to Altamira to look at them in 1902, at the threshold of a long career of being unabashed by the past. Their existence launched Leo Frobenius on a 40-year career as an anthropologist to whom African antiquity spoke today.
That is not Leonardo’s statement but Pater’s, who does not claim that Leonardo would have endorsed it: only that Leonardo made the mantram to which this fantasy answers. The connoisseur has his own thoughts. And this picture and not another convokes these especial fantasies: why? No one can say. When Yeats edited the Oxford Book of Modern Verse he printed Pater’s paragraph as his first selection, as though to concede that writing came to this, in a world defined by impenetrable objects, an elaborate verbal structure generated where alone no objects can intrude: within the mind.
So Mr. . . . And he took me to a meeting. . . And I wanted air. So we were on the portico when old G. R. S. ’” A bird-boned Hindu, in America on a Fulbright (“that is spelled with an l, not an r,” was the Poundian gloss) smiled throughout the recital; across the lawn drifted blank figures; Pound from the depths of his deck chair dosed the air with an aerosol insecticide. A black-robed Minerva smiled from an adjacent chair: Dorothy Shakespear Pound, so little a compatriot that on disembarking she had felt dissolve beneath her feet (she later said) the shores of Muzak, Howard Johnson, and Jefferson; and, yes, Henry James, whom she read intermittently with Voltaire.