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Hugh Selwyn Mauberley by Ezra Pound

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Hugh Selwyn Mauberley marks Ezra Pound's farewell to his early career and offers a sharp critique of modern Western culture.

Poet
Ezra Pound
Era
Modernist (1920)
Themes
art, beauty, identity
The PoemFull text

Hugh Selwyn Mauberley

Ezra Pound, 1920

FOR three years, out of key with his time, He strove to resuscitate the dead art Of poetry; to maintain "the sublime" In the old sense. Wrong from the start-- No hardly, but, seeing he had been born In a half savage country, out of date; Bent resolutely on wringing lilies from the acorn; Capaneus; trout for factitious bait; _{~GREEK SMALL LETTER IOTA WITH PSILI AND OXIA~}{~GREEK SMALL LETTER DELTA~}{~GREEK SMALL LETTER MU~}{~GREEK SMALL LETTER EPSILON~}{~GREEK SMALL LETTER NU~} {~GREEK SMALL LETTER GAMMA~}{~GREEK SMALL LETTER ALPHA WITH TONOS~}{~GREEK SMALL LETTER RHO~} {~GREEK SMALL LETTER TAU~}{~GREEK SMALL LETTER OMICRON~}{~GREEK SMALL LETTER IOTA~} {~GREEK SMALL LETTER PI~}{~GREEK SMALL LETTER ALPHA WITH TONOS~}{~GREEK SMALL LETTER NU~} {~GREEK SMALL LETTER PI~}{~GREEK SMALL LETTER ALPHA WITH TONOS~}{~GREEK SMALL LETTER NU~}{~GREEK SMALL LETTER THETA~}', {~GREEK SMALL LETTER OMICRON WITH TONOS~}{~GREEK SMALL LETTER SIGMA~}' {~GREEK SMALL LETTER EPSILON WITH TONOS~}{~GREEK SMALL LETTER NU~}{~GREEK SMALL LETTER IOTA~} {~GREEK CAPITAL LETTER TAU~}{~GREEK SMALL LETTER RHO~}{~GREEK SMALL LETTER OMICRON~}{~GREEK SMALL LETTER IOTA WITH TONOS~}{~GREEK SMALL LETTER ETA~}_ Caught in the unstopped ear; Giving the rocks small lee-way The chopped seas held him, therefore, that year. His true Penelope was Flaubert, He fished by obstinate isles; Observed the elegance of Circe's hair Rather than the mottoes on sun-dials. Unaffected by "the march of events," He passed from men's memory in _l'an trentiesme De son eage_; the case presents No adjunct to the Muses' diadem. II. THE age demanded an image Of its accelerated grimace, Something for the modern stage, Not, at any rate, an Attic grace; Not, not certainly, the obscure reveries Of the inward gaze; Better mendacities Than the classics in paraphrase! The "age demanded" chiefly a mould in plaster, Made with no loss of time, A prose kinema, not, not assuredly, alabaster Or the "sculpture" of rhyme. III. THE tea-rose tea-gown, etc. Supplants the mousseline of Cos, The pianola "replaces" Sappho's barbitos. Christ follows Dionysus, Phallic and ambrosial Made way for macerations; Caliban casts out Ariel. All things are a flowing, Sage Heracleitus says; But a tawdry cheapness Shall reign throughout our days. Even the Christian beauty Defects--after Samothrace; We see _{~GREEK SMALL LETTER TAU~}{~GREEK SMALL LETTER OMICRON~} {~GREEK SMALL LETTER KAPPA~}{~GREEK SMALL LETTER ALPHA~}{~GREEK SMALL LETTER LAMDA~}{~GREEK SMALL LETTER OMICRON WITH TONOS~}{~GREEK SMALL LETTER NU~}_ Decreed in the market place. Faun's flesh is not to us, Nor the saint's vision. We have the press for wafer; Franchise for circumcision. All men, in law, are equals. Free of Peisistratus, We choose a knave or an eunuch To rule over us. O bright Apollo, _{~GREEK SMALL LETTER TAU~}{~GREEK SMALL LETTER IOTA WITH TONOS~}{~GREEK SMALL LETTER NU~}' {~GREEK SMALL LETTER ALPHA WITH TONOS~}{~GREEK SMALL LETTER NU~}{~GREEK SMALL LETTER DELTA~}{~GREEK SMALL LETTER RHO~}{~GREEK SMALL LETTER ALPHA~}, {~GREEK SMALL LETTER TAU~}{~GREEK SMALL LETTER IOTA WITH TONOS~}{~GREEK SMALL LETTER NU~}' {~GREEK SMALL LETTER ETA WITH TONOS~}{~GREEK SMALL LETTER RHO~}{~GREEK SMALL LETTER OMEGA~}{~GREEK SMALL LETTER ALPHA~}, {~GREEK SMALL LETTER TAU~}{~GREEK SMALL LETTER IOTA WITH TONOS~}{~GREEK SMALL LETTER NU~}{~GREEK SMALL LETTER ALPHA~} {~GREEK SMALL LETTER THETA~}{~GREEK SMALL LETTER EPSILON~}{~GREEK SMALL LETTER OMICRON~}{~GREEK SMALL LETTER NU~}_, What god, man, or hero Shall I place a tin wreath upon! IV. THESE fought, in any case, and some believing, pro domo, in any case . . Some quick to arm, some for adventure, some from fear of weakness, some from fear of censure, some for love of slaughter, in imagination, learning later . . . some in fear, learning love of slaughter; Died some "pro patria, non dulce non et decor". . walked eye-deep in hell believing in old men's lies, then unbelieving came home, home to a lie, home to many deceits, home to old lies and new infamy; usury age-old and age-thick and liars in public places. Daring as never before, wastage as never before. Young blood and high blood, Fair cheeks, and fine bodies; fortitude as never before frankness as never before, disillusions as never told in the old days, hysterias, trench confessions, laughter out of dead bellies. V. THERE died a myriad, And of the best, among them, For an old bitch gone in the teeth, For a botched civilization, Charm, smiling at the good mouth, Quick eyes gone under earth's lid, For two gross of broken statues, For a few thousand battered books.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

Hugh Selwyn Mauberley marks Ezra Pound's farewell to his early career and offers a sharp critique of modern Western culture. A poet who feels out of sync with his time struggles to preserve high art, while society opts for cheap mass production and senseless warfare over beauty and heroism. The poem concludes with one of the most poignant anti-war statements in English literature: a generation of young men perished not for glory, but for a shattered civilization and a heap of broken statues.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. FOR three years, out of key with his time, / He strove to resuscitate the dead art

    Editor's note

    Pound presents 'Mauberley' as a subtle self-portrait—a poet who, like Pound during his own time in London, spent about three years attempting to bring serious, classical poetry back into fashion at a time when it was largely ignored. The phrase 'out of key' establishes the poem's main conflict: the artist just isn't in tune with his era.

  2. No hardly, but, seeing he had been born / In a half savage country, out of date;

    Editor's note

    Pound stops short of labeling Mauberley as simply 'wrong.' The underlying issue is context: born in America, which he calls 'a half savage country,' and educated in European classical ideals, he was fated to be an anachronism. The mention of Capaneus — a Greek hero who challenged the gods — casts Mauberley's stubbornness as both admirable and self-sabotaging. The Greek quote comes from Homer's *Odyssey* and refers to the Sirens' song that Odysseus hears, connecting Mauberley to a man tied to his mast, unable to take action.

  3. His true Penelope was Flaubert, / He fished by obstinate isles;

    Editor's note

    Where Odysseus remained loyal to Penelope, Mauberley's genuine loyalty lay with Flaubert — the French novelist known for his relentless quest for *le mot juste*, the perfect word. The Odyssey connection carries on: Mauberley drifts, captivated by beauty (Circe's hair) instead of focusing on practical objectives (the mottos on sun-dials, which represent time and mortality).

  4. Unaffected by 'the march of events,' / He passed from men's memory in _l'an trentiesme_

    Editor's note

    The French phrase, taken from François Villon, translates to 'in the thirtieth year of his age' — the age when Pound left London. Mauberley quietly slips from memory, contributing nothing to the 'Muses' diadem.' This is a stark, detached judgment on a life dedicated to art in a time that had little use for it.

  5. THE age demanded an image / Of its accelerated grimace,

    Editor's note

    Section II moves away from Mauberley's biography to offer a wider cultural critique. The modern era craves speed and superficiality — a 'grimace' instead of a face, a plaster mold instead of carved marble. Pound's disdain for mass culture is evident: the 'prose kinema' (cinema) and the pianola (mechanical piano) reflect a society that favors cheap imitations over authentic craftsmanship.

  6. THE tea-rose tea-gown, etc. / Supplants the mousseline of Cos,

    Editor's note

    Section III is a catalogue of cultural replacements, each one a downgrade. The delicate fabric of ancient Cos is replaced by a tea-gown. The barbitos (a Greek lyre linked to Sappho) gives way to a mechanical pianola. Dionysus — wild, vital, divine — is supplanted by Christian asceticism, and even that beauty eventually fades. Heraclitus said everything flows and changes, but Pound's bitter twist is that the change always leads to 'tawdry cheapness.'

  7. Even the Christian beauty / Defects--after Samothrace;

    Editor's note

    The Winged Victory of Samothrace represents the pinnacle of beauty in this context. Beyond it, even the beauty associated with religion fades. The Greek phrase *to kalon* (the beautiful) has now become 'decreed in the market place' — beauty is treated as a commodity defined by commerce, rather than by deities or artists. The stanza about Apollo concludes with a harsh irony: what hero deserves a 'tin wreath'? None. This era lacks heroes worthy of even the most inexpensive accolades.

  8. THESE fought, in any case, / and some believing, pro domo, in any case . .

    Editor's note

    Section IV is Pound's portrayal of the men who fought in World War I. The syntax intentionally breaks apart—using short phrases, ellipses, and repetition—to convey the confusion of motives and the chaos of the trenches. Men fought for various reasons: adventure, fear, peer pressure, and bloodlust. The Latin *pro domo* translates to 'for home,' but the irony is brutal: they returned home to lies, debt, and a corrupt public life. The phrase 'laughter out of dead bellies' stands out as one of the most grotesque images in modern poetry.

  9. THERE died a myriad, / And of the best, among them,

    Editor's note

    The final section delivers an emotional gut-punch. The best of a generation perished — and for what? 'An old bitch gone in the teeth' represents civilization itself, exhausted and devoid of value. 'Two gross of broken statues' and 'a few thousand battered books' are all that's left of the culture those men claimed to die for. The bathos underscores the message: the sacrifice was real, but the cause was empty.

§04Tone & mood

How this poem feels

The tone shifts through various registers across the five sections of the poem. It begins with a dry, ironic detachment—almost resembling a literary obituary penned by someone who struggles to conceal their sympathy for the subject. In sections II and III, it turns sardonic and contemptuous, as Pound lists cultural decline like a doctor detailing symptoms. By sections IV and V, the irony dissipates completely, leaving behind a raw fury and grief. The final lines lack any rhetorical embellishment—just a stark, devastating statement.

§05Symbols & metaphors

Symbols & metaphors

Penelope / Flaubert
In Homer, Penelope represents the steadfast goal that Odysseus strives for. By referring to Flaubert Mauberley's as the 'true Penelope,' Pound suggests that the poet's greatest loyalty lies with literary craft and precision rather than with achieving worldly success or gaining popular approval. This statement serves as both a compliment and a critique.
The pianola
The mechanical piano that plays itself symbolizes how mass production is taking over personal artistry. It stands in stark contrast to Sappho's barbitos — a hand-played instrument linked to the greatest lyric poet of ancient times. The pianola functions without a musician; the modern age seems to function without an artist.
Tin wreath
The final image of Section III — a tin wreath set upon a hero — encapsulates the poem's cultural argument in one object. Tin is inexpensive, artificial, and prone to corrosion. The wreath, an age-old symbol of honor and victory, suggests that this era can only create imitation glory.
Broken statues and battered books
The last two lines of the poem shrink the whole Western cultural legacy to a tiny, flawed collection. These items represent what the war was supposedly meant to safeguard. Their diminutive size and damage render the sacrifice of 'a myriad' lives not noble but rather ridiculous.
Circe's hair
Circe is the enchantress who lures Odysseus's men and transforms them into pigs. When Mauberley observes her hair 'rather than the mottoes on sun-dials,' it suggests he is captivated by sheer aesthetic beauty, overlooking the practical, time-sensitive reality. This is both what defines him as an artist and the reason he struggles to thrive in the modern era.
Plaster mould / alabaster
Plaster is fast, affordable, and easily replaced — the go-to choice for mass production. Alabaster, on the other hand, is slow, valuable, and shaped by hand — the medium of enduring art. The current era favors plaster, while Pound prefers alabaster. This contrast permeates the entire poem, symbolizing the divide between commercial culture and true artistic endeavor.

§06Historical context

Historical context

Pound released *Hugh Selwyn Mauberley* in 1920, shortly after World War I had devastated a generation of European artists and thinkers, including his close friend Henri Gaudier-Brzeska, who was killed in the trenches. For about ten years, Pound had been in London trying to transform English-language poetry, promoting Imagism and editing works by Yeats, Eliot, and Joyce. By 1920, he felt defeated by London and was getting ready to head to Paris. The poem serves as a self-elegy, a goodbye to England, and a passionate critique of a society that exchanged its cultural legacy for cheap modernity while sending its youth to die in industrial warfare. The character of Mauberley represents Pound himself, though Pound always maintained that they were separate — with Mauberley being the poet who surrendered, while Pound was the one moving forward.

§07FAQ

Questions readers ask

No, Mauberley is a fictional character created by Pound, but he closely resembles Pound himself. The biographical details — an American poet spending about three years attempting to revive serious poetry in London, leaving around the age of thirty — align perfectly with Pound's own experiences. By using this fictional persona, Pound established some critical distance, enabling him to reflect on and critique his earlier self.

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