Most admirers of Pound truckle to his terms; [in "Ezra Pound: Poet as Sculptor] Professor Davie succeeds most usefully in describing and elucidating those terms, but he maintains our right to judge the terms themselves, to define the limits of what inherently could be accomplished given Pound's mode. The artistic case against Pound is a real one, both internally in his frequent failure to carry out his own poetic principles, and externally in the limitations of the principles themselves.
Mr Davie's praise of Pound is far more convincing than anyone else's, for two reasons. First, that he actually discusses how Pound uses words and rhythms—instead of paying the usual perfunctory tribute to Pound's 'technical mastery' and then scampering on. Whether Pound is a master of words or not, his is certainly not the kind of mastery which stamps itself at once and self-evidently on our minds and hearts, and the question 'What is Pound at?' is as needed for the style as for the larger concerns. The second source of Mr Davie's authority is his reluctance to exculpate Pound, technically or morally. The callous bigotry of Pound's politics is not evaded, and its appalling poetic consequences are conceded….
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