Joyce's and Eliot's concern for time certainly needs no emphasis. Everyone has spoken of it. But Pound's concern is probably less widely realized. And this despite the fact that his critics have written significantly about its importance. It is perhaps best, then, to begin with two of the finest of these, with Daniel Pearlman, who has stated Pound's interest strongly ("The Cantos, as I read the poem, is precisely an elaboration of this thesis—that the central problems in all spheres of human involvement must be referred ultimately to a consideration of the nature of time."—The Barb of Time, 1969), and with George Dekker, who finds in Pound's changing attitude toward "the tyranny of place and time" the Cantos' "formal principle of development" (Sailing after Knowledge, 1963).
These two critics must be consulted in detail by everyone interested in Pound's work. I refer to them primarily to single out a major point they both stress: that Pound found significance implicit in the very heart of this world and not in some ideal world set over against this one. This fact seems so important to Pearlman that he suggests a word for the view: "holism." And Dekker, who speaks of Pound's near pagan attachment to this world in many places, uses at one point a very enlightening metaphor. Speaking of the famous "Envoi" to the first section of Hugh Selwyn Mauberley, he says that in it timeless beauty suddenly breaks through that otherwise time-saturated poem "like Botticelli's Venus emerging from the flux of the sea." (pp. 194-95)
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