{"id":116293,"date":"2017-10-02T13:00:55","date_gmt":"2017-10-02T17:00:55","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=116293"},"modified":"2017-10-02T13:37:33","modified_gmt":"2017-10-02T17:37:33","slug":"lost-and-pound","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/02\/lost-and-pound\/","title":{"rendered":"Lost and Pound"},"content":{"rendered":"

<\/a><\/p>\n

 <\/p>\n

A few weeks ago, I wrote here<\/a>\u00a0about a poem I found written on the back of an envelope among Ezra Pound\u2019s papers in Italy. It is a small poem\u00a0and it runs in full:<\/p>\n

Hast thou 2 loaves of bread
\nSell one + with the dole
\nBuy straightaway some hyacinths
\nTo feed thy soul.<\/p><\/blockquote>\n

It\u00a0does not look much like a Pound poem. It is perhaps too tender, too straightforward. Yet, I suggested, it is filled with Pound\u2019s perpetual concerns: with economics, in a minor key; with the possibility of the spiritual in the world of capitalist trade; and with the eternal problems of exchange.<\/p>\n

However, some sharp-eyed and well-versed readers soon wrote in to say that this sounded awfully like another poem, or other poems. (One subject line: \u201cThe Paris Review<\/em> has been hoodwinked!\u201d) This was, they reported, hardly a Pound poem at all, and in this they were right. Some expert sleuthing by\u00a0Paris Review<\/em> editors turned up the likely culprits. The following appeared in The Century<\/i> magazine in August 1907, by James Terry White, under the title \u201cNot By Bread Alone\u201d:<\/p>\n

\n

If thou of fortune be bereft,
\nAnd in thy store there be but left
\nTwo loaves\u2014sell one, and with the dole
\nBuy hyacinths to feed thy soul.<\/p>\n<\/blockquote>\n

Here, beneath the title, is the attribution \u201cAfter Hippocrates,\u201d as if this were a reworking of a cure dreamed up by the classical Greek physician. At Christmas of that year, these same lines appeared in a privately printed collection of White\u2019s poems called In Saadi\u2019s Rose-Garden<\/i>. In this second printing, the lines lack the attribution to Hippocrates, but their presence in a collection inspired by the thirteenth-century Persian poet Saadi suggested that this is a reworking of an ancient poem.<\/p>\n

The story does not end here, for White returned again to the poem. In his 1917 collection,\u00a0A Garden of Remembrance<\/i>, a lightly reworked version of these lines appears:<\/p>\n

If thou of fortune be bereft,
\nAnd thou dost find but two loaves left
\nTo thee\u2014sell one, and with the dole
\nBuy hyacinths to feed thy soul.<\/p><\/blockquote>\n

There are now also extra verses, which continue in the same manner (\u201cOnly the heart, with love afire,\u202f\/\u202fCan satisfy the soul\u2019s desire\u201d). But it was specifically the first stanza that\u00a0proved popular, and in its revised form. When White died in 1920, one obituary noted that he was \u201cwell known as a publisher and at one time president of the Yost Typewriter Co. He was the author of the familiar quatrain, so often used in florists\u2019 publicity.\u201d From here, it resurfaces in treasuries and anthologies, of Christian worship and inspirational verse, through the twenties\u00a0and thirties\u00a0and after.<\/p>\n

White always implies he was rewriting an older poem, by Hippocrates, or Saadi. Although it is in the style of something that might have been written by an ancient mystic, there is apparently not\u2014or at least I have not been able to find\u2014a definitive source. In the late nineteenth century, translations of Eastern poems\u2014such as the Rubaiyat<\/em> of Omar Khayam, translated by Edward FitzGerald\u2014were hugely popular in America, so perhaps White wished for his works to share in this fashion.<\/p>\n

The poem has had an afterlife as a vaguely remembered refrain. During his mayoral campaign speech in\u00a0Los Angeles in 1911, the socialist Jeb Harriman said, \u201cIf you have two loaves of bread sell one and buy a hyacinth to feed thy soul.\u201d Others repeated this quotation while attributing it vaguely to the Koran. The poem shifts in each new attribution. On the Internet, inevitably, its origins are variously given: as a saying of Mohammed or a nameless Persian poet. It is sometimes attributed to Elbert Hubbard, the philosopher and exponent of the late nineteenth-century Arts and Crafts movement, and sometimes in his version those hyacinths are specified as \u201cwhite hyacinths\u201d; and sometimes to the Quaker and abolitionist John Greenleaf Whittier.<\/p>\n

So we have Ezra Pound, chief modernist, jotting down\u00a0a hackneyed old all-purpose inspirational verse. The two White versions are too close to choose between, but we might imagine Pound working from one, cutting, rearranging; or perhaps he is, like so many others, simply remembering and lightly garbling an anyway uncertain original. What does he change? He speeds it up; he eradicates one of the rhymes, so that now the quatrain\u2019s single rhyme\u2014on soul and dole\u2014draws together these two opposites. He adds the jaunty \u201cstraightaway\u201d and cuts the apparent sadness in White\u2019s suggestion of a loss of fortune. Both White\u2019s versions include a hyphen; by removing this, Pound smoothes out the little stumble in the iambic measure. That \u201chast\u201d added to the opening is deliberately archaic. By contrast, he turns the \u201ctwo\u201d and the \u201cand\u201d to a numerical figure and a plus sign, as if to stress that here is an act of accountancy more than poetry.<\/p>\n

Some of this, in miniature, is classic Pound: he loved to spoof and to pastiche, as in\u2014the most obvious example\u2014the opening of the Cantos, which rewrites a section of the Odyssey<\/i> in a deliberately archaic style. Some of it is old fashioned modernist recycling. \u201cThe poem which is absolutely original is absolutely bad\u201d wrote T. S. Eliot, of Pound\u2019s early poetry, and Pound happily pinched from Eliot in return. The opening of Pound\u2019s Canto VIII runs: \u201cThese fragments you have shelved (shored).\u201d This lifts the most famous line from Eliot\u2019s most famous poem. \u201cThese fragments I have shored against my ruins\u201d mourns The Waste Land. <\/i>We might see these modernist poets as always thus, making new with the pieces of the past, on the edge of theft. Those hyacinths, of course, crop up near the opening of The Waste Land<\/i>, too. \u201cYou gave me Hyacinths first a year ago\u201d observes one of poem\u2019s speakers, and: \u201cThey called me the hyacinth girl.\u201d<\/p>\n

The hyacinths are never new, but always something borrowed or a gift; they are not really Pound\u2019s at all, nor Eliot\u2019s. \u201cDo you remember\u202f\/\u202f\u2018Nothing?\u2019\u201d demands another voice in\u00a0The Waste Land<\/em>, and in the manuscript, which was edited by Pound, is a reply which was subsequently cut from the final version: \u201cI remember the hyacinth garden.\u201d<\/p>\n

 <\/p>\n

Daniel Swift\u2019s book <\/em>The Bughouse: The Poetry, Politics and Madness of Ezra Pound will be published by Farrar, Straus and Giroux in November.\u00a0<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

  A few weeks ago, I wrote here\u00a0about a poem I found written on the back of an envelope among Ezra Pound\u2019s papers in Italy. It is a small poem\u00a0and it runs in full: Hast thou 2 loaves of bread Sell one + with the dole Buy straightaway some hyacinths To feed thy soul. It\u00a0does […]<\/p>\n","protected":false},"author":1246,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2157],"tags":[],"class_list":["post-116293","post","type-post","status-publish","format-standard","hentry","category-on-poetry"],"acf":[],"yoast_head":"\nThe Pound Poem That Wasn't By Pound<\/title>\n<meta name=\"description\" content=\"October 2, 2017 \u2013   A few weeks ago, I wrote here\u00a0about a poem I found written on the back of an envelope among Ezra Pound\u2019s papers in Italy. 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