Blog Post #1 "In a Station of the Metro"

             By focusing on absence in Pound’s “In a Station of the Metro” we can see the consequences of idleness on social interaction and how this poem aligns with the Imagist Manifesto. First, we can look at the use of the word “apparition,” which is used to describe the “faces in the crowd.” An “apparition” is something that is there, but at the same time is also absent. This gives the “faces” a sort absent quality, despite them actually being there. We can also look at the significance of the word “faces.” We can see the same quality of absence as the people are being described only by their faces rather then as people. As someone’s face is connected to one’s appearance it makes it seem like the people are only giving off the appearance of their presence rather than actually being there. It is also worth noting that the poem presents a lack of detail. This only adds in the quality of absence as it leaves the images as being hazy and vague and adds in the phantom like quality of the people.  We can also look the structure of the first line to see a quality of motionlessness. The first line does not have any sort of verb in its description of the “faces,” which creates a frozen image in minds and highlights the lack of action or motionlessness presented in the poem. This sense of motionlessness connects with the idea of absence, since the people are also absent in the way that they have no real significant actions worth noting and thus are not really present. Pound also links these faces to “[p]etals on a wet, black bough.” The initial word and image of a petal brings with it the expectation of color. This could be connected with the title and/or subject being a station in the metro. The idea of a station creates this expectation of a lot of moving people. This becomes especially interesting as our expectations are contrasted with the poem itself. Following the “petals,” we are given “a wet, black bough,” which stiffens our initial expectation of color as we are left with a dreary and dark image of the branch. In the same way our expectation of a colorful image is lost, our expectation of a station is lost as it is filled with only phantom like people. Pound is really commenting on how we might be having lots of physical interaction with one another, but because of the lack of actually presence we are left with superficial interactions that really do not mean anything.  

               Through the close reading of this poem, we can see very clearly how it aligns and conforms to the Imagist Manifesto. Much of the analysis we looked at was based on the use of specific words and the connotations and definitions of those words. It connects to Imagism, as it focuses on using the exact word just as the poems significance comes from the definitions of certain words. If you replaced the words with near synonyms it would lose most of significance. Also, Pound’s poem is certainly a break from the typical rhythm and subject as it really embraces free-verse, since it is only two lines and it is about a crowded station, which is not typically written about. The whole poem itself also creates an image and while some of it may be a bit blurred, it still creates and describes scenes for us to picture. Not a single word in the poem is wasted on any ideas but is focused on description. In each line we are given a completely different image. We are first given the crowded station and then the image of a petals on a branch. As discussed, the poem does have a blurred quality, but it is purposefully blurring the image to provide its significance. It is through the blurring of the image that the poem actually becomes clear. The poem is also very focused and concentrated on its subject. It never strays from the initial point of description. Lowell states in her description of concentration, “To remain concentrated on the subject, and to know when to stop, are two cardinal rules in the writing of poetry”. Pound’s poem “know[s] when to stop,” as it is only two lines, but its lack of detail is what makes the poem all the more significant in relation to its subject.