The one addresses is a lover, and love, life, and death are intertwined in this poem in a complex fashion that is aided by the checkry of the poet discourse to a loved one about death.
The imaginativeness offered by Lawrence also develops poems around singular images, often embodied in his titles, such as "Piano," "Snake," and "The Bride." "Piano" do-nothing serve as an example of how this solid image is not carried through in a way that offers clarity of meaning or that allows the image to represent more than itself. The piano seems to represent an image of the past(a) and of the poet's youth:
under the piano, in the boom of the tingling strings
Pound can achieve a clarity of image that can be seen as emphasized and as symbolic of more than itself, as he does in simple and direct works such as the truly short "In a Station of the metro" or "A Pact.
" In a longer work same(p) "Hugh Selwyn Mauberley," on the other hand, Pound may develop his imagery in a way that obscures as much as it illuminates and where his literary intentions are muddy. The list of ideas replacing one other in the third set of stanzas, for instance, is not clear at all and is marred further by the use of a Greek term requiring a footnote for clarification. Pound can create cantos that are much too dense to communicate the heavy concepts he sees them as representing. H.D. is more consistently capable to create the sort of literary imagery the three profess to see as valuable and desirable.
This image clearly represents the childishness of the poet and perhaps then the idea of childhood itself. The song mentioned in the first stanza becomes the dominant image, though with the piano offering o
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