BK. Ezra Pound
33. Mauberley. In Hugh Selwyn Mauberley. London: Ovid, 1920.
Miner (A25, pp.
112-23) finds Pound relying on his hokku-derived ‘form of super-position’
(see 3 and 12)
in increasingly complex ways throughout his career, even in longer poems,
such as at the end of the second section here, where a closing quatrain—‘Mouths
biting empty air, / The still stone dogs, / Caught in metamorphosis, were
/ Left him as epilogues’—is according to Miner ‘set
off from the rest of the poem to act as a coherent summary for Mauberley’s