Bibliographic record
Abstract
Ezra Pound's career comes in three acts. This chapter deals with Act Two, the period between his forsaking of London in 1920 and before he is returned to the United States from the Italian city of Pisa as a traitor in 1946. There is no doubt that tragedy dominates Act Three in Pisa and beyond, but Act One, the London years, can be cast in epic terms, as a heroic struggle to rid Mount Helicon of both the beefy bluster left over from the Victorians and the genteel prissiness of Edwardian and Georgian literary culture. The undercurrent of aestheticism that runs from the Pre-Raphaelites in the 1850s, through Walter Pater, to the nineties, the Rhymers Club, and, finally, to the martyrdom of Oscar Wilde on the altar of Victorian moralism, is still, in Pound's London years, in very bad odor. “Yeux Glaques,” the sixth lyric in Hugh Selwyn Mauberley (Life and Contacts )(1920) captures precisely the soft, sexualized underside of aestheticism and the bullying Victorian response: Foetid Buchanan lifted up his voice When that faun's head of hers Became a pastime for Painters and adulterers. ( P , 1990, 189) It was easy to dismiss the Buchanans and to proclaim a new kind of heady, virile aestheticism that apologized for nothing and gave back as good as it got. Act Two, the middle years, are neither tragic nor heroic. They are not so easy to characterize. Perhaps they have elements of the tragic and comic about them. Or perhaps they constitute a kind of Purgatorio, but they do not, as in Dante, lead to Paradiso. In a reversal of Dante’s plot, the London years may have been more of a paradise than what follows after 1920. And certainly at Pisa in 1945 Pound entered a real Inferno. In the London years, Pound seemed to be in heaven, to borrow the words of William Wordsworth in another context, “Bliss was it in that dawn to be alive” ( The Prelude , 11.108).
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.007 | 0.007 |
| Scholarly communication | 0.005 | 0.004 |
| Open science | 0.000 | 0.003 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.025 | 0.009 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".