Ezra Pound's poem, "In a Station of the Metro," stands as a quintessential demonstration of Imagism, a poetic movement that Pound championed for a period. Imagism, which Pound developed while in London before World War I, was a reaction against the vague and overly ornate language prevalent in much of contemporary poetry. Instead, he called for a precise, clear depiction of specific images, a principle that, although he moved beyond the strict confines of Imagism, remained influential throughout his work, including his renowned Cantos.

The Essence of Imagist Poetry

True to the Imagist style, the poem is succinct, a characteristic that Pound pushed to its limits in the 1913 composition. "In a Station of the Metro" is remarkable for its brevity, comprising just two lines. While it may seem reminiscent of a Japanese haiku, and indeed Pound was inspired by that form, the poem is an original creation entirely his own.

Origins of the Poem

Pound provided an account of how the poem came to be. As he emerged from the bustling London subway, he was captivated by the fleeting beauty of faces in the crowd. Initially, he penned a thirty-two line draft, but through methodical editing, he distilled it to capture the essence and impact he desired: "The apparition of these faces in the crowd;/ petals on a wet, black bough."

The Imagistic Approach

At first glance, the poem's simplicity might mask its significance, but a closer look reveals its alignment with Imagist principles and its demonstration of Imagism's effectiveness. Pound's single image conveys an experience, not in a literal sense, but emotionally and psychologically. He employs a specific literary device, the metaphor, hailed since ancient times as a potent tool in poetry. Aristotle famously considered the apt use of metaphor as the pinnacle of a writer's ability. Despite often being seen as a poet who eschewed traditional practices, Pound embraced them when skillfully executed.

The Language of Imagism

Adhering to the dictates of Imagism, Pound's language is predominantly concrete and specific, with nouns like "faces," "crowd," "petals," and "bough" used in their ordinary English context. The adjectives "wet" and "black" provide precise modification, enhancing the vividness of the imagery. The metaphorical comparison is straightforward: radiant faces against a rainy backdrop resemble petals on a dark, damp branch. Through judicious image selection, Pound evokes the impression left upon him that evening.

The Power of "Apparition"

The term "apparition" stands out amidst the otherwise tangible language, its placement at the poem's outset lending it prominence. This choice, with its connotations of ghostly visions or otherworldly encounters, juxtaposed with mundane nouns, captures the transformation of an ordinary climb up subway steps into an extraordinary vision.

Impact and Legacy

In just two lines and fourteen words, Pound encapsulated a complete sensory experience through the deliberate use of a specific image. The poem's brevity belies its emotional and psychological depth, surprising Pound’s contemporaries and anticipating techniques that would dominate twentieth-century poetry.