Acknowledgements
Earlier versions of Chapters 1 and 2 have been published under the following titles: ‘“Insane Thinking”: The Impressionism of Arthur Symons’, in Victoriographies (2021), and ‘Escaping Impressionism: Titian, Manet, Early Yeats’, in Essays in Criticism (2022). Parts of the Introduction appeared in the preface to a special issue of Cusp: Late Nineteenth- and Early Twentieth-Century Cultures entitled ‘First Impressions: The Impact of Impressionism on English Literature’ (2023). None of these articles is reproduced here exactly; but my thanks are due to the journal editors for permission to reprint material in the present work. I also give grateful acknowledgement to New Directions Publishing Corporation and Faber and Faber Ltd for permission to quote from the following copyrighted works of Ezra Pound: Collected Early Poems of Ezra Pound (copyright © 1926, 1935, 1954, 1965, 1967 and 1976 by the Ezra Pound Literary Property Trust); Ezra Pound and Dorothy Shakespear (copyright © 1976 and 1984 by the Trustees of the Ezra Pound Literary Property Trust); Personae (copyright © 1926, 1935, 1971 and 1990 by the Trustees of the Ezra Pound Literary Property Trust); Pound/Ford (copyright © 1971, 1972, 1973 and 1982 by the Trustees of the Ezra Pound Literary Property Trust), Ezra Pound and the Visual Arts (copyright © 1926, 1935, 1950, 1962, 1970 and 1980 by the Trustees of the Ezra Pound Literary Property Trust); and Gaudier-Brzeska (copyright © 1970 by the Trustees of the Ezra Pound Literary Property Trust). All quotations from the unpublished works of Ezra Pound are given by permission of the New Directions Publishing Corporation.
This book has its origins in a doctoral thesis submitted to the Faculty of Arts at the University of Bristol in the autumn of 2022. I would like to thank the Arts and Humanities Research Council (AHRC) for granting the Doctoral Award that made much of the research towards this book possible, and the Bristol Museum and Art Gallery for enabling an additional period of stipendiary support from the AHRC in 2021. I am indebted also to the trustees of the Yeats Society in Sligo, who elected me Yeats Scholar in 2019, and to my students and colleagues in the Department of English at Bristol (and, latterly, at Magdalen College, Oxford), who have provided a happy atmosphere in which to bring this project to completion.
I would like to thank my doctoral supervisor, Stephen Cheeke, who has overseen my work on this book from its inception, and whose encouragement and criticism have guided me at every stage of its writing. For reading and commenting on various parts of the manuscript, I would like to thank the following people: Rebecca Beasley, Andrew Bennett, Jamie Harrison, Kate Hext, Daniel Karlin, Ed Lilley, Jesse Matz, Alex Murray, Seamus Perry, Patricia Pulham, Max Saunders, Paul Skinner, Tom Walker and Will Wootten. For various other kinds of help, I would like to thank Siân Harris and Sam Matthews. Thanks are due also to Julia Carver for her warmth and hospitality while I was working at the Bristol Museum; to the English Subject Librarian at Bristol, Damien McManus, for his helpfulness in locating various texts necessary for this research; and to Ray Ryan and Biju Singh at Cambridge University Press for shepherding this book to publication.
For their friendship during the course of this work, and over many years besides, I would like to thank Henry Chisholm, Madeleine Denyer, Vanessa Giménez, Stephen James, Ignatius Rao, Maria Rupprecht and Jamie Smith. For their financial and moral support, I am indebted to Colin, Graeme and Pip Harris. For their love and encouragement, I would like to thank my brothers, Will and Alex, and my sister, Katie.
The greatest debt I owe is to my mum, Elizabeth Morrey Harris, who saw me begin this work but did not live to see me finish it. Whatever is valuable in the book is a testament to her.
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