Usury, as it is repeated more and more in the middle part of the poem like a cancerous tumor that is spreading on and on, is looming in Pound's mind. Although Marx’s fans might like the poem, for it criticizes the sick capitalistic economic system, they have good cause to attack it. Let us see how.
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With reference to the fact that this poem is written on the basis of Crane’s vicarious correspondence with Charles Chaplin’s movie “The Kid” (1), one can find many extra-textual references to that movie mostly rendered by means of imagery, speaker’s tone, and metonymic expressions, mainly with symbol- representative relation, which resemble to that of Chaplin’s famous pantomimic gestures. (And yet these fine collapses are not lies / More than the pirouettes of any pliant cane). Consequently, to understand the atmosphere and characterization of the poem better, one should mind the movie as well. Even though the poem, in this analysis, will be discussed through the principals of deconstructionism (a mode of interpretation which denies any dependency on extra-textual references); a summary of the movie is given as follows: The Kid is a motion picture about a tramp who finds an abandoned child. Released in 1921, this silent film was written and directed by Charlie Chaplin. An unwed mother (played by Edna Purviance) leaves her baby in the back seat of an expensive car in hopes of a better life for him. However, the car gets stolen and the thieves leave the baby in an alley rather than face kidnapping charges. Along comes Chaplin’s famous character, the Tramp, who picks up the child and attempts to find him a home. Failing at that, the Tramp adopts him. When the boy is a bit older (played by Jackie Coogan), they develop a scheme where he throws rocks at windows and the Tramp arrives later with a window-repair service. Eventually the child’s mother and the police catch up with them, resulting in heartbreak and eventual reconciliation. (2)
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Defence mechanisms are unconscious resources used by the ego to reduce conflict between the id and superego and thereby anxiety. In other words, they are processes by which the content of our conscious are kept in the unconscious. It is worth-emphasizing that defence mechanisms like any other psychic phenomena are mere unconscious processes and that these mechanisms cease to operate as soon as they reach the conscious surface. Sigmund Freud was the first person to develop the concept of defence mechanisms; however, it was his daughter Anna Freud who clarified and conceptualized it. Compson family, the disintegrating southerners depicted in the novel The Sound and the Fury, seem to have been suffering a myriad of psychological defences which can be traced in the course of the novel.
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Live body, real and clear body, the ever-flowing energy to which there is no end, like the flow of sea tide; you don’t know when it began and when it will end…These are the kind of energy in style and pace of “Physical Theater” forgotten for many years. It began by the arrival of “Black Narcissus” and gradually faded away with the group’s annihilation. And you all dears are witnessing my efforts to revive the truth of body and its eternal energy besides the personal and new methods of pronunciation of me and those of my group.
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