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Contents • • • • • Life [ ] William Brooke Smith was living in by 1901. In a 1921 letter to, Smith's friend wrote 'How in Christ's name he came to be in Phila.—and to know what he did at age 17–25—I don't know.' Pound's friend recalled that Smith was 'tall, graceful, with a 'butterfly bow' tie', and that a letter he had sent Pound was 'poetic, effusive, written, it appeared, with a careful spacing of lines and unextravagant margin'. Smith met Pound, then a freshman at the, in 1901 or 1902, when the latter was aged sixteen. The two became friends, in one of Pound's first true friendships. As Smith was an avid reader, he introduced Pound to the works of English such as and; this included gifting Pound a copy of Wilde's. Smith's sister had given him a copy of 's, containing works by writer.

As such, Pound's daughter suggests that the two may have discussed 'Soufi and Mystics, wine, beauty, Pantheism, and painting'. From 1902 to 1905 Smith studied at the, living on Diamond Street. Pound would sometimes attend classes with him. After graduation, Smith and Pound kept in touch. One letter from Smith, from 1907, was posted from a home on Franklin Street. Autodesk 3ds Max 2010 Keygen Only Free Download. Death and legacy [ ] Smith died in 1908 of. When news of this reached Pound, he was devastated.

He soon renamed the poetry collection he had been working on, meant to be titled La Fraisne ( The Ash Tree) after one of its first poems, as ( With Tapers Spent). In his dedication, Pound wrote.

Sith one of has gone out from amongst us it [is] given A LUME SPENTO (WITH TAPERS QUENCHED) in memoriam eius mihi caritate primus WILLIAM BROOKE SMITH Painter, Dreamer of dreams The title of the collection, A Lume Spento, is a reference to the third canto of 's, is an allusion to the death of, and his funeral procession in the earlier work. Pound critic Hugh Witemeyer writes that, overall, the implication is that Smith had led an unorthodox life like that of Manfred, a conclusion with which Daniel Tiffany agrees, writing that the dedication implied Smith was 'a heretic of sorts, a renegade'. Smith's death continued to weigh on Pound; he wrote in 1922 that 'thirteen years are gone; I haven't replaced him and shan't and no longer hope to'. Tiffany finds that, in, Pound refers to Smith as 'the wraith of my best friend', an allusion to Dante's description of his best friend,; Mary Paterson Cheadle concurs with this conclusion, though she suggests sculptor as another possibility. Tiffany describes Smith as still 'haunting' Pound in, as to, and writes that, ultimately, Pound was unable to put the 'ghost' to rest.