“The Sea of Glass” by Ezra Pound: A Critical Analysis

Introduction: “The Sea of Glass” by Ezra Pound

“The Sea of Glass” by Ezra Pound, first appeared in 1917 in the collection Personae, is characterized by its imagistic style, its use of Chinese characters, and its exploration of themes such as mortality, spirituality, and the nature of reality. The poem’s main idea is a meditation on the cyclical nature of life and death, and the ultimate unification of all things in a cosmic sea of glass. Pound’s use of fragmented imagery and elliptical language creates a sense of mystery and ambiguity, inviting readers to interpret the poem in their own way.

Text: “The Sea of Glass” by Ezra Pound

I looked and saw a sea

                               roofed over with rainbows,

In the midst of each

                               two lovers met and departed;

Then the sky was full of faces

                               with gold glories behind them.

Annotations: “The Sea of Glass” by Ezra Pound

Line	Annotation
I looked and saw a sea	The poem begins with a simple statement of observation, setting the scene for a vision or dream.
roofed over with rainbows	The sea is described as being covered by a canopy of rainbows, suggesting a sense of wonder and enchantment.
In the midst of each	This line introduces a recurring motif in the poem: the idea of two lovers meeting and parting within the sea of glass.
two lovers met and departed	The image of lovers meeting and parting suggests the cyclical nature of life and the inevitability of separation.
Then the sky was full of faces	The scene shifts to the sky, which is now filled with faces, suggesting a multitude of perspectives or consciousnesses.
with gold glories behind them	The faces are described as having “gold glories” behind them, suggesting a sense of divine presence or spiritual enlightenment.

Literary And Poetic Devices: “The Sea of Glass” by Ezra Pound

Literary Device	Definition	Example from the Poem	Explanation
Alliteration	The repetition of consonant sounds at the beginning of words.	“full of faces”	The repetition of the “f” sound emphasizes the imagery of the sky being populated with faces.
Allusion	An indirect reference to a person, place, event, or literary work.	“lovers”	The “two lovers” may allude to romantic or mythical lovers, creating layers of meaning within the brief imagery.
Anaphora	The repetition of a word or phrase at the beginning of successive clauses.	“Then the sky was full of faces / with gold glories behind them”	The repeated structure in the second part of the poem adds rhythm and builds on the idea of the sky being filled with visionary figures.
Assonance	The repetition of vowel sounds within words.	“roofed over with rainbows”	The repetition of the “o” sound creates a flowing, musical quality, which enhances the mystical imagery of the rainbows over the sea.
Enjambment	The continuation of a sentence without a pause beyond the end of a line.	“I looked and saw a sea / roofed over with rainbows”	The sentence flows over two lines, creating a seamless transition between the speaker’s observation and the description of the sea.
Imagery	Descriptive language that appeals to the senses.	“sea / roofed over with rainbows”	Vivid sensory details evoke a striking visual image of the sea and the rainbows, enhancing the mystical atmosphere of the poem.
Juxtaposition	Placing two contrasting ideas close together for effect.	“lovers met and departed”	The meeting and parting of the lovers in a brief moment highlights the transient nature of their relationship, creating a sense of fleeting emotion.
Metaphor	A figure of speech that directly compares two unrelated things.	“a sea / roofed over with rainbows”	The sea is compared to a roofed space, using rainbows as the roof, creating a surreal and dreamlike quality in the depiction.
Mood	The emotional atmosphere of a work.	“Then the sky was full of faces / with gold glories behind them”	The mood shifts from serene observation to one filled with a mystical and divine atmosphere, evoking wonder and transcendence.
Parallelism	The use of components in a sentence that are grammatically the same.	“lovers met and departed”	The balance of the words “met” and “departed” in the same structure adds symmetry and emphasizes the cyclical nature of relationships.
Personification	Attributing human qualities to non-human entities.	“the sky was full of faces”	The sky is described as containing human faces, giving it human-like qualities and enhancing the sense of the divine or supernatural presence.
Repetition	The use of the same word or phrase multiple times for emphasis.	“Then the sky was full of faces”	The repetition of the word “faces” reinforces the imagery of the vision in the sky, drawing attention to the surreal scene.
Symbolism	The use of symbols to represent ideas or qualities.	“rainbows”	Rainbows often symbolize hope, promise, or connection, and in this context, they could signify a bridge between the natural world and a divine realm.
Tone	The writer’s attitude toward the subject or audience.	“Then the sky was full of faces / with gold glories behind them”	The tone of the poem shifts toward awe and reverence, especially in the depiction of faces with “gold glories,” suggesting a divine or spiritual realm.

Themes: “The Sea of Glass” by Ezra Pound

1. Transience of Human Connection: The poem reflects on the fleeting nature of human relationships, as seen in the lines, “two lovers met and departed.” This brief encounter between the lovers emphasizes the impermanence of relationships, suggesting that human connections, while significant, are momentary. The use of “departed” right after “met” symbolizes how relationships often shift from intimacy to separation in the blink of an eye.
2. Mystical and Spiritual Vision: Throughout the poem, there is an ethereal quality to the imagery, especially in “the sky was full of faces / with gold glories behind them.” This suggests a divine or spiritual realm, where human figures are elevated to a celestial status, perhaps representing saints, gods, or spirits. The “gold glories” behind these faces hint at spiritual enlightenment or divine favor, presenting the idea of a connection between the physical world and the divine.
3. Nature as a Reflection of the Divine: The imagery of the sea and rainbows in “I looked and saw a sea / roofed over with rainbows” connects nature to something greater and symbolic. The rainbow, often a symbol of promise or divine intervention, transforms the sea into a vision of something beyond the physical. The fusion of natural elements with supernatural undertones suggests that nature can serve as a bridge to understanding deeper spiritual truths.
4. The Illusion of Permanence: The poem’s title and the depiction of “a sea / roofed over with rainbows” present an image of something visually captivating yet inherently fragile. A sea made of glass is beautiful but breakable, much like the illusions humans cling to. The rainbow is also fleeting, often disappearing as quickly as it appears. This imagery reflects the theme that life’s beauty, like the rainbow over the sea of glass, is temporary and should not be mistaken for something permanent.

Literary Theories and “The Sea of Glass” by Ezra Pound

Theory	Explanation	References
Imagism	A poetic movement that emphasizes the use of clear, precise images to evoke sensory experiences.	“I looked and saw a sea roofed over with rainbows,” “two lovers met and departed,” “Then the sky was full of faces with gold glories behind them”
Symbolism	The use of objects or images to represent ideas or concepts.	“The sea of glass” likely symbolizes the cycle of life and death, while the “rainbows” may symbolize hope or spiritual enlightenment. The “lovers” could represent the duality of existence or the interconnectedness of all things.
Mythological Criticism	An approach that analyzes texts in relation to mythological themes and archetypes.	The poem’s imagery of a sea and lovers meeting and parting may allude to mythological themes of creation, destruction, and eternal recurrence. The “gold glories” behind the faces could be seen as a symbol of divine power or enlightenment, connecting the poem to mythological narratives of gods and heroes.

Critical Questions about “The Sea of Glass” by Ezra Pound

• How does the poem’s imagery of the “sea” and “rainbows” reflect the relationship between the natural and the spiritual world?
• The poem opens with the speaker observing “a sea / roofed over with rainbows,” creating an image that transcends the physical. The sea, often representing vastness and depth, paired with rainbows, symbols of hope and divine connection, invites a reading of nature as a gateway to the spiritual realm. Is the sea meant to represent life’s unpredictable nature, while the rainbow suggests the fleeting presence of the divine? This interplay raises the question of how Pound uses natural imagery to symbolize spiritual or transcendent experiences, pushing readers to question where the boundary between the two lies.
• What is the significance of the fleeting encounter between the two lovers in the poem?
• The line “two lovers met and departed” is a brief but poignant moment in the poem. Why does Pound choose to portray their meeting and departure in such close succession? The lack of elaboration suggests that the relationship between the lovers is transient, like many human connections. This raises questions about the nature of relationships: Are they inherently impermanent, or does the brevity of their encounter reflect a deeper truth about love’s fleeting nature? The poem encourages readers to reflect on whether Pound is critiquing or simply observing the ephemerality of human connection.
• What role do the “faces” in the sky play in understanding the theme of divinity or spirituality?
• The line “the sky was full of faces / with gold glories behind them” introduces an almost mystical element to the poem. What do these faces represent? Are they gods, ancestors, or spiritual guides? The “gold glories” behind them suggest a divine presence, but Pound leaves their identity ambiguous. This raises the question of how humans perceive the divine or the transcendent—are these faces literal manifestations of spirituality, or do they reflect humanity’s tendency to project meaning onto the unknown? The ambiguity prompts readers to consider the role of the supernatural in the human imagination.
• How does the poem’s tone shift, and what effect does this have on the reader’s interpretation of its meaning?
• The poem begins with a calm, almost serene tone as the speaker describes the “sea / roofed over with rainbows.” However, the tone shifts when the “lovers met and departed” and becomes more ethereal and mystical with the introduction of the “faces / with gold glories.” Why does Pound choose to shift the tone in this way? Does the transition from natural imagery to more spiritual or surreal imagery signify a deeper change in the speaker’s perception of reality? This tonal shift may lead readers to question whether the poem is meant to depict a personal vision or revelation, a broader commentary on life’s fleeting beauty, or something more profound about human existence.

Literary Works Similar to “The Sea of Glass” by Ezra Pound

1. “The Love Song of J. Alfred Prufrock” by T.S. Eliot: Both poems explore themes of alienation, disillusionment, and the fragmentation of modern experience.
2. “In Memory of W.B. Yeats” by W.H. Auden: Both poems use imagery and symbolism to evoke a sense of loss and mortality.
3. “The Waste Land” by T.S. Eliot: Both poems are characterized by their fragmented structure, their use of myth and allusion, and their exploration of themes of spiritual and cultural decay.
4. “The Second Coming” by W.B. Yeats: Both poems explore themes of historical cycles, the decline of civilization, and the possibility of a new world order.
5. “To Autumn” by John Keats: Both poems use sensory imagery to evoke a sense of the beauty and transience of nature.

Representative Quotations of “The Sea of Glass” by Ezra Pound

Quotation	Context	Theoretical Perspective
“I looked and saw a sea”	The poem begins with a simple statement of observation, setting the scene for a vision or dream.	Imagism: The image of the sea is clear and evocative, creating a sense of vastness and mystery.
“roofed over with rainbows”	The sea is described as being covered by a canopy of rainbows.	Symbolism: Rainbows are often associated with hope, promise, and spiritual enlightenment.
“two lovers met and departed”	The image of lovers meeting and parting suggests the cyclical nature of life and the inevitability of separation.	Mythological Criticism: This image may allude to mythological themes of creation, destruction, and eternal recurrence.
“Then the sky was full of faces with gold glories behind them”	The scene shifts to the sky, which is now filled with faces, suggesting a multitude of perspectives or consciousnesses.	Symbolism: The “gold glories” behind the faces could be seen as a symbol of divine power or enlightenment.
The poem’s overall tone is one of mystery and ambiguity, inviting readers to interpret the poem in their own way.	Imagism: The poem’s focus on vivid imagery and sensory experiences allows for multiple interpretations.

Suggested Readings: “The Sea of Glass” by Ezra Pound

1. McCorkle, James. “Elizabeth Bishop’s Poetics of Islandology.” Reading Elizabeth Bishop: An Edinburgh Companion, edited by Jonathan Ellis, vol. 1, Edinburgh University Press, 2019, pp. 266–79. JSTOR, http://www.jstor.org/stable/10.3366/j.ctv2f4vg0g.24. Accessed 1 Oct. 2024.
2. DICKEY, FRANCES. “Contraction: FROM PICTURE SONNET TO EPIGRAM.” The Modern Portrait Poem: From Dante Gabriel Rossetti to Ezra Pound, University of Virginia Press, 2012, pp. 113–43. JSTOR, http://www.jstor.org/stable/j.ctt6wrmrn.9. Accessed 1 Oct. 2024.
3. Eliot, T. S. “Ezra Pound.” Poetry, vol. 68, no. 6, 1946, pp. 326–38. JSTOR, http://www.jstor.org/stable/20584810. Accessed 1 Oct. 2024.
4. LUMSDEN, ROBERT. “EZRA POUND’S IMAGISM.” Paideuma, vol. 15, no. 2/3, 1986, pp. 253–64. JSTOR, http://www.jstor.org/stable/24723982. Accessed 1 Oct. 2024.
5. Firchow, P. E. “Ezra Pound’s Imagism and the Tradition.” Comparative Literature Studies, vol. 18, no. 3, 1981, pp. 379–85. JSTOR, http://www.jstor.org/stable/40246277. Accessed 1 Oct. 2024.