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Anti-traditional Conception of Gender in Pound's "Coitus" Critics are fascinated and often obscured by Ezra Pound's shifting ancestral style, which ranges from the profound simplicity of "In a Station of the Metro" to the complex intertextuality of the "Cantos." Pound's significance derives largely from his continuous resolve to break traditional form and ideology, both literary and literary. What's especially unique about Pound, nevertheless, is because he continually establishes precedence, he rarely abandons his comprehensive knowledge and appreciation of literary literature, drawing heavily from his literary and historical education in even his most revolutionary works. "Coitus," among Pound's early short functions, exemplifies both his interest in the simple, efficient techniques of vorticism and his own homage to the classics, interrelating them to create a statement that is unique and anti-traditional. COITUS The gilded phaloi of these crocuses are thrusting in the spring air. Here is there tons of dead gods However, a procession of festival, '' A procession, O Giulio Romano, Fit for your spirit to live in. Dione, your nights are upon us. The dew is upon the leaf. The night about us is restless. Though classical allusions and imagist affects are a crucial part of "Coitus," it's the disturbingly stark sexual drive that modulates its own tone. Yet jelqing carnal the poem seems, it does not at any point explicitly mention gender, except in the unmistakable directness of the name. Pound leaves his tone by means of a montage of classical allusions and phallic imagery that resemble the vorticistic Japanese haiku; both the beginning and finishing two lines reveal similarities with Pound's...