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Ezra Pound has influenced many poets in many ways, both during his lifetime and posthumously. He brought great influence to bear upon his peers about how poetry should be written, establishing and broadcasting the tenets of poetic modernism in English, offering models for how poems could be both far shorter and far longer at the same time as achieving greater focus and covering a broader range of subject than the pre-modernists imagined. Pound’s interventions around T. S. Eliot’s verse offer the most direct example of that influence. Despite acknowledging that Eliot, uniquely among American writers, ‘had actually trained himself and modernized himself on his own’ (SL 80), Pound worked extensively on Eliot’s work, perhaps most directly in the transition between Eliot’s Poems (1920) and The Waste Land (1922), which saw Eliot initially interpreting Pound’s Imagist concision in Poems, through their shared interest in Théophile Gautier, before adopting a more expansive Poundian ideogrammic method in The Waste Land.