The canto shows Adams concerned with the practicalities of waging war, particularly of establishing a navy. This stood as the close of The Cantos until later editions appended a brief dedicatory fragment addressed to Olga Rudge. For the poetry form, see, XLII–LI [42-51] (Fifth Decad, called also Leopoldine Cantos), LXXII–LXXIII [72-73] (The Italian Cantos), eleven cantos are based on the first eleven volumes, «During that time, Pound maintained his allegiance to Mussolini, "still trying simultaneously both to mold and to defend the regime with his ever more idealistic and Confucian propaganda (Makin 234). 2 All quotations from the Cantos are taken from The Cantos of Ezra Pound (London: Faber & Faber, 1964 ) . Laughlin pushed Pound to publish an authorised edition, and the poet responded by supplying the more-or-less abandoned drafts and fragments he had, plus two fragments dating from 1941. (This was a propaganda story featured in Italian newspapers in October 1944; Pound was interested in it because of the connection with Sigismondo Malatesta's Rimini. This fountain was sacred to the Muses and its water was said to inspire poetry in those who drank it. This is followed by a passage that draws on Pound's London memories and his reading of the Pocket Book of Verse. and Gary Snyder. Canto XLV is a litany against Usura or usury, which Pound later defined as a charge on credit regardless of potential or actual production and the creation of wealth ex nihilo by a bank to the benefit of its shareholders. Pound's intentions appear to be to show Adams as an example of the rational Enlightenment leader, thereby continuing the primary theme of the preceding China Cantos sequence, which these cantos also follow from chronologically. See author's posts. Much of the rest of the canto consists of references to mystic doctrines of light, vision and intellection. At the core of Canto CV are a number of citations and quotations from the writings of St. Anselm. The following canto, Canto LXXXVIII, is almost entirely derived from Benton's book and focuses mainly on John Randolph of Roanoke and the campaign against the establishment of the Bank of the United States. “Stand from the fosse, leave me my bloody bever, And he strong with the blood, said then: “Odysseus. For those who don’t know, I’m writing a series of posts about Ezra Pound’s massive book-length poem The Cantos as I work my way through the poems. The following canto, LXVIII, begins with a meditation on the tripartite division of society into the one, the few and the many. The goddess of love then returns after a lyric passage situating Pound's work in the great tradition of English lyric, in the sense of words intended to be sung. ", Ezra Pound's Cantos 72 and 73: An Annotated Translation by Massimo Bacigalupo, Pound's Pisan Cantos in Process by Massimo Bacigalupo, Modernism, Fascism, and the Pisan Cantos by Ronald Bush, Clarity from Chaos in the Rock-Drill Cantos Paradise by Christopher Wang, The Wood of the Self-Murderers: The Harpies and the Suicides, Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil, https://en.wikipedia.org/w/index.php?title=The_Cantos&oldid=998960664, Articles needing additional references from March 2016, All articles needing additional references, Articles with unsourced statements from June 2013, Wikipedia articles needing clarification from September 2017, Articles with disputed statements from March 2017, Articles with unsourced statements from March 2019, Creative Commons Attribution-ShareAlike License. Pound had been considering writing a long poem since around 1905, but work did not begin until May 1915 when Pound wrote to his mother that he was working on a long poem. I mean, that is Andreas Divus, And he sailed, by Sirens and thence outward and away. For example, we are told that he edited the Book of Odes, cutting it from 3000 to 300 poems. Finally, Pound/Odysseus is seen "on a raft blown by the wind". Canto CX opens with a pun on the word wake, conflating the wake of the little boat from the end of the previous canto and an image of Pound waking in his daughter's house in Tyrol, both from sleep and, by extension, from the nightmare of his prolonged incarceration. The canto also ascribes the Poundian motto (and title of a 1934 collection of essays) Make it New to the emperor Tching Tang. Images of light are used variously, and may represent Neoplatonic ideas of divinity, the artistic impulse, love (both sacred and physical) and good governance, amongst other things. There are a number of references to vegetation cults and sacrifices, and the canto closes by returning to the world of Byzantium and the decline of the Western Empire. This figure blends into the Australian rain god Wuluwaid, who had his mouth closed up by his father (was deprived of freedom of speech) because he "created too many things". Pound, Ezra and Sieburth, Richard (ed). Finally, there is a transcript of Lincoln Steffens' account of the Russian Revolution. There is a sort of lineage going on in the poem, from Homer, to Divus, and ultimately to the speaker - Odysseus. These fragments constellate to form an exemplum of what Pound calls "clear song". My readings, designed to help me write a novel featuring Pound as an occult adventurer (more on that here), will stray from the merely academic to the unusual and highly fanciful, so take all this with a grain of salt! ... Canto I at Poets'.org. Pitiful spirit. Pound referred to his procedure — on display here — of speckling bits of other, similar narratives into a primary one, as the writing of “candied” verse narratives. The core meaning is summed up in Pound's footnote to the effect that the History Classic contains the essentials of the Confucian view of good government. "The Ideologies and Semiotics of Fascism: Analyzing Pound's Cantos 12-15". Tags: coronavirus, covid-19, United Nations, usura, World Economic Forum. The "fount in the hills fold" and the erect temple (Templum aedificans) also serve as images of sexual love. In summary, Pound opens Canto II by mentioning four different versions of the 13 th-century troubadour poet Sordello: Pound’s version of the poet, Robert Browning’s version from a work of 1840, Sordello the real man, and the version of Sordello that can be gleaned from the biographical fragments appended to his poems. Canto XXIV then returns to 15th-century Italy and the d'Este family,[15] again focusing on their Venetian activities and Niccolo d'Este's voyage to the Holy Land. Canto XCVIII reintroduces Ocellus, a fictional character whose name derives from the Latin word for "eye." The crystal image relates back to the Sacred Edict on self-knowledge and the demigod/cohere lines relate directly to Pound's translation of the Women of Trachis. And I cried in hurried speech: “Elpenor, how art thou come to this dark coast? The rest of the canto consists mainly of paraphrases and quotations from Philostratus' Life of Apollonius. The destruction of this city represents, for the poet, the treatment of civilisation by those he considers barbarous. Ezra Weston Loomis Pound (30 October 1885 – 1 November 1972) was an expatriate American poet and critic, a major figure in the early modernist poetry movement, and a fascist collaborator in Italy during World War II.His works include Ripostes (1912), Hugh Selwyn Mauberley (1920), and his 800-page epic poem, The Cantos (c. 1917–1962).. In Ginsberg's development, reading Pound was influential in his move away from the long, Whitmanesque lines of his early poetry, and towards the more varied metric and inclusive approach to a variety of subjects in the single poem that is to be found especially in his book-length sequences Planet News (1968) and The Fall of America: Poems of These States (1973). [22] The third fragment is the one that is also known as Canto CXX. Comparison is drawn between this Chinese text and the Book of the Prefect, and the canto closes with images of light as divine creation drawn from Dante's Paradiso. Despite all the controversy surrounding both poem and poet, The Cantos has been influential in the development of English-language long poems since the appearance of the early sections in the 1920s. The last two cantos in the series return to the world of "clear song". In Canto XVI, Pound emerges from Hell and into an earthly paradise where he sees some of the personages encountered in earlier cantos. The content of Canto I can be summarised as follows: Odysseus narrates how he and his crew sailed to Hades to have their fortunes told by Tiresias, the blind seer. She represents a life spent meditating on beauty which resulted in vanity and ended in loss and solitude. Ezra Pound's Cantos represent some of the highest achievement in 20th century poetry. The closing lines of the canto, and of the sequence, "If the hoar frost grip thy tent / Thou wilt give thanks when night is spent", sound a final note of acceptance and resignation, despite the return to the sphere of action, prompted by the death of Angold, that marks most of the canto. Canto LXXII indicts Italians for not supporting Mussolini and predicts victory for Italian Fascism over the Allies. Possibly in defence of his focus on so much "unpoetical" material, Pound quotes Rodolphus Agricola to the effect that one writes "to move, to teach or to delight" (ut moveat, ut doceat, ut delectet), with the implication that the present cantos are designed to teach. For sacrifice, heaping the pyre with goods, A sheep to Tiresias only, black and a bell-sheep. Many references in the text lack explanation. Cantos XIV and XV use the convention of the Divine Comedy to present Pound/Dante moving through a hell populated by bankers, newspaper editors, hack writers and other 'perverters of language' and the social order. Finally, the series closes with a glimpse of the printer Hieronymus Soncinus of Fano preparing to print the works of Petrarch. The canto opens with an epigraph in Latin to the effect that while the human spirit is not love, it delights in the love that proceeds from it. Pound wanted his Cantos to be epic like Homer, and Canto I is a retelling of parts of the Odyssey, dark stuff, flight, and hell and spiteful Neptune. The moon and clouds appear at the opening of Canto LXXIX, which then moves on through a passage in which birds on the wire fence recall musical notation and the sounds of the camp and thoughts of Wolfgang Mozart, del Cossa and Marshal Philippe Pétain meld to form musical counterpoint. In the same 1962 interview, Pound said of this section of the poem: "The thrones in Dante's Paradiso are for the spirits of the people who have been responsible for good government. The Cantos are what Mr Pound himself called them in a passage now excised from the canon, a rag-bag. "Pound and Antisemitism," in Ira B. Nadel (ed.). Peterson, Leland D. "Ezra Pound: The Use and Abuse of History". Then the violent ghost of Dante's Ezzelino III da Romano, brother of Cunizza of Cantos VI and XXIX, explains to Pound that he has been misrepresented as an evil tyrant only because he was against the Pope's party, and goes on to attack the present Pope Pius XII and "traitors" (like King Victor Emmanuel III) who "betrayed" Mussolini, and to promise that the Italian troops will eventually "return" to El Alamein. The appearance of the single Greek word "THUMON", meaning heart, returns us to the world of Homer's Odyssey and Pound's use of Odysseus as a model for all his heroes, including Adams. The natural world and the world of government are related to tekhne or art. Canto 1 poem by Dean Meredith. The next line, "Templum aedificans not yet marble", refers to a period when the gods were worshiped in natural settings prior to the rigid codification of religion as represented by the erection of marble temples. Pound was also an important figure for the poets of the Beat generation, especially Gary Snyder and Allen Ginsberg. Almost all of H.D. After quoting two phrases from Bernart de Ventadorn's Can vei la lauzeta mover, a poem in which the speaker contemplates a lark's flight as a token of the coming of spring,[dubious – discuss] the fragment closes with the line "To be men not destroyers." Canto CXIII opens with an image of the sun moving through the zodiac, the first of a number of cycle images that occur through the canto, recalling a line from Pound's version of AOI NO UE: "Man's life is a wheel on the axle, there is no turn whereby to escape". A close reader will normally require a scholarly commentary to help understand the text. And Anticlea came, whom I beat off, and then Tiresias Theban. This section of The Cantos concludes with a vision of Hell. Pounds are official currency of the United Kingdom, but pence are often used when trading stocks. If Canto 14 is like the Inferno in some ways, it is unlike it in others. The first four cantos of this volume (Cantos XXXI–XXXIV) quote extensively from the letters and other writings of Thomas Jefferson, John Adams, John Quincy Adams, Andrew Jackson, Martin Van Buren and others to deal with the emergence of the fledgling United States and, particularly, the American banking system. Canto XXXVI opens with a translation of Cavalcanti's canzone Donna mi pregha ("A lady asks me"). The introduction positions the poem within Pound's corpus, contextualizes the contributions included and outlines their arguments, and concludes with suggestions for how the student may best approach this troubled and fascinating artifact. The next five cantos (III–VII), again drawing heavily on Pound's Imagist past for their technique, are essentially based in the Mediterranean, drawing on classical mythology, Renaissance history, the world of the troubadours, Sappho's poetry, a scene from the legend of El Cid that introduces the theme of banking and credit, and Pound's own visits to Venice to create a textual collage saturated with Neoplatonic images of clarity and light. He asks her if the American troops behave well and she replies OK. Pound scholar Richard Sieburth describes the Italian Cantos as marking "the moral nadir of the poem". This situation has been further complicated by the addition of more fragments in editions of the complete poem published after the poet's death. R. P. Blackmur, an early critic, wrote, The Cantos are not complex, they are complicated; they are not arrayed by logic or driven by pursuing emotion, they are connected because they follow one another, are set side by side, and because an anecdote, an allusion or a sentence begun in one Canto may be continued in another and may never be completed at all; and as for a theme to be realized, they seem to have only, like Mauberley, the general sense of continuity — not unity — which may arise in the mind when read seriatim. The remainder of the canto is concerned with the classic Chinese text known as the Li Ki or Classic of Rites, especially those parts that deal with agriculture and natural increase. Yong Tching is shown banning Christianity as "immoral" and "seeking to uproot Kung's laws". 1 PHP to USD; 1 PHP to EUR; 1 PHP to GBP; 1 PHP to AUD; 1 PHP to AED; 1 PHP to CAD; 1 PHP to SAR; 1 PHP to SGD; XE Live Exchange Rates. Lie quiet Divus. The central parable contrasts this with wealth-creation based on the creation of useful goods. In the Cretan’s phrase, with the golden crown, Aphrodite, Cypri munimenta sortita est, mirthful, orichalchi, with golden, Girdles and breast bands, thou with dark eyelids. An image of the distribution of seeds from the sacred mountain opens Canto XCII, continuing the concern with the relationship between natural process and the divine. Canto LVII opens with the story of the flight of the emperor Kien Ouen Ti in 1402 or 1403 and continues with the history of the Ming up to the middle of the 16th century. Continue Reading. Canto XXXVIII opens with a quotation from Dante in which he accuses Albert of Germany of falsifying the coinage. The canto contains the following well-known lines: This passage has often been taken as an admission of failure on Pound's part, but the reality may be more complex. Canto XCI continues the paradisiacal theme, opening with a snatch of the "clear song" of Provençe. The first of these has the poet raising an altar to Bacchus (Zagreus) and his mother Semele, whose death was as a result of jealousy. The major locus of these cantos is the city of Venice. The sun as Zeus/Helios also features. Deadline 30 October 2021 . He also disliked what he saw as the superstitious pseudo-mysticism promulgated by both Buddhists and Taoists, to the detriment of rational politics. Special mention is made of emperors that Confucius approved of and the sage's interest in cultural matters is stressed. The resulting book, therefore, can hardly be described as representing Pound's definitive planned ending to the poem. Pound's tacit insistence that this material becomes poetry because of his action in including it in a text he chose to call a poem also prefigures the attitudes and practices that underlie 20th-century Conceptual art[citation needed].
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