pound's canto 1

Canto LXXIV immediately introduces the reader to the method used in the Pisan Cantos, which is one of interweaving themes somewhat in the manner of a fugue. 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 LXXV on YouTube . And Bathsheba did open up her shop For business and running repairs although Her long distant cousin covered and festooned . She represents a life spent meditating on beauty which resulted in vanity and ended in loss and solitude. This canto contains some distinctly unpleasant expressions of antisemitic opinions. The Cantos can appear on first reading to be chaotic or structureless because it lacks plot or a definite ending. The focus of Canto CI is around the Greek phrase kalon kagathon ("the beautiful and good"), which calls to mind Plotinus' attitude to the world of things and the more general Greek belief in the moral aspect of beauty. 1 Pounds = 0.4536 Kilos: 10 Pounds = 4.5359 Kilos: 2500 Pounds = 1133.98 Kilos: 2 Pounds = 0.9072 Kilos: 20 Pounds = 9.0718 Kilos: 5000 Pounds = 2267.96 Kilos: 3 Pounds = 1.3608 Kilos: 30 Pounds = 13.6078 Kilos: 10000 Pounds = 4535.92 Kilos: 4 Pounds = 1.8144 Kilos: 40 Pounds = 18.1437 Kilos: 25000 Pounds = 11339.81 Kilos: 5 Pounds = 2.268 Kilos: 50 Pounds = 22.6796 Kilos: 50000 Pounds = … 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 first of these is the hostilities that existed amongst Pound's modernist friends and the negative impact that it had on all their works. 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. Continue Reading. Canto XX opens with a grouping of phrases, words and images from Mediterranean poetry, ranging from Homer through Ovid, Propertius and Catullus to the Song of Roland and Arnaut Daniel. Canto LXXVI opens with a vision of a group of goddesses in Pound's room on the Rapallo hillside and then moves, via Mont Segur, to memories of Paris and Jean Cocteau. Throughout the Pisan sequence, Pound repeatedly likens the camp to Francesco del Cossa's March fresco depicting men working at a grape arbour. This heralds perhaps the most widely quoted passages in The Cantos, in which Pound expresses his realisation that "What thou lovest well remains, / the rest is dross" and an acceptance of the need for human humility in the face of the natural world that prefigures some of the ideas associated with the deep ecology movement. The canto then closes with more on economics. This is then applied to a number of Pound's dead friends from the London/Paris years, including W.B. Canto XXXVI. In Canto LXVI, we see Adams in London serving as minister to the Court of St. James's. Canto XCIII opens with a quote, "A man's paradise is his good nature", taken from The Maxims of King Kati to His Son Merikara. This canto then moves to the fountain of Castalia on Parnassus. ", This page was last edited on 7 January 2021, at 20:53. He, in turn, becomes the Chinese Ouan Jin, or "man with an education". [3] Much critical discussion of the poem has focused on the relationship between, on the one hand, the economic thesis on usura, Pound's antisemitism, his adulation of Confucian ideals of government and his attitude towards fascism, and, on the other, passages of lyrical poetry and the historical scene-setting that he performed with his 'ideographic' technique. "[8] However, even despite his earlier views, Pound still had defenders: Louis Zukofsky (who was Jewish) defended Pound on the basis of his personal knowledge of antisemitism on the level of human exchange — even though (according to William Cookson[9]) their correspondence contained some of Pound's offensive views. Pound draws on one such popular version, by Wang the Commissioner of the Imperial Salt Works in a translation by F.W. These include Richard Aldington, T. E. Hulme, Henri Gaudier-Brzeska, Wyndham Lewis, Ernest Hemingway and Fernand Léger, whose war memories the poem includes a passage from (in French). And I cried in hurried speech: “Elpenor, how art thou come to this dark coast? The canto draws to a close with the phrase Lux enim ("light indeed") and an image of the oval moon. Adams is depicted as a well-rounded figure; he is a strong leader with interests in political, legal and cultural matters in much the same way that Malatesta and Mussolini are portrayed elsewhere in the poem. 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. 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. The question of banking and money also recurs, with an antisemitic passage aimed at the banker Mayer Amschel Rothschild. – Coronalis, Thom Forester (2020), based on Canto XLV by E. Pound. There are references to the Malatesta family and to Borso d'Este, who tried to keep the peace between the warring Italian city states. ... To Virgin Mary several pounds of candles; And then, by the advice of some old ladies, She sent her son to be shipp'd off from Cadiz. "Pound and Antisemitism. The closing lines, "Down derry-down / Oh let an old man rest", return the poem from the world of memory to the poet's present plight. This culminates in a detailed passage on the Book of the Prefect (or Eparch; in Greek the Eparchikon Biblion), a 9th-century edict of the Emperor Leo VI the Wise. Patrick McGuinness, "Ezra Pound: Posthumous Cantos edited by Massimo Bacigalupo review – fresh insights into an epic masterpiece". Pound's "nice, quiet paradise" is seen, in the notes for Canto CXI, to be based on serenity, pity, intelligence and individual acceptance of responsibility as illustrated by the French diplomat Talleyrand. Interested yet? The first of these, "Addendum for C", is a rant against usury that moves a bit away from the usual antisemitism in the line "the defiler, beyond race and against race". Pound writes of the decline of the sense of the spirit in painting from a high-point in Sandro Botticelli to the fleshiness of Rubens and its recovery in the 20th century as evidenced in the works of Marie Laurencin and others. 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. Bearing the golden bough of Argicida. 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. In Canto LXXII, imitative of Dante's tercets (terza rima), Pound meets the recently dead Futurist writer Filippo Tommaso Marinetti, and they discuss the current war and the dangers of excessive love of the past (Pound's librarian friend, Manlio Torquato Dazzi) or of the future (Marinetti). Canto XII consists of three moral tales on the subject of profit. In Canto XLVII, the poem returns to the island of Circe and Odysseus about to "sail after knowledge". These memories lead to a consideration of what has or may have been destroyed in the war. These include Apollonius making his peace with animals, Saint Augustine on the need to feed people before attempting to convert them, and Dante and William Shakespeare writing on distributive justice, an aspect of their work that the poet points out is generally overlooked. After an expanded clarification of the Annals of Spring and Autumn / "there are no righteous wars" passage from Canto LXXVIII, this canto culminates in images of the poet drowning in earth (in a quasi-sexual embrace) and a recurrence of the Greek word for weeping, ending with more bird-notes seen as a periplum. There is an extract from a hymn to Diana from Layamon's 12th-century poem Brut. The nomination of Washington as president dominates the opening pages of Canto LXV. The canto, and sequence, then closes with an extended treatment of the passage from the fifth book of the Odyssey in which a drowning Odysseus/Pound is rescued by Leucothea. The work was completed in 1730 but not published until 1777–1783. This work argues that the mind should rule the body as the basis of good living and good governance. 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. Ezra Pound, from "Canto CXV" (The Cantos of Ezra Pound)” ― Ezra Pound, The Cantos. The earliest part of The Cantos to be published in book form was released by Three Mountains Press in 1925 under the title A Draft of XVI Cantos. Originally, Pound conceived of Cantos XVII–XXVII as a group that would follow the first volume by starting with the Renaissance and ending with the Russian Revolution. These include the poet's coming to terms with a sense of artistic failure, and jealousies and hatreds that must be faced and expiated. In the light of cantos written later than this letter, it would be possible to add other recurring motifs to this list, such as: periploi ('voyages around'); vegetation rituals such as the Eleusinian Mysteries; usura, banking and credit; and the drive towards clarity in art, such as the 'clear line' of Renaissance painting and the 'clear song' of the troubadours. Pence sterling (GBX) is a subdivision of Pounds sterling (GBP). During this period, his main source of income was a series of radio broadcasts he made on Rome Radio. 0 likes. After a number of cantos in which the elements of earth and air feature so strongly, Canto LXXXIII opens with images of water and light, drawn from Pindar, George Gemistos Plethon, John Scotus Eriugena, the mermaid carvings of Pietro Lombardo and Heraclitus' phrase panta rei ("everything flows"). It, in turn, blends with the DTC in which the poet is imprisoned. Canto XCI continues the paradisiacal theme, opening with a snatch of the "clear song" of Provençe. The canto ends with the goddess, in the form of a butterfly, leaving the poet's tent amid further references to Sappho and Homer. Pound then invokes Amphion, the mythical founder of music, before recalling the San Ku/St Hilaire/Jacques de Molay/Eriugena/Sagetrieb cluster from Canto LXXXVII. “But thou, O King, I bid remember me, unwept, unburied. ), Atypically for Pound, both cantos conclude with positivity and optimism (for the victory of Italian Fascism) and are unusually straightforward. “Heap up mine arms, be tomb by sea-bord, and inscribed: “And set my oar up, that I swung mid fellows.”. This recalls The Seafarer, and Pound quotes a line from his translation, "Lordly men are to earth o'ergiven", lamenting the loss of the exiled poet's companions. See author's posts. Although this last story is found in the Homeric Hymn to Dionysus, also contained in the Divus volume, Pound draws on the version in Ovid's poem Metamorphoses, thus introducing the world of ancient Rome into the poem. Pound added to his earlier interests in the classical Mediterranean culture and East Asia selective topics from medieval and early modern Italy and Provence, the beginnings of the United States, England of the 17th century, and details from Africa he had obtained from Leo Frobenius. These two cantos, written in Italian, were not collected until their posthumous inclusion in the 1987 revision of the complete text of the poem. Certainly has none now". The word Sagetrieb, meaning something like the transmission of tradition, apparently coined by Pound, is repeated after its first use in the previous canto, underlining Pound's belief that he is transmitting a tradition of political ethics that unites China, Revolutionary America and his own beliefs. In Canto LXXIII he enshrines an otherwise ridiculous Fascist propaganda story of a fascist maiden, raped by Allied troops, (suicidally) revenging herself by guiding hapless Canadian troops to their death in a minefield. The canto concludes with some fragments from the Second Homeric Hymn to Aphrodite, in a Latin version by Georgius Dartona which Pound found in the Divus volume, followed by "So that:"—an invitation to read on. Canto LIV moves the story on to around 805 CE. In Canto XXIX, a story from their visit to the Provençal site at Excideuil contrasts Pound and Eliot on the subject of Christianity, with Pound implicitly rejecting that religion. And then went down to the ship, Set keel to breakers, forth on the godly sea, and We set up mast and sail on that swart ship, Bore sheep aboard her, and our bodies also Heavy with weeping, so winds from sternward Bore us out onward with bellying canvas, Circe's this craft, the trim-coifed goddess. In Canto XVI, Pound emerges from Hell and into an earthly paradise where he sees some of the personages encountered in earlier cantos. It opens with a passage in which we see the Odysseus/Pound figure, homecoming achieved, reconciled with the sea-god. NOVEMBER 16, 2020 - 12:30PM TO 1:30PM VIRTUAL LECTURE LINK TO EVENT 29th Ezra Pound International Conference EPIC in Kyoto. Almost all of H.D. Her act is portrayed as the selfless act of a true patriot. The naturalists Alexander von Humboldt and Louis Agassiz are mentioned in passing. The two main written sources for the Rock Drill cantos are the Confucian Classic of History, in an edition by the French Jesuit Séraphin Couvreur, which contained the Chinese text and translations into Latin and French under the title Chou King (which Pound uses in the poem), and Senator Thomas Hart Benton's Thirty Years View: Or A History of the American Government for Thirty Years From 1820–1850, which covers the period of the bank wars. —which read, in the translation by Charles Eliot Norton, "O ye, who are in a little bark, desirous to listen, following behind my craft which singing passes on, turn to see again Your shores; put not out upon the deep; for haply losing me, ye would remain astray." Pounds are official currency of the United Kingdom, but pence are often used when trading stocks. Pallor upon me, cried to my men for more beasts; Slaughtered the herds, sheep slain of bronze; To Pluto the strong, and praised Proserpine; I sat to keep off the impetuous impotent dead. The phrases Cumis ego oculis meis, tu theleis, respondebat illa and apothanein are from the passage (taken from Petronius' Satyricon) that T.S. 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. Peterson, Leland D. "Ezra Pound: The Use and Abuse of History". If Canto 14 is like the Inferno in some ways, it is unlike it in others. These couples can be seen as variants on Ra-Set. The Cantos is generally considered one of the most significant works of modernist poetry in the 20th century. What she reminds him of is Persephone at the moment that she is abducted by Hades and the spring flowers fell from her lap. Pound's fascination with history is evident throughout the Cantos. The opening canto of the sequence, Canto XCVI, begins with a fragmentary synopsis of the decline of the Roman Empire and the rise of the Byzantine Empire in the east and of the Carolingian Empire, Germanic kingdoms and the Lombards in Western Europe. Canto XL opens with Adam Smith on trade as a conspiracy against the general public, followed by another periplus, a condensed version of Hanno the Navigator's account of his voyage along the west coast of Africa. Anecdotes on Titian and Mozart deal with the relationship between artist and patron. He begins Canto I with the story of Odysseus and his companions sailing to Hades, and progresses through history to the 15th century and the poet Malatesta, and then on through the Renaissance, and finally, to World War I … As with Pound, Williams includes Alexander Hamilton as the villain of the piece. He published the first three cantos in June, July and August 1917, in the journal Poetry. Canto XLVIII presents more instances of what Pound considers to be usury, some of which display signs of his antisemitic position. Canto LXX deals mainly with Adams' time as vice-president and president, focusing on his statement "I am for balance", highlighted in the text by the addition of the ideogram for balance. Pound also claims in this canto that Anselm's writings influenced Cavalcanti and François Villon. Eventually, you might start to wonder who's actually speaking in this poem and what he/she is speaking about. A phrase from one of Sigismondo Pandolfo's letters inserted into the Jefferson passage draws an explicit parallel between the two men, a theme that is to recur later in the poem. The second is the image of the poet as a "blown husk", again a borrowing from the Noh, this time the play Kakitsubata. The canto closes with the opening lines of Epictetus' Hymn of Cleanthus, which Pound tells us formed part of Adams' paideuma. In a litany, she is thanked for raising Pound up (m'elevasti, a reference to Dante's praise of his beloved Beatrice in the Paradiso) out of hell (Erebus). Pound was flown from Pisa to Washington to face trial on a charge of treason on the 16th of November 1945. Canto XIII then introduces Confucius, or Kung, who is presented as the embodiment of the ideal of social order based on ethics. The final canto in this sequence returns to the usura litany of Canto XLV, followed by detailed instructions on making flies for fishing (man in harmony with nature) and ends with a reference to the anti-Venetian League of Cambrai and the first Chinese written characters to appear in the poem, representing the Rectification of Names from the Analects of Confucius (the ideogram representing honesty at the end of Canto XLI was added when The Cantos was published as a single volume). Then the canto returns to Adams' notes on the practicalities of funding the war and the negotiation of a loan from the Dutch. In 2015 Carcanet Press published a volume of Posthumous Cantos, a selection of discarded and uncollected drafts, c. [2], The Cantos has always been a controversial work, initially so because of the experimental nature of the writing. Canto XCVII draws heavily on Alexander del Mar's History of Monetary Systems in a survey ranging from Abd al Melik, the first Caliph to strike distinctly Islamic coinage, through Athelstan, who helped introduce the guild system into England, to the American Revolution. Previous The Great Reset abolishes the US Constitution & English Bill of Rights. The goddess in her various guises appears again, as does Awoi's hennia, the spirit of jealousy from Aoi No Ue, a Noh play translated by Pound. The Latin phrase Eripuit caelo fulmen ("He snatched the thunderbolt from heaven") is taken from an inscription on a bust of Benjamin Franklin. Pound scholar Richard Sieburth describes the Italian Cantos as marking "the moral nadir of the poem". There follows a long lyrical passage in which a ritual of floating votive candles on the bay at Rapallo near Pound's home every July merges with the cognate myths of Tammuz and Adonis, agricultural activity set in a calendar based on natural cycles, and fertility rituals. In his 1918 essay A Retrospect, Pound wrote "I think there is a 'fluid' as well as a 'solid' content, that some poems may have form as a tree has form, some as water poured into a vase. The opening line, "Zeus lies in Ceres' bosom", merges the conception of Demeter, passages in previous cantos on ritual copulation as a means of ensuring fertility, and the direct experience of the sun (Zeus) still hidden at dawn by two hills resembling breasts in the Pisan landscape. In the case of Williams, his Paterson (1963) follows Pound in using incidents and documents from the early history of the United States as part of its material. Cantos XXV and XXVI draw on the Book of the Council Major in Venice and Pound's personal memories of the city. He later found a copy of the Pocket Book of Verse, edited by Morris Edmund Speare, in the latrine. In this context, they may be intended to represent the poet and his wife. So that. Presences / Provided one begins to remember the war of shit / certain facts revive. "The Ideologies and Semiotics of Fascism: Analyzing Pound's Cantos 12-15". ... Canto I at Poets'.org. Canto LXXX opens in the camp in the shadow of death and soon turns to memories of London, Paris and Spain, including a recollection of Walter Rummel, who worked with Pound on troubadour music before World War I and of Eliot, Wyndham Lewis, Laurence Binyon and others. The translation of the Confucian classics into Manchu opens the following canto, Canto LIX. At first, he lived with his daughter Mary in Tyrol, but soon returned to Rapallo. Yong Tching is shown banning Christianity as "immoral" and "seeking to uproot Kung's laws". These vision fragments are cross-cut with an invocation of the Taoist Kuan Tzu (Book of Master Kuan). Published in 1924/5 as A Draft of XVI Cantos by the Three Mountains Press in Paris. First mead and then sweet wine, water mixed with white flour. Canto XXIII returns to the world of the troubadours via Homer and Renaissance Neoplatonism. The major locus of these cantos is the city of Venice. "The Return to Italy: 'To Confess Wrong…'". Here did they rites, Perimedes and Eurylochus. Pound was also an important figure for the poets of the Beat generation, especially Gary Snyder and Allen Ginsberg. The range of allusion to historical events is broad, and abrupt changes occur with little transition. There is a lot on money policy in this canto and Pound quotes approvingly the Tartar ruler Oulo who noted that the people "cannot eat jewels". 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