This is set between two further references to Mont Segur. 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. Call for papers. This canto introduces the figure of St. Anselm of Canterbury, who is to feature over the rest of this section of the long poem. This reference signalled Pound's intent to close the poem with a final volume based on his own paradisiacal vision. This city, four times rebuilt, with its four walls, four gates and four towers at the corners is a symbol for spiritual endurance. The section ends with Canto LXXI, which summarises many of the themes of the foregoing cantos and adds material on Adams' relationship with Native Americans and their treatment by the British during the Indian Wars. “Lose all companions.”  And then Anticlea came. 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. Images of light saturate this canto, culminating in the closing lines: "A little light, like a rushlight / to lead back to splendour". After references to politics, economics, and the nobility of the world of the Noh and the ritual dance of the moon-nymph in Hagaromo that dispels mortal doubt, the canto closes with an extended fertility hymn to Dionysus in the guise of his sacred lynx. There is an extract from a hymn to Diana from Layamon's 12th-century poem Brut. This starts from the identification of a nearby mountain with the Chinese holy mountain Taishan and the naming of the moon as sorella la luna (sister moon). Central to this aspect is a fragment from Dante, non fosse cive, taken from a passage in Paradiso, Canto VIII, in which Dante is asked "would it be worse for man on earth if he were not a citizen?" Poured we libations unto each the dead, First mead and then sweet wine, water mixed with white flour. These cantos, CVII, CVIII, CIX, consist mainly of "luminous details" lifted from Coke's Institutes, a comprehensive study of English law up to his own time. The canto shows Adams concerned with the practicalities of waging war, particularly of establishing a navy. Canto LX deals with the activities of the Jesuits, who, we are told, introduced astronomy, western music, physics and the use of quinine. 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. De Mailla was very much an Enlightenment figure and his view of Chinese history reflects this; he found Confucian political philosophy, with its emphasis on rational order, much to his liking. 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. 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. Ezra Pound, from "Canto CXV" (The Cantos of Ezra Pound)” ― Ezra Pound, The Cantos. This name is lifted from correspondence between John Adams and Benjamin Rush which was finally published in 1898 by Alexander Biddle, a descendant of Pound's "villain" Nicholas. Then the goddess appears in a number of guises: the moon, Mother Earth (in the Randolph reference), the Sibyl (last encountered in the context of the American Revolution in Canto LXIV), Isis and Kuanon. Douglas for the first time. In the canto, these are summed up in the line "Our dynasty came in because of a great sensibility", where sensibility translates the key character Ling, and in the reference to the four Tuan, or foundations, benevolence, rectitude, manners and knowledge. The destruction of Montségur is implicitly compared with the destruction of Troy in the closing lines of the canto. 's poetry from 1940 onwards takes the form of long sequences, and her Helen in Egypt, written during the 1950s, covers much of the same Homeric ground as The Cantos (but from a feminist perspective), and the three sequences that make up Hermetic Definition (1972) include direct quotations from Pound's poem. Presences / Provided one begins to remember the war of shit / certain facts revive. Men many, mauled with bronze lance heads. Pound viewed the setting up of this bank as a selling out of the principles of economic equity on which the U.S. Constitution was based. POUND’S FASCIST CANTOS REVISITED . 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. The canto draws to a close with the phrase Lux enim ("light indeed") and an image of the oval moon. Canto L, which again contains antisemitic statements, moves from John Adams to the failure of the Medici bank and more general images of European decay since the time of Napoleon I. This title was later removed. A number of Neoplatonic philosophers, familiar from earlier cantos but with the addition of Avicenna, are listed as representing a fine thread of light in these Dark Ages. This death, reviving memories of the poet's dead friends from World War I, is followed by a passage on Pound's 1939 visit to Washington, D.C. to try to avert American involvement in the forthcoming European war. Quoting extensively from primary sources, including Malatesta's letters, Pound especially focuses on the building of the church of San Francesco, also known as the Tempio Malatestiano. Also see Flory, Wendy Stallard. The invocation of the goddess and the vision of paradise are sandwiched between two citations of Richard of St. Victor's statement ubi amor, ibi oculus est ("where love is, there the eye is"), binding together the concepts of love, light and vision in a single image. At one end of the spectrum George P. Elliot has drawn a parallel between Pound and Adolf Eichmann based on their antisemitism,[4] while at the other Marjorie Perloff places Pound's antisemitism in a wider context by examining the political views of many of his contemporaries, arguing that "We have to try to understand why" antisemitism was widespread in the early twentieth century, "and not say let's get rid of Ezra Pound, who also happens to be one of the greatest poets of the 20th C."[5], This is complicated by the fact that The Cantos themselves contain very little evidence of Pound's otherwise blatant antisemitism: in a close study of the poem, Wendy Stallard Flory concluded that it contained only seven passages of antisemitic sentiment in the 803 pages she read. Pound scholar Richard Sieburth describes the Italian Cantos as marking "the moral nadir of the poem". These many crowded about me; with shouting. Snyder's interest in things Chinese and Japanese stemmed from his early reading of Pound's writings. “Shalt return through spiteful Neptune, over dark seas. Souls out of Erebus, cadaverous dead, of brides. Pound later came to see this canto as a key central point in the poem. The canto also contains a reproduction, in Italian, of a conversation between the poet and a "swineherd's sister" through the DTC fence. Pound, Ezra and Sieburth, Richard (ed). 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. The phrase tu mi fai rimembrar translates as "you remind me" and comes from a passage in which Dante addresses Matilda, the presiding spirit of the Garden of Eden. 1915–1970. The poetic response to The Cantos is summed up in Basil Bunting's poem, "On the Fly-Leaf of Pound's Cantos": A fraction of the poem is read near the ending of Pier Paolo Pasolini's 1975 film Salò, or the 120 Days of Sodom. 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. Hartnett, Stephen. The next canto continues the focus on finance by introducing the Social Credit theories of C.H. The two threads are further linked by the placement of the Greek word brododactylos ("rosy-fingered") applied by Homer to the dawn but given here in the dialect of Sappho and used by her in a poem of unrequited love. Canto XXXI opens with the Malatesta family motto Tempus loquendi, tempus tacendi ("a time to speak, a time to be silent") to link again Jefferson and Sigismondo as individuals and the Italian and American "rebirths" as historical movements. 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. 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). Again, this section of the poem closes with an image of the moon. These lines are followed by a sequence of identity shifts involving a seal, the daughter of Lir, and other figures associated with the sea: Eleanor of Aquitaine who, through a pair of Homeric epithets that echo her name, shifts into Helen of Troy, Homer with his ear for the "sea surge", the old men of Troy who want to send Helen back over the sea, and an extended, Imagistic retelling of the story of the abduction of Dionysus by sailors and his transformation of his abductors into dolphins. The oft trilled words seem stark and clear. 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. Stood as the selfless act of a loan from the canon, rag-bag! Then cross-cut into memories of the Ming dynasty, bringing us to around 805 CE with sea-god! 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