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The Cantos of Ezra Pound (New Directions Books)

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Fang, Achilles. “Materials for the Study of Pound’s Cantos.” 4 vols. Diss. Harvard U, 1958. Vol I: 19-23; 28-9. Cantos XLII, XLIII and XLIV move to the Sienese bank, the Banca Monte dei Paschi di Siena and to the 18th-century reforms of Pietro Leopoldo, Habsburg Arch Duke of Tuscany. Founded in 1624, the Monte dei Paschi was a low-interest, not-for-profit credit institution whose funds were based on local productivity as represented by the natural increase generated by the grazing of sheep on community land (the "BANK of the grassland" of Canto XLIII). As such, it represents a Poundian non-capitalist ideal. Moody, D. (2007). Ezra Pound: Poet—Volume I the young genius, 1885–1920. Oxford: Oxford University Press. Cai, Z. (2007). How to read Chinese poetry: A guided anthology. New York: Columbia University Press. As The Cantos Project is numbering the lines of The Cantos, references to cantos already glossed will be by canto number and line(s), as standard with classical works. Example: III: ll.7–17.

The next canto, Canto LXIII, is concerned with Adams' career as a lawyer and especially his reports of the legal arguments presented by James Otis in the Writ of assistance case and their importance in the build-up to the revolution. The Latin phrase Eripuit caelo fulmen ("He snatched the thunderbolt from heaven") is taken from an inscription on a bust of Benjamin Franklin. Cavalcanti's canzone, Pound's touchstone text of clear intellection and precision of language, reappears with the insertion of the lines " In quella parte / dove sta memoria" into the text. LXII–LXXI (The Adams Cantos) [ edit ] John Adams: "the man who at certain points /made us / at certain points / saved us" (Canto LXII). First published in Cantos LII–LXXI. Norfolk Conn.: New Directions, 1940. With his political certainties collapsing around him and his library inaccessible, Pound turned inward for his materials and much of the Pisan sequence is concerned with memory, especially of his years in London and Paris and of the writers and artists he knew in those cities. There is also a deepening of the ecological concerns of the poem. The awarding of the Bollingen Prize to the book caused considerable controversy, with many people objecting to the honouring of someone they saw as a madman and/or traitor. However, The Pisan Cantos is generally the most admired and read section of the work. It is also among the most influential, having affected poets as different as H.D. and Gary Snyder. Henry Longfellow was an American epic poet and a strict technician of verse, famous for fitting the tetrameter of the Finnish poem Kalevala to the American epic in The Song of Hiawatha. Less well-known is Longfellow’s use of the Homeric hexameter in his epic Evangeline. He would have made the inversion Pound indicated to fit the flow of syllables to a certain meter.El otro personaje citado al comienzo del Canto XII, Nicolás Castaño Capetillo (1836-1926), es bastante más conocido: a comienzos del siglo XX, fue el hombre más acaudalado de Cuba. De origen vasco, llegó a la isla en 1849 y desde 1851 trabajó en Cienfuegos como dependiente de bodega, vendedor ambulante y empleado de Esteban Cacicedo, hasta establecerse por su cuenta en una fábrica de velas y una tienda mixta que perdió en un incendio. Con un socio fundó la Castaño Intriago, casa comercial y bancaria que duró hasta 1888. Mediante créditos llego a ser acreedor de algunos de los principales negocios de la ciudad, y propietario de varios centrales. Años después, su fortuna se unió familiarmente con la de los Falla, otra de las más ricas familias cubanas. Según algunos historiadores cubanos, en el origen de su inmensa fortuna están las confiscaciones a los cubanos condenados por sus ideales o acciones separatistas, bajo el control de una Junta de Bienes Embargados. Castaño, teniente del Batallón de Voluntarios de Cienfuegos, fue miembro de una de esas comisiones. Al parecer, por esa vía muchas de las propiedades enajenadas a los patriotas cayeron en sus manos” ( Busto 2014).

Nevertheless, there are indications in Pound's other writings that there may have been some formal plan underlying the work. 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. That most symmetrical forms have certain uses. That a vast number of subjects cannot be precisely, and therefore not properly rendered in symmetrical forms". Critics like Hugh Kenner who take a more positive view of The Cantos have tended to follow this hint, seeing the poem as a poetic record of Pound's life and reading that sends out new branches as new needs arise with the final poem, like a tree, displaying a kind of unpredictable inevitability.XVII–XXX [ edit ] XVII–XXVII published in 1924/5 as A Draft of XVI Cantos by the Three Mountains Press in Paris. Cantos I–XXX published in 1930 in A Draft of XXX Cantos by Nancy Cunard's Hours Press. Venice: "Flat water before me, / and the trees growing in water, / Marble trunks out of stillness, / On past the palazzi, / in the stillness, The light now, not of the sun" (Canto XVII) Mons Quade... elsewhere recorded – Pound met Quade at the same time with Baldy, in 1910, and recorded him in a short piece called “Stark realism” which he published in Pavannes and Divisions in 1918.

After an opening passage that draws together many of the main themes of the poem through images of Ra-Set, Ocellus on light (echoing Eriugena), the tale of Gassire's Lute, Leucothoe's rescue of Odysseus, Helen of Troy, Gemisto, Demeter, and Plotinus, Canto XCVIII turns to the Sacred Edict of the emperor K'ang Hsi. This is a 17th-century set of maxims on good government written in a high literary style, but later simplified for a broader audience. Pound draws on one such popular version, by Wang the Commissioner of the Imperial Salt Works in a translation by F.W. Baller. 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. Drafts and fragments of Cantos CX–CXVII [ edit ] First published as Drafts and Fragments of Cantos CX–CXVII. New York: New Directions, 1969. Canto CXVI was the last canto completed by Pound. It opens with a passage in which we see the Odysseus/Pound figure, homecoming achieved, reconciled with the sea-god. However, the home achieved is not the place intended when the poem was begun but is the terzo cielo ("third heaven") of human love. The canto contains the following well-known lines: Cheng, M., & Tang, W. H. (2018). Essential terms of Chinese painting. Kowloon: City University of Hong Kong Press.Contributor name. The Online Companion to The Cantos of Ezra Pound, IV: n.gloss number. The Cantos Project. Web. Date of access. The main focus of Canto LXXVII is accurate use of language, and at its centre is the moment when Pound hears that the war is over. Pound draws on examples of language use from Confucius, the Japanese dancer Michio Itô, who worked with Pound and Yeats in London, a Dublin cab driver, Aristotle, Basil Bunting, Yeats, Joyce and the vocabulary of the U.S. Army. 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 canto closes with an invocation of Dionysus ( Zagreus). We are nevertheless one humanity, compounded of one mud and of one aether; and every man who does his own job really well has a latent respect for every other man who does his own job really well; this is our lasting bond; whether it be a matter of buying up all the little brass farthings in Cuba and selling them at a quarter per cent. advance, or of delivering steam-engines to King Menelek across three rivers and one hundred and four ravines, or of conducting some new crotchety variety of employers’ liability insurance., or of punching another man’s head, the man who really does the things well if he be pleased afterwards to talk about it, gets always his auditors’ attention; he gets his audience the moment he says something so intimate that it proves him the expert; he does not, as a rule, sling generalities; he gives the particular case for what it is worth; the truth is the individual” ( SP 33; P&P I: 57; Nicholls 30-31) The section he wrote at the end of World War II, a composition started while he was interned by American occupying forces in Italy, has become known as The Pisan Cantos, and is the part of the work most often considered to be self-sufficient. It was awarded the first Bollingen Prize in 1948. There were many repercussions, since this in effect honoured a poet who had been condemned as a traitor of his native country, and was also diagnosed with a serious and disabling mental illness. Other sources indicate 44 steps, as the first row of seats is raised from the bottom floor of the arena. Pound was aware of the discrepancy when he wrote in canto XI: “I have sat here/ for forty four thousand years” (XI: ll.85-86; see also OCCEP XI: n.32).

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