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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. Public centavos – The one cent coin was money issued by the state as a national service, not a commodity produced by an individual and bearing a price tag. Cornering a public good was both immoral and illegal. Pound shows this, in spite of his obvious sympathy for Bacon. Over the next four lines, there are several examples of alliteration, seen specifically in the use and reuse of words starting with an “s.” Odysseus also provides the reader with details about this new section of their journey. He speaks on the wind, the water, and the movement of the sun. They were moving at a pretty good speed.

The phrase is used in the “Sanctus,” sung or recited during the Catholic ritual of communion: Sanctus, Sanctus, Sanctus/ Dominus Deus Sabaoth./ Pleni sunt cæli et terra gloria tua./ Hosanna in excelsis./ Benedictus qui venit in nomine Domini./ Hosanna in excelsis. (“Holy, Holy, Holy Lord God of hosts./ Heaven and earth are full of your glory./ Hosanna in the highest./ Blessed is he who comes in the name of the Lord./ Hosanna in the highest” (Latin text and translation by Peter Liebregts). Canto LV is mainly concerned with the rise of the Tatars and the Tartar Wars, ending about 1200. 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". This is echoed in Canto LVI when KinKwa remarks that both gold and jade are inedible. This canto is mainly concerned with Ghengis and Kublai Khan and the rise of their Yeun dynasty. The canto closes with the overthrow of the Yeun and the establishment of the Ming dynasty, bringing us to around 1400. The primary goals of the project are twofold: maintain and develop the current and future readership of the poem through multimedia annotation; further, provide a space where the community of Pound scholars, as well as students of the poem can find the best work of the past, study the poem individually or in a classroom, and develop the scholarship of the future. The project brings together everything we know at present on each canto - it is a collection, evaluation and assessment of our whole research on the poem since its beginnings to the present day. Froula, C. (2003). The beauties of mistranslation: On Pound’s English after Cathay. In Z. Qian (Ed.), Ezra Pound and China (pp. 49–71). Ann Arbor: University of Michigan. 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. 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. Rulers who Pound viewed as embodying some or all of these characteristics are adduced: Queen Elizabeth I, Cleopatra, Alexander the Great, as are Napoleon III, Franklin D. Roosevelt and Harry Dexter White, who stand for everything Pound opposes in government and finance.Rainey, Lawrence Scott. Ezra Pound and the Monument of Culture: Text, History, and the Malatesta Cantos. Chicago: U of Chicago P, 1991. The world of nature, Pound's source of wealth and spiritual nourishment, also features strongly; images of roots, grass and surviving traces of fertility rites in Catholic Italy cluster around the sacred tree Yggdrasil. The natural world and the world of government are related to tekhne or art. Richard of Saint Victor, with his emphasis on modes of thinking, makes an appearance, in close company with Eriugena, the philosopher of light. Enjambment is a formal device that pound uses several times in ‘Canto I.’It is concerned with where the poet cuts off a phrase. For example, the transition between lines two and three of the first stanza and eight and nine of the third stanza. 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. 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.

Qian, Z. (1995). Orientalism and modernism: The legacy of China in Pound and Williams. Durham: Duke University Press. 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. These fragments constellate to form an exemplum of what Pound calls "clear song". There follows another exemplum, this time of the linguistic scholarship that enables us to read these old poetries and the specific attention to words this study requires. Finally, this "clear song" and intellectual activity is implicitly contrasted with the inertia and indolence of the lotus eaters, whose song completes the canto. There are references to the Malatesta family and to Borso d'Este, who tried to keep the peace between the warring Italian city states.The Cantos Project is a digital research environment (DRE) dedicated to the study of Ezra Pound’s monumental long poem. The project is edited by Andrew Taylor and Roxana Preda at the School of Literatures Languages and Cultures of the University of Edinburgh and is funded by the Leverhulme Trust until June 2021. This generous funding will permit Preda to create annotation for the first 60 cantos, corresponding to the early and middle periods of Pound's creative output. This section of the cantos is, for the most part, made up of fragmentary citations from the writings of John Adams. 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. Adams is depicted as a 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 English jurist Sir Edward Coke, who is an important figure in some later cantos, first appears in this section of the poem. Given the fragmentary nature of the citations used, these cantos can be quite difficult to follow for the reader with no knowledge of the history of the United States in the late 18th and early 19th centuries. In the next lines, Odysseus describes the ritual he and his men performed at the edge of the world, the place that Circe told them to go. He took out his sword and dug a “pitkin,” or a small pit, and everyone poured wine into it to honor the dead. Odysseus muses about the power of sacrifices, especially bulls, in the following lines. He adds a sheep t the pile for the blind prophet Tiresias. Because of all this praying and sacrificing, souls come out of “Erebus,” a part of the underworld. Pollon d’anthropon iden – Gr. πολλῶν δ᾽ἀνθρώπων ἴδενἄστεα“ (“and he saw the cities of many men”) Odyssey I.3.

Finally, Pound ends the canto by including a respectful dedication to Aphrodite. He uses the phrase “Cypria munimenta sortita est” which is Latin for “The citadels of Cyprus were her appointed realm,” suggesting that it’s only for love that a journey like this can be made. Without explaining why Pound felt like he needed to make a dedication to Aphrodite, the poem ends with “So that:”. but your mother – Through the parable of the Honest Sailor, Pound insists on a basic distinction concerning the nature of true wealth. In classical economics, wealth is calculated in money, on the understanding that producing wealth consists in creating profit out of existing capital – money “begets” money. But this line of reasoning was proven wrong by Aristotle and Dante: money does not give birth – a coin is the same as another coin – two coins together do not naturally beget something else, different from them. This is why Dante places the usurers together with the sodomites in the 7 th circle in the Inferno (XVII). The irony of the anecdote is that the sailor honestly believes that an economy of same functions like a natural one – it portrays the logical absurdity of financial capitalism. Canto XII thus introduces the idea that would be so important to Pound, particularly in cantos XLV and LI, that usury is against nature. XCVI–CIX (Thrones) [ edit ] First published as Thrones: 96–109 de los cantares. New York: New Directions, 1959. Example: (Bressan, OCCEPIV: n.3). If no name is indicated, the gloss was written by Roxana Preda. In this case, the citation will have this format: ( OCCEPIV: n.13). les gradins... calcaire – Fr. “the steps, forty-three in limestone.” Pound is referring to the French version of the Baedeker, which contained this information.

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. The canto declares this practice as both contrary to the laws of nature and inimical to the production of good art and culture. Pound later came to see this canto as a key central point in the poem. It contrasts what has gone before with the practices of institutions such as the Bank of England that are designed to exploit the issuing of credit to make profits, thereby, in Pound's view, contributing to poverty, social deprivation, crime and the production of "bad" art as exemplified by the baroque. Palandri, A. J. (1988). The Taoist vision: A study of T’ao Yuan-Ming’s nature poetry. Journal of Chinese Philosophy, 15(2), 97–121. Kern, R. (1996). Orientalism, modernism, and the American poem. Cambridge: Cambridge University Press. The Noh figure of Awoi (from AOI NO UE), ravaged by jealousy, reappears together with the poet Ono no Komachi, the central character in two more Noh plays translated by Pound. She represents a life spent meditating on beauty which resulted in vanity and ended in loss and solitude. The canto draws to a close with the phrase Lux enim ("light indeed") and an image of the oval moon. Contributor name. The Online Companion to The Cantos of Ezra Pound, IV: n.gloss number. The Cantos Project. Web. Date of access.

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