A passage on Adams' opposition to American involvement in European wars is highlighted, echoing Pound's position on his own times. NOVEMBER 16, 2020 - 12:30PM TO 1:30PM VIRTUAL LECTURE LINK TO EVENT 29th Ezra Pound International Conference EPIC in Kyoto. 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. 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. The "fount in the hills fold" and the erect temple (Templum aedificans) also serve as images of sexual love. In an introductory note to the section, Pound is at pains to point out that the ideograms and other fragments of foreign-language text incorporated in The Cantos should not put the reader off, as they serve to underline things that are in the English text. 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). In this version, the poem began as an address by the poet to Robert Browning. Learn how and when to remove this template message, The Fall of America: Poems of These States. 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". The Cantos takes a position between the mythic unity of Eliot's poem and Joyce's flow of consciousness and attempting to work out how history (as fragment) and personality (as shattered by modern existence) can cohere in the "field" of poetry. The rest of the canto is concerned with Venice, which is portrayed as a stone forest growing out of the water. At the core of Canto CV are a number of citations and quotations from the writings of St. Anselm. Ezra Pound's Cantos represent some of the highest achievement in 20th century poetry. Canto LXII opens with a brief history of the Adams family in America from 1628. Notes for Canto CXVII et seq. The canto opens with the name of Hendrik van Brederode, a lost leader of the Dutch Revolution, forgotten while William I, Prince of Orange is remembered. And Bathsheba did open up her shop For business and running repairs although Her long distant cousin covered and festooned . A selection of cantos read by Paul Cunningham, and moderated by David Moody, music transcribed for violin by Ezra Pound and played by Kamil Tchalaev on the violik. originally consisted of three fragments, with a fourth, sometimes titled Canto CXX, added after Pound's death. 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. A close reader will normally require a scholarly commentary to help understand the text. 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. The translation of the Confucian classics into Manchu opens the following canto, Canto LIX. It was suggested by the heading ("The Rock Drill") of Wyndham Lewis's 1951 review of The Letters of Ezra Pound.[18]. Canto CII returns to the island of Calypso and Odysseus' voyage to Hades from Book Ten of the Odyssey. 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. Canto LXXXVI opens with a passage on the Congress of Vienna and continues to hold up examples of good and bad rulers as defined by the poet with Latin and Chinese phrases from Couvreur woven through them. Canto XLVI 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. Found unfit to stand trial because of the state of his mental health, he was incarcerated in St. Elizabeths Hospital, where he was to remain until 1958. Then prayed I many a prayer to the sickly death’s-heads; As set in Ithaca, sterile bulls of the best. These include the poet's coming to terms with a sense of artistic failure, and jealousies and hatreds that must be faced and expiated. 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]. Here he gained access to a typewriter. Certainly has none now". 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). ... Canto I at Poets'.org. [2], The Cantos has always been a controversial work, initially so because of the experimental nature of the writing. Canto 1 poem by Dean Meredith. 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. 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. The canto moves on through a long passage remembering Pound's time as Yeats' secretary in 1914 and a shorter meditation on the decline in standards in public life deriving from a remembered visit to the senate in the company of Pound's mother while that house was in session. The diction is the same as that used in earlier cantos on similar subjects. 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. Sun to his slumber, shadows o’er all the ocean. The central images are the invented figure Ra-Set, a composite sun/moon deity whose boat floats on a river of crystal. Canto VI. Another theme sees Ecbatana, the seven-walled "city of Dioce", blend with the city of Wagadu, from the African tale of Gassire's Lute that Pound derived from Frobenius. Eventually, you might start to wonder who's actually speaking in this poem and what he/she is speaking about. 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. Guido Cavalcanti appears on horseback to tell Pound about a heroic deed of a girl from Rimini who led a troop of Canadian soldiers to a mined field and died with the "enemy". Canto LXXXI opens with a complex image that illustrates well Pound's technical approach. After more memories of America and Venice, the canto ends in a passage that brings together Dante's celestial rose, the rose formed by the effect of a magnet on iron filings, an image from Paul Verlaine of a fountain playing in the moonlight, and a reference to a poem by Ben Jonson in a composite image of hope for "those who have passed over Lethe". 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 destruction of Montségur is implicitly compared with the destruction of Troy in the closing lines of the canto. The first canto in the sequence, Canto LXXXV, contains 104 Chinese characters from the Chou King, in addition to a number of Latin phrases, mostly taken from Couvreur's translation. 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. 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. Cantos XVIII and XIX return to the theme of financial exploitation, beginning with the Venetian explorer Marco Polo's account of Kublai Khan's paper money. 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. In the beginning, God / the great aesthete, having created heaven and earth / after the There are also references to the Italian Risorgimento, John Adams, and Dom Metello de Souza, who gained some measure of relief for the Jesuit mission. The tone of placid acceptance is underscored by three Chinese characters that translate as "don't help to grow that which will grow of itself" followed by another appearance of the Greek word for weeping in the context of remembered places. Homer is, of course, the original author of The Odyssey. Flory, Wendy Stallard. This canto then moves to the fountain of Castalia on Parnassus. But first Elpenor came, our friend Elpenor. Oh yeah, and everyone's been crying. Lie quiet Divus. This letter contained news of the death in the war of J.P. Angold, a young English poet whom Pound admired. More generally, The Cantos, with its wide range of references and inclusion of primary sources, including prose texts, can be seen as prefiguring found poetry. ... 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. The canto then goes on to outline the concurrent pressure placed on the western borders by activities associated with the great Tartar horse fairs, leading to the rise of the Manchu dynasty. Canto XXXVI opens with a translation of Cavalcanti's canzone Donna mi pregha ("A lady asks me"). Souls out of Erebus, cadaverous dead, of brides. Canto XVII opens with the words "So that", echoing the end of Canto I, and then moves on to another Dionysus-related metamorphosis story. "The Fascination and Terror of Ezra Pound", Christopher Wang, "Clarity from Chaos in the Rock-Drill Cantos Paradise. 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. This document, which was based on Roman law, lays out the rules that governed the Byzantine Guild system, including the setting of just prices and so on. 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