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The Cantos of Ezra Pound (New Directions Books)

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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) Graham, A. C. (Ed., Trans.) (2008). Poems of the late T’ang. New York: New York Review Books Classics. investment in new bank buildings– As Pound would later repeat and refine in the poem, banks have a social responsibility. Bankers can decide to be simply usurers and invest in money itself (or own slums to exploit the poor) or may use a part of their wealth tosupport the city, people, country where they work and live. They can choose to be patrons of the arts, philanthropists, benefactors, saviors. Nolde, J. (1983). Blossoms from the East: The Chinese cantos of Ezra Pound. Orono, ME: National Poetry Foundation.

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). Find sources: "The Cantos"– news · newspapers · books · scholar · JSTOR ( August 2022) ( Learn how and when to remove this template message) 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.

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. 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. 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. 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. The original Greek is quoted extensively and an aside claiming the right to write for a specialist audience is included. The close attention paid to the actual words prefigures the closer focus on philology in this section of the poem. This focus on words ties in closely with what Pound referred to as the method of "luminous detail", in which fragments of language intended to form the most compressed expression of an image or idea act as tesserae in the making of these late cantos.

XLII–LI (Fifth Decad, called also Leopoldine Cantos) [ edit ] Published as The Fifth Decad of the Cantos XLII–LI. London: Faber & Faber, 1937.These two cantos, written in Italian, were not collected until their posthumous inclusion in the 1987 revision of the complete text of the poem. Pound reverts to the model of Dante’s Divine Comedy and casts himself as conversing with ghosts from Italy’s remote and recent past. Welch, P. B. (2008). Chinese art: A guide to motifs and visual imagery. Clarendon: Tuttle Publishing. 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). Canto lines level – Here the reader encounters the poem itself together with the new multimedia annotation. Within the glosses, we find links, images, maps and other supporting material.

This final complete canto is followed by the two fragments of the 1940s. The first of these, "Addendum for C", is a rant against usury that moves a bit away from the usual anti-Semitism in the line "the defiler, beyond race and against race". The second is an untitled fragment that prefigures the Pisan sequence in its nature imagery and its reference to Jannequin. 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: Qian, Z. (1995). Orientalism and modernism: The legacy of China in Pound and Williams. Durham: Duke University Press. At the core of Canto CV are a number of citations and quotations from the writings of St. Anselm. This 11th-century philosopher and inventor of the ontological argument for the existence of God who wrote poems in rhymed prose appealed to Pound because of his emphasis on the role of reason in religion and his envisioning of the divine essence as light. In the 1962 interview already quoted, Pound points to Anselm's clash with William Rufus over his investiture as part of the history of the struggle for individual rights. Pound also claims in this canto that Anselm's writings influenced Cavalcanti and François Villon.This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Pound, E. (1984). Ezra Pound and Dorothy Shakespear: their letters 1909-1914. In O. Pound and A. W. Litz (Eds.), New York: New Directions. Burt, J. (2012). Hypotaxis and parataxis. In S. Cushman, C. Cavanagh, J. Ramazani, & P. Rouzer (Eds.), The Princeton encyclopedia of poetry and poetics (pp. 650–651). Princeton: Princeton University Press. Another such figure, Sir Edward Coke, dominates the final three cantos of this section. 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. In Canto CVII, Coke is placed in a river of light tradition that also includes Confucius, Ocellus and Agassiz. This canto also refers to Dante's vision of philosophers that reveal themselves as light in the Paradiso. In Canto CVIII, Pound highlights Coke's view that minting coin "Pertain(s) to the King onely" and has passages on sources of state revenue. He also draws a comparison between Coke and Iong Cheng. A similar parallel between Coke and the author of the Book of the Eparch is highlighted in Canto CIX. The following canto, Canto LXXXVIII, is almost entirely derived from Benton's book and focuses mainly on John Randolph of Roanoke and the campaign against the establishment of the Bank of the United States. 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. At the centre of the canto there is a passage on monopolies that draws on the lives and writings of Thales of Miletus, the emperor Antoninus Pius and St. Ambrose, amongst others.

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