The Cantos - Knowledge

968:. Wilson's idea was that Bonaparte had been a flawed hero who had fought and been crushed by usury. The canto actively follows this idea but finds rather that Napoleon did not change the financial arrangements of his day, or had any progressive economic idea. Pound also shows how the Rothschild family actively helped the British and Austrian cause against him. 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. They decad ends with the first Chinese written characters to appear in the poem, representing the Rectification of Names from the 806: 906: 327: 856:, who was an influence on the Cathars and whose writings were condemned as heretical in both the 11th and 13th centuries, and closes with the Italian poet Sordello. Canto XXXVII then returns to the period before the civil war in the United States with a portrait of the American President Martin Van Buren, focusing on the period he was vice-president to Andrew Jackson, who, following his repayment of the debt of the revolutionary war of independence, also ended the Second Bank of the United States in the so-called "Bank War" of 1829-1836. 1961: 2906:, whose death was as a result of jealousy. The second centres on the lines "that I lost my center / fighting the world", which were intended as an admission of mistakes made as a younger man. The third fragment is the one that is also known as Canto CXX. It is, in fact, some rescued lines from the earlier version of Canto CXV, and has Pound asking forgiveness for his actions from both the gods and those he loves. The final fragment returns to beginnings with the name of François Bernonad, the French printer of 933:, which Pound later defined as a charge on credit regardless of actual production focusing on examples from the arts in which cultural creation is independent of the market. The canto declares usury is 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. Canto XLVI presents the dark heart of usury, i.e. the procedures whereby money is created in liberal institutions such as the 1891:, last encountered in Cantos I and XLVII. 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 closing lines, "Down derry-down / Oh let an old man rest", return the poem from the world of memory to the poet's present plight. 649: 1400:

Sigismondo Malatesta's Rimini.) Both cantos end on a positive and optimistic note, typical of Pound, and are unusually straightforward. Except for a scathing reference (by Cavalcanti's ghost) to "Roosevelt, Churchill and Eden / bastards and small Jews", and for a denial (by Ezzelino) that "the world was created by a Jew", they are notably free of anti-Semitic content, although it must be said that there are several positive references to

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lack of interest in this subject on the part of historians and politicians; John Adams is again held up as an ideal. The canto also contains a reproduction, in Italian, of a conversation between the poet and a "swineherd's sister" through the DTC fence. He asks her if the American troops behave well and she replies OK. He then asks how they compare to the Germans and she replies that they are the same.

937:. In Pound's view, issuing money as a form of state debt was contributing to poverty, social deprivation, crime and implicitly to "bad" art made as a form of investment and profit. At the time of writing the canto (1935) The Bank of England was still a private company, whose activities were primarily subjected to shareholder interest not the British government. The Bank was nationalised in 1946. 1035:, to the detriment of rational politics. Pound, in turn, fitted de Mailla's take on China into his own views on Christianity, the need for strong leadership to address 20th-century fiscal and cultural problems, and his support of Mussolini. 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 852:("A lady asks me"). This poem, a lyric meditation on the nature and philosophy of love, was a touchstone text for Pound. He saw it as an example of the post-Montsegur survival of the Provençal tradition of "clear song", precision of thought and language, and nonconformity of belief. The canto then continues with the figure of the 9th-century Irish philosopher and poet 162:, written in 109 canonical sections in addition to a number of drafts and fragments added as a supplement at the request of the poem's American publisher, James Laughlin. Most of it was written between 1915 and 1962, although much of the material in the first three cantos was abandoned or redistributed in 1923, when Pound prepared the first instalment of the poem, 2723: 1587:("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. These images are often intimately associated with the poet's close observation of the natural world as it imposes itself on the camp; birds, a lizard, clouds, the weather and other images of nature run through the canto. 166:(Three Mountains Press, 1925). It is a book-length work, widely considered to present formidable difficulties to the reader. Strong claims have been made for it as the most significant work of modernist poetry of the twentieth century. As in Pound's prose writing, the themes of economics, governance and culture are integral to its content. 221:, 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 2693:, "O ye, who are in a little bark, desirous to listen, following behind my craft which singing passes on, turn to see again Your shores; put not out upon the deep; for haply losing me, ye would remain astray." This reference signalled Pound's intent to close the poem with a final volume based on his own paradisiacal vision. 1675:. Conversations in the camp are then cross-cut into memories of Provence and Venice, details of the American Revolution and further visions. These memories lead to a consideration of what has or may have been destroyed in the war. Pound remembers the moment in Venice when he decided not to destroy his first book of verse, 2187:, the mythical founder of music, before recalling the San Ku/St Hilaire/Jacques de Molay/Eriugena/Sagetrieb cluster from Canto LXXXVII. 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), 1445:. He used these broadcasts to express his full range of opinions on culture, politics and economics, including his opposition to American involvement in a European war and his anti-Semitism. In 1943, he was indicted for treason in his absence, and wrote a letter to the indicting judge in which he claimed the right to 2719:(speaking in the third person) that he "has forgotten what or which politics he ever had. Certainly has none now". His crisis of belief, together with the effects of aging, meant that the proposed paradise cantos were slow in coming and turned out to be radically different from anything the poet had envisaged. 1173:, 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. 2175:

and its water was said to inspire poetry in those who drank it. The next line, "Templum aedificans not yet marble", refers to a period when the gods were worshiped in natural settings prior to the rigid codification of religion as represented by the erection of marble temples. The "fount in the hills

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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

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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. Much of the rest of the canto is concerned with the economic basis of war and the general

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bosom", merges the conception of Demeter, passages in previous cantos on ritual copulation as a means of ensuring fertility, and the direct experience of the sun (Zeus) still hidden at dawn by two hills resembling breasts in the Pisan landscape. This is followed by an image of the other mountain that

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in many of the formal devices used. 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

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cries out "WHAT SPLENDOUR / IT ALL COHERES" as he is dying. These lines, read in conjunction with the later "i.e. it coheres all right / even if my notes do not cohere", point toward the conclusion that towards the end of his effort, Pound was coming to accept not only his own "errors" and "madness"

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Although some of Pound's intention to "write a paradise" survives in the text as we have it, especially in images of light and of the natural world, other themes also intrude. These include the poet's coming to terms with a sense of artistic failure, and jealousies and hatreds that must be faced and

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Pound was arrested by Italian partisans in April 1945 and was eventually transferred to the American Disciplinary Training Center (DTC) on May 22. Here he was held in a specially reinforced cage, initially sleeping on the ground in the open air. After three weeks, he had a breakdown that resulted in

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The translation of the Confucian classics into Manchu opens the following canto, Canto LIX. The canto is then concerned with the increasing European interest in China during the reign of Emperor Kang Xi, as evidenced by the Sino-Russian border treaty in 1684 and the founding of the Jesuit mission in

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forced his hand. Laughlin pushed Pound to publish an authorised edition, and the poet responded by supplying the more-or-less abandoned drafts and fragments he had, plus two fragments dating from 1941. The resulting book, therefore, can hardly be described as representing Pound's definitive planned

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The moon/goddess reappears at the core of the canto as "pin-up" and "chronometer" close to the line "out of all this beauty something must come". 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

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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

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Canto LXX deals mainly with Adams' time as vice-president and president, focusing on his statement "I am for balance", highlighted in the text by the addition of the ideogram for balance. The section ends with Canto LXXI, which summarises many of the themes of the foregoing cantos and adds material

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Canto LXIX continues the subject of the Dutch loan and then turns to Adams' fear of the emergence of a native aristocracy in America, as noted in his remark that Jefferson feared rule by "the one" (monarch or dictator), while he, Adams, feared "the few". The remainder of the canto is concerned with

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Canto XXXVIII opens with a quotation from Dante in which he rightly accuses the king of France Philip the Fair, of falsifying the coinage. The canto then turns to modern commerce and the arms trade. The canto has acquired a certain notoriety among scholars for its succinct account of C.H. Douglas's

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ideas of divinity, the artistic impulse, love (both sacred and physical) and good governance, amongst other things. The moon is frequently associated in the poem with creativity, while the sun is more often found in relation to the sphere of political and social activity, although there is frequent

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K'ang Hsi's son Iong Cheng published commentaries on his father's maxims and these form the basis for Canto XCIX. The main theme of this canto is one of harmony between human society and the natural order, and a number of passing references are made to related items from earlier cantos: Confucius,

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Canto XXI deals with the difference of patronage between the Medici family, especially Lorenzo the Magnificent and Thomas Jefferson. A phrase from one of Sigismundo Malatesta's letters inserted into the Jefferson passage ("affatigandose per suo piacere o no") draws an explicit parallel between the

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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

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Apart from a passing reference to Randolph of Roanoke, Canto XC moves to the world of myth and love, both divine and sexual. The canto opens with an epigraph in Latin to the effect that while the human spirit is not love, it delights in the love that proceeds from it. The Latin is paraphrased in

1274:. Intertwined with this is the fight to save the rights of Americans to fish the Atlantic coastline. A passage on Adams' opposition to American involvement in European wars is highlighted, echoing Pound's position on his own times. In Canto LXVI, we see Adams in London serving as minister to the 1168:

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

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Canto XLIX is a poem of tranquil nature derived from a Chinese picture book that Pound's parents brought with them when they retired to Rapallo. Canto L is an investigation of a theory by one of the writers that Pound was in contact with, namely Robert McNair Wilson, a specialist in the life of

1503:. These themes pick up on many of the concerns of the earlier cantos and frequently run across sections of the Pisan sequence. This canto begins with Pound looking out of the DTC at peasants working in the fields nearby and reflecting on the news of the death of Mussolini, "hung by the heels". 2964:

places Pound's anti-Semitism in a wider context by relating it to the political attitudes of many of his contemporaries, and says, "We have to try to understand why and not say let's get rid of Ezra Pound, who also happens to be one of the greatest poets of the 20th C." In another exercise in

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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

2017:, in addition to a number of Latin phrases, mostly taken from Couvreur's translation. There are also a small number of Greek words. The overall effect for the English-speaking reader is one of unreadability, and the canto is hard to elucidate unless read alongside a copy of Couvreur's text. 1399:

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". (This was a propaganda story featured in Italian newspapers in October 1944; Pound was interested in it because of the connection with

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Canto LXVII opens with a passage on the limits on the powers of the British monarch drawn from Adams' writings under the pseudonym Novanglus. The rest of the canto is concerned with the study of government and with the requirements of the franchise. The following canto, LXVIII, begins with a

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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 rest of the canto is concerned with Venice, which is portrayed as a stone forest growing out of the water. Cantos XVIII and XIX return to the theme of

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in 1962 and centres around two main ideas. The first of these is the hostilities that existed amongst Pound's modernist friends and the negative impact that it had on all their works. The second is the image of the poet as a "blown husk", again a borrowing from the Noh, this time the play

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but the conclusion that it was beyond him, and possibly beyond poetry, to do justice to the coherence of the universe. Images of light saturate this canto, culminating in the closing lines: "A little light, like a rushlight / to lead back to splendour". These lines again echo the Noh of

2765:), 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 2627:, Helen and Aphrodite Euploia ("of safe voyages") and as hunter Athene (Proneia: "of forethought," the form in which she is worshiped at Delphi) and Diana (through quotes from Layamon). The sun as Zeus/Helios also features. These vision fragments are cross-cut with an invocation of the 2072:, meaning something like the transmission of tradition, apparently coined by Pound, is repeated after its first use in the previous canto, underlining Pound's belief that he is transmitting a tradition of political ethics that unites China, Revolutionary America and his own beliefs. 1740:

meld to form musical counterpoint. 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

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ending to the poem. This situation has been further complicated by the addition of more fragments in editions of the complete poem published after the poet's death. One of these was labelled "Canto CXX" at one point, on no particular authority. This title was later removed.

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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

2746:, conflating the wake of the little boat from the end of the previous canto and an image of Pound waking in his daughter's house in the Tyrol, both from sleep and, by extension, from the nightmare of his prolonged incarceration. The goddess appears as Kuanon, Artemis and 431:: Browning's poem of that name, the actual Sordello of flesh and blood, Pound's own version of the poet and the Sordello of the brief life appended to manuscripts of his poems. These lines are followed by a sequence of identity shifts involving a seal, the daughter of 2305:'s preference for Christianity over Apollonius and its lack respect for its currency resulted in the almost total loss of the "true" religious tradition for a thousand years. A number of neoplatonic philosophers, familiar from earlier cantos but with the addition of 352:. Pound came to realise that this need to be a controlling narrative voice was working against the revolutionary intent of his own poetic position, and these first three ur-cantos were soon abandoned and a new starting point sought. The answer was a Latin version of 864:

and the events before the voyage undertaken in the first canto and unfolds as a hymn to natural fertility and ritual sex. Canto XL is a diptych: the first section is dedicated to a summary of J. P. Morgan's fraudulent financial career; this is followed by another

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The canto closes with a number of instances of sexual love between gods and humans set in a paradisiacal vision of the natural world. The invocation of the goddess and the vision of paradise are sandwiched between two citations of Richard of St. Victor's statement

177:. The range of allusion to historical events is very broad, and abrupt changes occur with little transition. There is also wide geographical reference; Pound added to his earlier interests in the classical Mediterranean culture and East Asia selective topics from 2075:

Canto LXXXVII opens on usury and moves through a number of references to "good" and "bad" leaders and lawgivers interwoven with neo-platonist philosophers and images of the power of natural process. This culminates in a passage bringing together Binyon's dictum

1135:, bringing the story up to 1790. Yong Tching is shown banning Christianity as "immoral" and "seeking to uproot Kung's laws". He also established just prices for foodstuffs, bringing us back to the ideas of Social Credit. There are also references to the Italian 2591:

Cantos CIII and CIV range over a number of examples of the relationships between war, money and government drawn from American and European history, mostly familiar from earlier sections of the work. The latter canto is notable for Pound's suggestion that both

2362:. What she reminds him of is Persephone at the moment that she is abducted by Hades and the spring flowers fell from her lap. This blending of a pagan sense of the divine into a Christian context stands for much of what appealed to Pound in medieval mysticism. 1453:

his being given a cot and pup tent in the medical compound. Here, he gained access to a typewriter. For reading matter, he had a regulation-issue Bible along with three books he was allowed to bring in as his own "religious" texts: a Chinese text of Confucius,

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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

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In 1958, Pound was declared incurably insane and permanently incapable of standing trial. Consequent on this, he was released from St Elizabeth's on condition that he return to Europe, which he promptly did. At first, he lived with his daughter Mary in the

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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

1424:: "Beauty is difficult, Yeats' said Aubrey Beardsley / when Yeats asked why he drew horrors / or at least not Burne-Jones / and Beardsley knew he was dying and had to / make his hit quickly ... / So very difficult, Yeats, beauty so difficult" (Canto LXXX). 1760:

as well as the contemporary situation. Hagoromo appears again before the poem returns to Beardsley, also in the shadow of death, declaring the difficulty of beauty with a phrase from Symons and Sappho/Homer's rosy-fingered dawn woven through the passage.

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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

2653:. 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 2545:. 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 1679:, an affirmation of his decision to become a poet and a decision that ultimately led to his incarceration in the DTC. The canto ends with the goddess, in the form of a butterfly, leaving the poet's tent amid further references to Sappho and Homer. 2400:

from a Greek root word for ploughing also returns us to Pound's belief that society and economic activity are based on natural productivity. The canto, and sequence, then closes with an extended treatment of the passage from the fifth book of the

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two men - neither had the financial power of the Medici, yet assisted in the production of art even though they were of relatively modest means and far from the centres of culture. The next canto continues the focus on finance by introducing the

1884:. 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. 1590:

Images of light and brightness associated with these goddesses come to focus in the phrase "all things that are, are lights" quoted from John Scotus Eriugena. He, in turn, brings us back to the Albigensian Crusade and the troubadour world of

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Pound was discussing the possibility of writing a long poem since around 1905, but work did not begin until sometime in 1915. The initial versions of the first three cantos of the proposed "poem of some length" were published in the journal

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Canto XLVIII presents a suite of instances of what Pound considers to be the degradation of intelligence and civilisation due to usury. At the same time he proposes remedies: travel and exploration, as well as sexual and religious freedom.

2103:. 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 1055:

up to circa 225 BCE including the life of Confucius in the 5th century BC. Special mention is made of emperors that Confucius approved of and the sage's interest in cultural matters is stressed. For example, we are told that he edited the

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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

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The nomination of Washington as president dominates the opening pages of Canto LXV. The canto shows Adams concerned with the practicalities of waging war, particularly of establishing a navy. Following a passage on the drafting of the

902:, Habsburg Arch Duke of Tuscany. Founded in 1624, the Monte dei Paschi was a low-interest, credit institution whose funds were guaranteed by taxing the grazing of sheep on community land (the "BANK of the grassland" of Canto XLIII). 769:

deal with the relationship between artist and patron. Cantos XXVI is a history of Venice. Canto XXVII outlines the Russian Revolution, which is seen as being destructive, not constructive, and echoes the ruin of Eblis from Canto VI.

1532:, and Pound quotes a line from his translation, "Lordly men are to earth o'ergiven", lamenting the loss of the exiled poet's companions. This is then applied to a number of Pound's dead friends from the London/Paris years, including 1607:

that Pound learned from Frobenius. This city, four times rebuilt, with its four walls, four gates and four towers at the corners is a symbol for spiritual endurance. It, in turn, blends with the DTC in which the poet is imprisoned.

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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,

1660:, an ancient song recalled to Pound's mind by the singing of birds on the fence of the DTC, and a symbol for him of an indestructible form preserved and transmitted through many versions, times, nations and artists. (Compare the 698:

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

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as discovered in the anthology of poetry found in the camp toilet and the other prisoners are compared with Odysseus' crew, "men of no fortune". The canto then closes with two passages, one a pastiche of Browning, the other of

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and some racist expressions (e.g., "pieno di marocchini ed altra immondizia"—"full of Moroccans and other crap", Canto LXXII). Italian scholars have been intrigued by Pound's idiosyncratic recreation of the poetry of Dante and

1108:, thus putting pressure on China's eastern borders. 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 229:

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.

2814:. The remainder of this canto is primarily concerned with recognising indebtedness to the poet's genetic and cultural ancestors. The short extract from Canto CXV is a reworking from an earlier version first published in the 656:

Originally, Pound conceived of Cantos XVII–XXVII as a group that would follow the first volume by starting with the Renaissance and ending with the Russian Revolution. The major locus of these cantos is the city of Venice.

1853:/ "there are no righteous wars" passage from Canto LXXVIII, this canto culminates in images of the poet drowning in earth and a recurrence of the Greek word for weeping, ending with more bird-notes seen as a periplum. 1821:

The goddess of love then returns after a lyric passage situating Pound's work in the great tradition of English lyric, in the sense of words intended to be sung. This heralds perhaps the most widely quoted passages in

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The moon and clouds appear at the opening of Canto LXXIX, which then moves on through a passage in which birds on the wire fence recall musical notation and the sounds of the camp and thoughts of Mozart, del Cossa and

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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. The kernel of this canto is the idea that the

1627:, acting as a refrain. 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 742:

is held up as an example of the tendency of authority to crush all such alternative cultures. The destruction of Mont Segur is implicitly compared with the destruction of Troy in the closing lines of the canto.

873:'s account of his voyage along the West coast of Africa. The collection ends with canto XLI balancing an account of Benito Mussolini during WWI and Thomas Jefferson in Paris, just before the French Revolution. 142: 2048:

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

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in order to find out what their future holds. In using this passage to open the poem, Pound introduces a major theme; the excavating of the "dead" past to illuminate both present and future. He also echoes

3089:. 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 3016:(1963) follows Pound in using incidents and documents from the early history of the United States as part of its material. As with Pound, Williams includes Alexander Hamilton as the villain of the piece. 1253:

at Pound's suggestion. The passage translates as "For with my own eyes I saw the Sibyl hanging in a jar at Cumae, and when the boys said to her, 'Sibyl, what do you want?' she replied, 'I want to die.'"

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ideals of government and his attitude towards fascism, and, on the other, passages of lyrical poetry and the historical scene-setting that he performed with his "ideographic" technique. At one extreme,

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Canto LXII opens with a brief history of the Adams family in America from 1628. The rest of the canto is concerned with events leading up to the revolution, Adams' time in France, and the formation of

214:, Pound had said that he looked upon experience as similar to a series of iron filings on a mirror. Each filing is disconnected, but they are drawn into the shape of a rose by the presence of a magnet. 2965:

contextualisation, Wendy Stallard Flory (1939) made a close study of the poem and concluded that it contains, in all, seven passages of anti-Semitic sentiment in the 803 pages of the edition she used.

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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

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reflects this; he found Confucian political philosophy, with its emphasis on rational order, much to his liking. He also disliked what he saw as the superstitious pseudo-mysticism promulgated by both

1380:, brother of Cunizza of Cantos VI and XXIX, explains to Pound that he has been misrepresented as an evil tyrant only because he was against the Pope’s party, and goes on to attack the present Pope 2902:

originally consisted of three fragments, with a fourth, sometimes titled Canto CXX, added after Pound's death. The first of these has the poet raising an altar to Bacchus (Zagreus) and his mother

2580:("the beautiful and good"), which calls to mind Plotinus' attitude to the world of things and the more general Greek belief in the moral aspect of beauty. This canto introduces the figure of St. 1702:, Canto LXXVIII moves through much that is familiar from the earlier cantos in the sequence: del Cossa, the economic basis of war, Pound's writer and artist friends in London, "virtuous" rulers ( 2772:

Pound's "nice, quiet paradise" is seen, in the notes for Canto CXI, to be based on serenity, pity, intelligence and individual acceptance of responsibility as illustrated by the French diplomat

1623:. The canto then moves on to a longish passage of memories of the moribund literary scene Pound encountered in London when he first arrived, with the phrase "beauty is difficult", quoted from 583:

in Dante's poem. In Canto XVI, Pound emerges from Hell and into an earthly paradise where he sees some of the personages encountered in earlier cantos. The poem then moves to recollections of

1551:

Another major theme running through this canto is that of the vision of a goddess in the poet's tent. This starts from the identification of a nearby mountain with the Chinese holy mountain

2972:

was both of these, and also Jewish; according to Cookson he defended Pound on the basis of personal knowledge from anti-Semitism on the level of human exchange, even though, as reported by

507:

and patron of the arts. 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

2996:

has been influential in the development of English-language long poems since the appearance of the early sections during the 1920s. Amongst poets of Pound's own generation, both H.D. and

1181:

administration. Alexander Hamilton reappears, again cast as the villain of the piece. The appearance of the single Greek word "THUMON", meaning heart, returns us to the world of Homer's

427:

Canto II opens with some lines rescued from the ur-cantos in which Pound reflects on the indeterminacy of identity by setting side by side four different versions of the troubadour poet

652:

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)

1096:

in 1402 or 1403 and continues with the history of the Ming up to the middle of the 16th century. Canto LVIII opens with a condensed history of Japan from the legendary first emperor,

2425:

was the second volume of cantos written while Pound was incarcerated in St. Elizabeth's. In the same 1962 interview, Pound said of this section of the poem: "The thrones in Dante's

2323:. The canto then proceeds to look at examples of benevolent action by public figures that, for Pound, illustrate this maxim. These include Apollonius making his peace with animals, 2787:

Canto CXIII opens with an image of the sun moving through the zodiac, the first of a number of cycle images that occur through the canto, recalling a line from Pound's version of

1935:

Pound was flown from Pisa to Washington to face trial on a charge of treason in 1946. Found unfit to stand trial because of the state of his mental health, he was incarcerated in

1664:

of canto I.) Münch was a friend and collaborator of Pound in Rapallo, and the short prose section at the beginning of the canto celebrates his work on other early music figures.

987: 2914:, a poem in which the speaker determines to abandon love because he has been rejected, the fragment closes with the line "To be men, not destroyers." This stood as the close of 2803:, where it occurs in a section that paraphrases Propertius' instructions to his lover on how to behave after his death, reflects the elderly Pound's sense of his own mortality. 1583:

and finally Aphrodite herself, rising from the sea on her shell and rescuing Pound/Odysseus from his raft. The two threads are further linked by the placement of the Greek word

2641:

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

1310:

and the affair of the assumption of debt certificates by Congress which resulted in a significant shift of economic power to the federal government from the individual states.

560:, comparing this activity with "unnatural" fertility. The central parable contrasts this with wealth-creation based on the creation of useful goods. Canto XIII then introduces 1351:

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

297:) appeared in Italy. This is a concise selection from the mass of drafts (circa 1915–1965) uncollected or unpublished by Pound, and contains many passages that throw light on 1814:. At the core of this passage is the line "(to break the pentameter, that was the first heave)", Pound's comment on the "revolution of the word" that led to the emergence of 669:'s paper money. Canto XIX deals mainly with those who profit from war, returning briefly to the Russian Revolution, and ends on the evil of wars and those who promote them. 2929:

has always been controversial; initially so because of the experimental nature of the writing. The controversy has intensified since 1940 when Pound's public approval for

2600: 2588:. 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. 1939:, where he was to remain until 1958. Here he began to entertain writers and academics with an interest in his work and to write, working on translations of the Confucian 845:, the Austro-Hungarian empire. This canto contains some distinctly unpleasant expressions of anti-Semitic opinions. Canto XXXVI opens with a translation of Cavalcanti's 575:

to present Pound/Dante moving through a hell populated by bankers, newspaper editors, hack writers and other 'perverters of language' and the social order. In Canto XV,

289:). The original publication dates for the groups of cantos are as given below. The complete collection of cantos was published together in 1987 (including a final short 3311:

Pound, Ezra & Zukofsky Louis & Ahearn Barry (ed). "Pound/Zukofsky: Selected Letters of Ezra Pound and Louis Zukofsky". New York: New Directions, 1987. xxi-xxii

940:

The poem returns to the island of Circe and Odysseus about to "sail after knowledge" in Canto XLVII. There follows a long lyrical passage in which a ritual of floating

1065:

Canto LV is mainly concerned with the decadence of the Tang, The Five Dynasties and Ten Kingdom's period and the rise of the Song dynasty, including the rise of the

2616:

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

1833:

The opening of Canto LXXXII marks a return to the camp and its inmates. This is followed by a passage that draws on Pound's London memories and his reading of the

2584:, who is to feature over the rest of this section of the long poem. Canto CII returns to the island of Calypso and Odysseus' voyage to Hades from Book Ten of the 2518:, who helped introduce the guild system into England, to the American Revolution. The canto closes with a passage that sees the return of the goddess as moon and 2081: 1880:

speaks out against the death sentence and cages for wild animals and is followed by lines on equity in government and natural processes based on the writings of

838:("a time to speak, a time to be silent") to link again Jefferson and Sigismundo as individuals and the Italian and American "rebirths" as historical movements. 1462: 1140: 914: 2649:

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

2533:

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

2331:

writing on distributive justice, an aspect of their work that the poet points out is generally overlooked. Central to this aspect is a fragment from Dante,

1062:, cutting it from 3000 to 300 poems. Canto LIV moves the story on to around 805 CE. from the first emperor Qin Shi Huang to the middle of the Tang dynasty. 3639: 181:

and early modern Italy and Provence, the beginnings of the United States, England of the seventeenth century, and details from Africa he had obtained from

2068:

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. The word

468:

The next five cantos (III–VII), again drawing heavily on Pound's Imagist past for their technique, are essentially based in the Mediterranean, drawing on

2867:

This passage has often been taken as an admission of failure on Pound's part, but the reality may be more complex. The crystal image relates back to the

1667:

Canto LXXVI opens with a vision of a group of goddesses in Pound's room on the Rapallo hillside and then moves, via Mont Segur, to memories of Paris and

2953: 1518:, who had his mouth closed up by his father (was deprived of freedom of speech) because he "created too many things". He, in turn, becomes the Chinese 421: 1499:

Canto LXXIV immediately introduces the reader to the method used in the Pisan Cantos, which is one of interweaving themes somewhat in the manner of a

1048:, especially those parts that deal with agriculture and natural increase. The diction is the same as that used in earlier cantos on similar subjects. 2795:, a young woman whose presence in the Tyrol further complicated the already strained relationships between the poet, his wife Dorothy and his lover 2607:

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

2339:, Canto VIII, in which Dante is asked "would it be worse for man on earth if he were not a citizen?" and unhesitatingly answers in the affirmative. 1894:

Canto LXXXIV opens with the delivery of Dorothy Pound's first letter to the DTC on October 8. This letter contained news of the death in the war of

1856:

After a number of cantos in which the elements of earth and air feature so strongly, Canto LXXXIII opens with images of water and light, drawn from

2792: 2565:

and Plotinus amongst them. Canto C covers a range of examples of European and American statesman who Pound sees as exemplifying the maxims of the

2160:, offer hospitality to the gods in their humble house and are rewarded. In this context, they may be intended to represent the poet and his wife. 2239: 1376:, and they discuss the current war and their excessive love of the past (Pound) and of the future (Marinetti). Then the violent ghost of Dante’s 233:

Another approach to the structure of the work is based on a letter Pound wrote to his father in the 1920s, in which he stated that his plan was:

2285:, contains anti-Semitic language. Towards the close of the canto, the reader is returned to the world of Odysseus; a line from Book Five of the 1395:

Canto LXXIII is subtitled "Cavalcanti – Republican Correspondence" and is written in the style of Cavalcanti's "Donna mi prega" of Canto XXXVI.

266:

The poem's symbolic structure also makes use of an opposition between darkness and light. Images of light are used variously, and may represent

2253:

Much of the rest of the canto consists of references to mystic doctrines of light, vision and intellection. There is an extract from a hymn to

217:

Nevertheless, there are indications in Pound's other writings that there may have been some formal plan underlying the work. In his 1918 essay

2214:

Canto XCI continues the paradisiacal theme, opening with a snatch of the "clear song" of Provençe. The central images are the invented figure

1262:, the canto returns to Adams' mission to France, focusing on his dealings with the American legation in that country, consisting of Franklin, 3644: 2976:, their correspondence contained some of Pound's "offensive" views. What is more, Zukofsky's similarly formidable but distinctive long poem " 1208:. Cavalcanti's canzone, Pound's touchstone text of clear intellection and precision of language, reappears with the insertion of the lines " 2937:

became widely known. Much critical discussion of the poem has focused on the relationship between, on the one hand, the economic thesis on

2088:(who Pound remembered from his days working with Yeats) and other images relating to the worship of light including "'MontSegur, sacred to 1442: 2726:

Voltaire, who said "I hate no one / not even Fréron" (Canto CXIV), reflecting the theme of confronting hatred in this section of the poem.

777:. The last two cantos in the series return to the world of "clear song". In Canto XXIX, a story from their visit to the Provençal site at 1488:

is generally the most admired and read section of the work. It is also among the most influential, having affected poets as different as

1192:

The next canto, Canto LXIII, is concerned with Adams' career as a lawyer and especially his reports of the legal arguments presented by

259:, banking and credit; and the drive towards clarity in art, such as the 'clear line' of Renaissance painting and the 'clear song' of the 3039:(1934–1978), follows Pound in the direct use of primary source documents as its raw material. In the next generation of American poets, 841:

Canto XXXV contrasts the dynamism of Revolutionary America with the "general indefinite wobble" of the decaying aristocratic society of

3171: 3077: 2776:. This theme is continued in the short extract titled from Canto CXII, which also draws on the work of the anthropologist and explorer 2222:, a composite sun/moon deity whose boat floats on a river of crystal. The crystal image, which is to remain important until the end of 1918:

acceptance and resignation, despite the return to the sphere of action, prompted by the death of Angold, that marks most of the canto.

1810:

The canto then moves through memories of Spain, a story told by Basil Bunting, and anecdotes of a number of familiar personages and of

1748:

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

2006:, which covers the period of the bank wars. In an interview given in 1962, and reprinted by J. P. Sullivan, Pound said that the title 1259: 694:. These fragments constellate to form an exemplum of what Pound calls "clear song". There follows another exemplum, this time of the 1278:. The body of the canto consists of quotations from Adams' writings on the legal basis for the Revolution, including citations from 3000:

wrote long poems that show this influence. Almost all of H.D.'s poetry from 1940 onwards takes the form of long sequences, and her

2433:

are an attempt to move out from egoism and to establish some definition of an order possible or at any rate conceivable on earth …

1185:

and Pound's use of Odysseus as a model for all his heroes, including Adams. The word is used of Odysseus in the fourth line of the

1120:. Canto LX deals with the activities of the Jesuits, who, we are told, introduced astronomy, western music, physics and the use of 1074: 1069:

and the Tartar Wars, ending about 1200. There is a lot on money policy in this canto and Pound quotes approvingly the Tartar ruler

1042:

Canto LII is a diptych contrasting the Western world eroded by usury with the beginnings of Chinese civilisation as evident in the

3172:

Patrick McGuinness, "Ezra Pound: Posthumous Cantos edited by Massimo Bacigalupo review – fresh insights into an epic masterpiece".

247:

In the light of cantos written later than this letter, it would be possible to add other recurring motifs to this list, such as:

2226:, is a composite of frozen light, the emphasis on inorganic form found in the writings of the mystic Heydon, the air in Dante's 2084:

built to that rule where one can stand without throwing a shadow, Mencius on natural phenomena, the 17th-century English mystic

1302:. Then the canto returns to Adams' notes on the practicalities of funding the war and the negotiation of a loan from the Dutch. 200:, an early critic, wrote, "The work of Ezra Pound has been for most people almost as difficult to understand as Soviet Russia … 2918:

until later editions appended the two Italian cantos LXXII and LXXIII and a brief dedicatory fragment addressed to Olga Rudge.

1506:

In the first thread, the figure of Pound/Odysseus reappears in the guise of "OY TIS", or no man, the name the hero uses in the

1070: 1008: 550:

Canto XII consists of three moral tales on the subject of profit. The first and third of these treat of the creation of profit

281:

was initially published in the form of separate sections, each containing several cantos that were numbered sequentially using

1223:

and engaging in agricultural experiments to ascertain the suitability of Old-World crops for American conditions. The phrases

786: 173:

as well as quotations in European languages other than English. Recourse to scholarly commentaries is almost inevitable for a

3453: 1687:, the spirit of jealousy from "AOI NO UE", a Noh play translated by Pound. The canto closes with an invocation of Dionysus ( 1315: 543:, the role of the patron was a crucial cultural question, and Malatesta is the first in a line of ruler-patrons to appear in 488:

that introduces the theme of banking and credit, and Pound's own visits to Venice to create a textual collage saturated with

243:

B. C. The 'magic moment' or moment of metamorphosis, bust through from quotidian into 'divine or permanent world.' Gods, etc.

2365:

We return to the world of books in Canto XCIV. The canto opens with the name of Hendrik van Brederode, a lost leader of the

1776:

and others. This is set between two further references to Mont Segur. Pound/Odysseus is then saved from his sinking raft by

3480: 1683:

Bunting, Yeats, Joyce and the vocabulary of the U.S. Army. The goddess in her various guises appears again, as does Awoi's

1294:

meditation on the tripartite division of society into the one, the few and the many. A parallel is drawn between Adams and

3584: 2346:

ideograms from Canto LIII reappear as the poem moves back towards the world of myth, closing with another phrase from the

2150:

English as the final lines of the canto. Following a reference to signatures in nature and Yggdrasil, the poet introduces

1437:

With the outbreak of war in 1939, Pound was in Italy, where he remained, despite a request for repatriation he made after

1019:

and wrote his history there. The work was completed in 1730 but not published until 1777–1783. De Mailla was very much an

3058:. Snyder's interest in things Chinese and Japanese stemmed from his early reading of Pound's writings, and his long poem 2061:, with his emphasis on modes of thinking, makes an appearance, in close company with Eriugena, the philosopher of light. 1798:

Canto LXXXI opens with a complex image that illustrates Pound's technical approach well. The opening line, "Zeus lies in

109: 3085:, with its wide range of references and inclusion of primary sources, including prose texts, can be seen as prefiguring 913:, who sought to end state debt and protected agricultural implements from sequestration for personal debt. (Portrait by 208:

had previously approached the subject of fragmentation of human experience: while Eliot was writing, and Pound editing,

3544: 2623:

Canto CVI turns to visions of the goddess as fertility symbol via Demeter and Persephone, in her lunar, love aspect as

2381:, a descendant of Pound's "villain" Nicholas. The rest of the canto consists mainly of paraphrases and quotations from 1611:

The question of banking and money also recurs, with an anti-Semitic passage aimed at the banker Meyer Anselm (probably

81: 3599: 3572: 3558: 3530: 3516: 3502: 3488: 3470: 3439: 3431: 3374: 3357: 3340: 3228: 2358:

translates as "you remind me" and comes from a passage in which Dante addresses Matilda, the presiding spirit of the

128: 2573:) resurfaces; this time, the hero has reached the safety of the shore and returns the magic garment to the goddess. 1522:, or man with an education. This theme recurs in the line "a man on whom the sun has gone down", a reference to the 1219:

and other resistance to British taxation of the American colonies. It also shows Adams defending the accused in the

761:

Cantos XXV draws on the Book of the Council Major in Venice and Pound's personal memories of the city. Anecdotes on

413:

in which the poet also descends into hell to interrogate the dead. The canto concludes with some fragments from the

3060: 2441: 348:. In this version, the poem began very much as a direct address by the poet, not to the reader but to the ghost of 17: 1902:(which Pound had once translated as "Planh for the Young English King") and a double occurrence of the Greek word 1671:. There follows a passage in which the poet recognises the Jewish authorship of the prohibition on usury found in 672:

Canto XX opens with a grouping of phrases, words and images from Mediterranean poetry, ranging from Homer through

88: 2100: 1965: 895: 826:

The first four cantos of this volume (Cantos XXXI–XXXIV) quote extensively from the letters of Thomas Jefferson,

2211:("where love is, there the eye is"), binding together the concepts of love, light and vision in a single image. 447:

who want to send Helen back over the sea, and an extended, imagistic retelling of the story of the abduction of

3402: 3388: 2247: 1124:. The canto ends with limitations being placed on Christians, who had come to be seen as enemies of the state. 910: 899: 66: 1898:, a young English poet whom Pound admired. This news is woven through phrases from a lament by the troubadour 834:, to deal with the emergence of the fledgling United States. Canto XXXI opens with the Malatesta family motto 615:. These two events, the war and revolution, mark a decisive break with the historic past, including the early 3624: 810: 496: 330: 95: 2537:, Leucothoe's rescue of Odysseus, Helen of Troy, Gemisto, Demeter, and Plotinus, Canto XCVIII turns to the 1999: 860:

A+B Theorem, which spells out the basis of the Social Credit theory. Canto XXXIX returns to the island of

451:

by sailors and his transformation of his abductors into dolphins. Although this last story is found in the

785:, with Pound implicitly rejecting that religion. Finally, the series closes with a glimpse of the printer 632:: With Initials by Gladys Hynes. Pound then wrote three more cantos for Cantos I–XXX published in 1930 in 2095:

The following canto, Canto LXXXVIII, is almost entirely derived from Benton's book and focuses mainly on

1728: 62: 2638:). This work argues that the mind should rule the body as the basis of good living and good governance. 3423: 2811: 1838: 805: 726:

Canto XXIII returns to the world of the troubadours via Homer and Renaissance neo-platonism. Pound saw

612: 77: 1756:

and others. The canto is concerned with the aftermath of war, drawing on Yeats' experiences after the

1117: 3649: 3594: 2799:, casts further light on the recurrent jealousy theme. The phrase "Syrian onyx" lifted from his 1919 1373: 1295: 607:, whose war memories the poem includes a passage from (in French). Finally, there is a transcript of 2730:

Pound was reluctant to publish these late cantos, but the appearance in 1967 of a pirate edition of

3634: 3619: 2437:

concerns the states of mind of people responsible for something more than their personal conduct."

2096: 2085: 1791: 1786: 1612: 905: 853: 196:

can appear on first reading to be chaotic or structureless because the poem lacks an obvious plot.

3589: 751: 141: 3629: 2997: 2058: 1936: 1861: 1781: 1155:

John Adams: "the man who at certain points /made us / at certain points / saved us" (Canto LXII).

55: 2429:

are for the spirits of the people who have been responsible for good government. The thrones in

1887:

Close observation of a wasp building a mud nest returns the canto to earth and to the figure of

527:

as part of its structure. For Pound, who spent a good deal of time seeking patrons for himself,

3362: 2660:

The canto and section end with a reference to the following lines from the second canto of the

2645:, a comprehensive study of English law up to his own time. In Canto CVII, Coke is placed in a 2139: 1646:'s violin setting of the 16th-century Italian Francesco Da Milano's transcription for lute of 1377: 1275: 1104:(anglicised by Pound as Messier Undertree), who issued edicts against Christianity and raided 1039:

should not put the reader off, as they serve to underline things that are in the English text.

3192:

Hartnett, Stephen. "The Ideologies and Semiotics of Fascism: Analyzing Pound's Cantos 12-15".

2481:. This document, which was based on Roman law, lays out the rules that governed the Byzantine 2010:"was intended to imply the necessary resistance in getting a main thesis across — hammering." 3412: 2871:

on self-knowledge and the demigod/cohere lines relate directly to Pound's translation of the

2613: 2038: 1703: 1388:) who betrayed Mussolini, and to promise that the Italian troops will eventually "return" to 592: 516: 512: 334: 315: 3252:

Kenner, Hugh. "The Pound Era". University of California Press, 1992. 536. ISBN 0-5200-2427-3

1441:. During this period, his main source of income was a series of radio broadcasts he made on 564:, or Kung, who is presented as the embodiment of the ideal of social order based on ethics. 275:

sequence on, the poem's effort is to merge these two aspects of light into a unified whole.

3020: 2690: 2608: 2581: 2366: 2266: 2156: 1842: 1592: 1319: 1136: 1020: 774: 436: 252: 2791:: "Man's life is a wheel on the axle, there is no turn whereby to escape". A reference to 2596:

in his imprisonment and Ovid in his exile "had it worse" than Pound in his incarceration.

2004:

Thirty Years View: Or A History of the American Government for Thirty Years From 1820–1850

1994:, which contained the Chinese text and translations into Latin and French under the title 1991: 956:, agricultural activity set in a calendar based on natural cycles, and fertility rituals. 326: 8: 3614: 2569:

to a greater or lesser extent. At the core of this canto, the motif of Luecothoe's veil (

2546: 2469: 2440:

The opening canto of the sequence, Canto XCVI, begins with a fragmentary synopsis of the

2297:'s daughter) offering him her veil to carry him to shore ("my bikini is worth yr raft"). 2235: 2151: 2030: 1895: 1749: 1470: 1385: 974:

of Confucius (the ideogram representing honesty at the end of Canto XXXIV was added when

870: 739: 508: 469: 384: 1764:

Pound writes of the decline of the sense of the spirit in painting from a high-point in

1653: 424:

which Pound found in the Divus volume, followed by "So that:"—an invitation to read on.

293:

or fragment, dated 24 August 1966). In 2002 a bilingual edition of “Posthumous Cantos” (

102: 3345: 2449: 2370: 2324: 2138:), with the implication that the present cantos are designed to teach. The naturalists 2131: 2065: 2042: 2013:

The first canto in the sequence, Canto LXXXV, contains 104 Chinese characters from the

1616: 1271: 1197: 1101: 520: 2617: 2593: 1737: 1204:("He snatched the thunderbolt from heaven") is taken from an inscription on a bust of 32:

This article is about the series of cantos written by Ezra Pound. For other uses, see

3568: 3554: 3540: 3526: 3512: 3498: 3484: 3466: 3449: 3435: 3427: 3398: 3384: 3370: 3353: 3336: 3224: 3032: 2119: 2104: 1986: 1799: 1769: 1765: 1615:). Pound brings in biblical injunctions on usury and a reference to the issuing of a 1572: 1446: 1205: 1178: 1128: 1058: 831: 628:

XVII–XXVII was published by John Rodker in London in 1928 in a luxury edition called

588: 409: 344: 170: 2530:

that is intended to integrate gold and silver as attributes of coin and the divine.

2389:. At its conclusion, the poem returns to the world of light via Ra-Set and Ocellus. 1752:, who worked with Pound on troubadour music before World War I and of Eliot, Lewis, 730:

culture as a nexus of survival of the old pagan beliefs, and the destruction of the

523:, this was a landmark Renaissance building, being the first church to use the Roman 2961: 2835:("third heaven") of human love. The canto contains the following well-known lines: 2747: 2453: 2445: 2378: 1949: 1815: 1811: 1624: 1457:'s translation of the same, and a Chinese dictionary. He later found a copy of the 1421: 1396: 1132: 1024: 1012: 608: 600: 2553:, and the canto closes with images of light as divine creation drawn from Dante's 2396:

examples of the relationship between love, light and politics. A passage deriving

2312:

Canto XCIII opens with a quote, "A man's paradise is his good nature", taken from

2130:. Possibly in defence of his focus on so much "unpoetical" material, Pound quotes 1643: 1580: 1077:

remarks that both gold and jade are inedible. This canto is mainly concerned with

604: 3051: 3012:(1972) include direct quotations from Pound's poem. In the case of Williams, his 2478: 2254: 1899: 1865: 1846: 1795:, lamenting the lost London of Pound's youth and an image of nature as designer. 1773: 1757: 1753: 1537: 1401: 1361:

and casts himself as conversing with ghosts from Italy’s remote and recent past.

1267: 1220: 1193: 1093: 941: 934: 704: 536: 404: 349: 286: 2126:. The same examples of good rule are drawn on, with the addition of the Emperor 1073:

who noted that the people "cannot eat jewels". This is echoed in Canto LVI when

169:

The most striking feature of the text, to a casual browser, is the inclusion of

3090: 3055: 2969: 2957: 2777: 2716: 2715:, but soon returned to Rapallo. In November 1959, Pound wrote to his publisher 2542: 2464: 2359: 2269:, which took power over interest rates away from Congress, and the teaching of 2108: 1960: 1804: 1803:

reminded the poet of Taishan surrounded by vapors and surmounted by the planet

1715: 1085:. The canto closes with the overthrow of the Yuan and the establishment of the 686: 619:

period when these writers and artists formed a more-or-less coherent movement.

524: 282: 210: 197: 155: 2806:

The theme of hatred is addressed directly at the opening of Canto CXIV, where

2392:

Canto XLV opens with the word "LOVE" in block capitals and recaps many of the

2373:

is remembered. This name is lifted from correspondence between John Adams and

1575:(linked in the text with Aphrodite via a reference to the goddess' birthplace 1200:

case and their importance in the build-up to the revolution. The Latin phrase

3608: 3585:

Ezra Pound's Cantos 72 and 73: An Annotated Translation by Massimo Bacigalupo

3328: 3040: 2973: 2944: 2527: 2374: 2315: 2274: 2143: 1628: 1357: 1338:

as one "who rules by law", a clear parallel to the Adams presented by Pound.

1307: 1097: 1044: 716: 691: 596: 571:

concludes with a vision of hell. Cantos XIV and XV use the convention of the

461: 440: 367: 182: 174: 2327:

on the need to feed people before attempting to convert them, and Dante and

3086: 3043:

also drew on Pound's example in writing his own unfinished Modernist epic,

2382: 2302: 2278: 2034: 1827: 1777: 1668: 1541: 1438: 1109: 1086: 1082: 1078: 842: 782: 720: 700: 637: 587:, and of Pound's writer and artist friends who fought in it. These include 557: 489: 290: 267: 2289:

tells of the winds breaking up the hero's boat and is followed shortly by

1849:, Ford, Whitman, Yeats and others. After an expanded clarification of the 3458: 3071: 2523: 2503: 2328: 2243: 2219: 2022: 1707: 1545: 1533: 1493: 1454: 1279: 1263: 1170: 1052: 695: 666: 641: 584: 540: 532: 528: 500: 473: 379: 370:

that Pound had bought in Paris sometime between 1906 and 1910. Using the

363: 222: 205: 3600:

Clarity from Chaos in the Rock-Drill Cantos Paradise by Christopher Wang

3008:(but from a feminist perspective), and the three sequences that make up 2309:, are listed as representing a fine thread of light in these Dark Ages. 1469:

pip. Throughout the Pisan sequence, Pound repeatedly likens the camp to

1100:, who supposedly ruled in the 7th century BCE, to the late 16th-century 1003:

These cantos are based on the first eleven volumes of the twelve-volume

439:

who, through a pair of Homeric epithets that echo her name, shifts into

3270: 3262: 2796: 2773: 1869: 1699: 1632: 1466: 1406: 1389: 1283: 827: 708: 677: 662: 477: 260: 159: 3407:

Flory, Wendy Stallard. "The Return to Italy: 'To Confess Wrong…'". In

3004:, written during the 1950s, covers much of the same Homeric ground as 1151: 3116:

Who knows what the ice will have scraped on the rock it is smoothing?

3100:

is summed up in Bunting's poem, "On the Fly-Leaf of Pound's Cantos":

3031:

has already been noted. The other major long work by an Objectivist,

2948: 2930: 2892: 2810:

is quoted to the effect that he hates nobody, not even his archenemy

2755: 2515: 2487: 2290: 2270: 2168: 2050: 2026: 1944: 1907: 1695: 1672: 1552: 1323: 1245: 1240: 1216: 778: 755: 747: 735: 648: 616: 561: 552: 416: 2887:, the "light that does not lead on to darkness" in Pound's version. 2784:. Again, this section of the poem closes with an image of the moon. 2045:, who stand for everything Pound opposes in government and finance. 1571:

play translated by Pound some 40 years earlier), Sigismondo's lover

455:, also contained in the Divus volume, Pound draws on the version in 44: 2879: 2807: 2460: 2456: 2319: 2306: 2164: 2127: 1888: 1719: 1650: 1596: 1515: 1507: 1381: 1028: 970: 965: 866: 794: 727: 681: 576: 448: 428: 395: 178: 2603:

Sir Edward Coke: "the clearest mind ever in England" (Canto CVII).

2265:. An italicised section, claiming that the 1913 foundation of the 1807:("Taishan is attended of loves / under Cythera, before sunrise"). 1772:

and its recovery in the 20th century as evidenced in the works of

1620: 1417: 3278: 2934: 2876: 2815: 2519: 2511: 2492: 2258: 2184: 2134:

to the effect that one writes "to move, to teach or to delight" (

2112: 1964:

Senator Thomas Hart Benton, who opposed the establishment of the

1881: 1576: 1560: 1548:. Finally, Pound/Odysseus is seen "on a raft blown by the wind". 1528:

from Canto I, which is then explicitly referred to. This recalls

1465:, in the latrine. The only other thing he brought with him was a 1127:

The final canto in the sequence, Canto LXI, covers the reigns of

1121: 949: 945: 846: 358: 3205:

Peterson, Leland D. "Ezra Pound: The Use and Abuse of History".

3158:

Schneidau, Herbert N. "Vorticism and the Career of Ezra Pound".

2968:

Pound has always had serious if select defenders and disciples.

2754:, "of fair ankles"), the goddess of youth. The Buddhist painter 1837:. Pound laments his failure to recognise the Greek qualities of 333:"built a temple so full of pagan works" (Canto XI). Portrait by 2903: 2628: 2624: 2507: 2294: 2200: 2195:, a reference to Dante's praise of his beloved Beatrice in the 2089: 2053:. The natural world and the world of government are related to 1857: 1647: 1600: 1559:(sister moon). This thread then runs through the appearance of 1524: 1477: 1365: 1299: 1066: 1032: 1016: 986: 953: 922: 766: 762: 731: 580: 504: 485: 481: 390: 375: 2191:

and Kuanon. In a litany, she is thanked for raising Pound up (

948:

near Pound's home every July merges with the cognate myths of

2939: 2781: 2712: 2482: 1877: 1711: 1636: 1635:

in a composite image of hope for "those who have passed over

1631:

of the human soul as a fountain and a reference to a poem by

1500: 1352: 1105: 1092:

Canto LVII opens with the story of the flight of the emperor

930: 891: 861: 661:

financial exploitation, beginning with the Venetian explorer

399: 371: 353: 319: 33: 2992:

Despite all the controversy surrounding both poem and poet,

2722: 2405:

in which a drowning Odysseus/Pound is rescued by Leucothea.

2277:

in American universities ("beaneries") are examples of what

1143:, who gained some measure of relief for the Jesuit mission. 773:

XXVIII returns to the contemporary scene, with a passage on

465:, thus introducing the world of ancient Rome into the poem. 3282: 3274: 2188: 2172: 1953:

and two new sections of the cantos; the first of these was

1742: 1599:, the seven-walled "city of Dioce", blend with the city of 1489: 1335: 790: 673: 456: 444: 388:, Pound made an English version of Divus' rendering of the 3107:

They don't make sense. Fatal glaciers, crags cranks climb,

2891:

Pisan sequence in its nature imagery and its reference to

2780:

in recording legends and religious rituals from China and

2696: 707:, who tried to keep the peace between the warring Italian 145:

Opening page of the first American edition, published 1933

3537:

A Light from Eleusis: A Study of the Cantos of Ezra Pound

1718:, Mussolini), usury and stamp scripts culminating in the 1568: 443:, Homer with his ear for the "sea surge", the old men of 432: 3050:

Pound was also an important figure for the poets of the

2910:. After quoting two phrases from Bernart de Ventadorn's 2549:. Comparison is drawn between this Chinese text and the 750:

family, again focusing on their Venetian activities and

3595:

Modernism, Fascism, and the Pisan Cantos by Ronald Bush

2599: 2215: 1642:

Canto LXXV is mainly a facsimile of the German pianist

981: 1906:("is dead") remembered from the story of the death of 1563:, the Buddhist goddess of mercy, the moon spirit from 1051:

Canto LIII covers the period from the founding of the

746:

Canto XXIV then returns to 15th-century Italy and the

703:. There are references to the Malatesta family and to 3590:

Pound's Pisan Cantos in Process by Massimo Bacigalupo

3110:

jumbled boulder and weed, pasture and boulder, scree,

2118:

Canto LXXXIX continues with Benton and also draws on

3121:

There they are, you will have to go a long way round

3104:

There are the Alps. What is there to say about them?

1341: 2250:. These couples can be seen as variants on Ra-Set. 251:('voyages around'); vegetation rituals such as the 69:. Unsourced material may be challenged and removed. 3418:Flory, Wendy Stallard. "Pound and Antisemitism." 3381:A Touch of Rhetoric: Ezra Pound's Malatesta Cantos 3127:It takes some getting used to. There are the Alps, 3113:et l'on entend, maybe, le refrain joyeux et leger. 2099:and the campaign against the establishment of the 1921: 1412: 809:Thomas Jefferson, who was, in Pound's view, a new 204:are not complex, they are complicated". Pound and 2576:The focus of Canto CI is around the Greek phrase 2498:Canto XCVII draws heavily on Alexander del Mar's 2092:". The canto then closes with more on economics. 1864:, John Scotus Eriugena, the mermaid carvings of 1514:. This figure blends into the Australia rain god 1372:), Pound meets the recently dead Futurist writer 3606: 3350:The Forméd Trace: The Later Poetry of Ezra Pound 2960:based on their anti-Semitism while at the other 2769:("light indeed") and an image of the oval moon. 2467:. This culminates in a detailed passage on the 1876:("everything flows"). A passage addressed to a 1189:: "he suffered woes in his heart on the seas". 1146: 3446:Epic reinvented: Ezra Pound and the Victorians 2980:" follows in its ambitious scope the model of 1318:and their treatment by the British during the 3525:(Penguin critical anthologies series, 1970). 3130:fools! Sit down and wait for them to crumble! 2154:, an aged couple who, in a story from Ovid's 1330:, which Pound tells us formed part of Adams' 1322:. The canto closes with the opening lines of 822:. New York: Farrar & Rinehart Inc., 1934. 2758:represents directness of artistic handling. 1998:(which Pound uses in the poem), and Senator 1698:, an important locus for the history of the 781:contrasts Pound and Eliot on the subject of 285:(except cantos 85–109, first published with 237:A. A. Live man goes down into world of dead. 3640:Cultural depictions of Eleanor of Aquitaine 3511:(New York: Oxford University Press, 2006). 3397:(Orono: National Poetry Foundation, 1979). 3162:, Volume 65, No. 3, February 1968. 214-227. 1270:and with the French foreign minister, the 800: 435:and other figures associated with the sea: 3395:Ezra Pound's Cantos: The Story of the Text 3078:The Fall of America: Poems of These States 2839:I have brought the great ball of crystal; 1929:Section: Rock-Drill, 85–95 de los cantares 2163:This canto then moves to the fountain of 2064:Canto LXXXVI opens with a passage on the 1726:and a reference to the Confucian classic 1480:depicting men working at a grape arbour. 630:A Draft of the Cantos 17-27 of Ezra Pound 129:Learn how and when to remove this message 3553:(University of California Press, 1980). 3209:, Volume 17, No. 1, Spring, 1965. 33-47. 3196:, Volume 20, No. 1, Spring, 1993. 65-93. 2721: 2704:Drafts and Fragments of Cantos CX–CXVII. 2598: 1959: 1732:in which "there are no righteous wars". 1416: 1150: 985: 904: 890:Cantos XLII, XLIII and XLIV move to the 876: 804: 647: 325: 140: 27:Poem by Ezra Pound, written 1915 to 1962 3551:A Companion to The Cantos of Ezra Pound 2956:has drawn a parallel between Pound and 2857:Tho' my errors and wrecks lie about me. 2851:Can you enter the great acorn of light? 2697:Drafts and fragments of Cantos CX–CXVII 2674:dietro al mio legno che cantando varca, 2377:which was finally published in 1898 by 2180:) also serve as images of sexual love. 14: 3607: 3261:Reck, Michael & Weiss, Theodore. " 2742:Canto CX opens with a pun on the word 2477:), a 9th-century edict of the Emperor 1249:) that T.S. Eliot used as epigraph to 1164:. Norfolk Conn.: New Directions, 1940. 1081:and Kublai Khan and the rise of their 1009:Joseph-Anna-Marie de Moyriac de Mailla 999:. Norfolk Conn.: New Directions, 1940. 484:'s poetry, a scene from the legend of 3420:The Cambridge Companion to Ezra Pound 3223:. New York: Avon Books. p. 566. 3218: 2668:O voi che siete in piccioletta barca, 2408: 1990:, in an edition by the French Jesuit 1980:The two main written sources for the 1364:In Canto LXXII, imitative of Dante’s 884:The Fifth Decad of the Cantos XLII–LI 3645:Cultural depictions of Helen of Troy 3481:Fairleigh Dickinson University Press 3064:(1965–1996) reflects his reading of 2750:(through her characteristic epithet 2682:non vi mettete in pelago, ché forse, 2495:in the making of these late cantos. 1972:is a key source for this section of 982:LII–LXI (The Chinese History Cantos) 495:Cantos VIII–XI draw on the story of 67:adding citations to reliable sources 38: 3539:. (Oxford: Clarendon Press, 1979). 3367:A Guide to the Cantos of Ezra Pound 3352:(Columbia University Press, 1980). 3019:Pound was a major influence on the 2689:—which read, in the translation by 2230:, and the mirror of crystal in the 1818:in the early years of the century. 978:was published as a single volume). 898:and to the 18th-century reforms of 515:and decorated by artists including 24: 3448:. Cornell University Press, 1995. 2342:Towards the end of the canto, the 2171:. This fountain was sacred to the 1282:and Coke and on the importance of 1210:In quella parte / dove sta memoria 886:. London: Faber & Faber, 1937. 579:takes the role of guide played by 271:overlap between the two. From the 25: 3661: 3465:(Faber and Faber, 1975 edition). 2854:But the beauty is not the madness 2685:perdendo me, rimarreste smarriti. 2679:tornate a riveder li vostri liti: 2418:. New York: New Directions, 1959. 2136:ut moveat, ut doceat, ut delectet 1619:currency in the Austrian town of 1433:. New York: New Directions, 1948. 1342:LXXII–LXXIII (The Italian Cantos) 1239:are from the passage (taken from 990:Confucius "cut 3000 odes to 300". 225:who take a more positive view of 3061:Mountains and Rivers Without End 2561:Kati, Dante on citizenship, the 1694:After opening with a glimpse of 793:preparing to print the works of 43: 3509:Ezra Pound's Cantos: A Casebook 3305: 3299: 3288: 3255: 2706:New York: New Directions, 1969. 2416:Thrones: 96–109 de los cantares 2078:slowness is beauty|golden ratio 1922:LXXXV–XCV (Section: Rock-Drill) 1413:LXXIV–LXXXIV (The Pisan Cantos) 896:Banca Monte dei Paschi di Siena 836:Tempus loquendi, tempus tacendi 54:needs additional citations for 3565:The Later Cantos of Ezra Pound 3246: 3237: 3212: 3199: 3186: 3177: 3165: 3152: 3140: 2921: 2671:desiderosi d’ascoltar, seguiti 2246:and Justinian and his consort 1555:and the naming of the moon as 1347:Written between 1944 and 1945. 1089:, bringing us to around 1400. 240:C. B. 'The repeat in history.' 13: 1: 2761:The Noh figure of Awoi (from 2657:is highlighted in Canto CIX. 2522:together with Greek forms of 1005:Histoire generale de la Chine 811:Sigismondo Pandolfo Malatesta 497:Sigismondo Pandolfo Malatesta 492:images of clarity and light. 331:Sigismondo Pandolfo Malatesta 2176:fold" and the erect temple ( 1931:by New Directions, New York. 1314:on Adams' relationship with 1147:LXII–LXXI (The Adams Cantos) 188: 7: 3497:(Allen & Unwin, 1985). 3477:Ezra Pound and Neoplatonism 3335:(Thames and Hudson, 1980). 2801:Homage to Sextus Propertius 2500:History of Monetary Systems 2442:decline of the Roman Empire 2371:William I, Prince of Orange 2354:, Canto XXVIII. The phrase 1851:Annals of Spring and Autumn 1729:Annals of Spring and Autumn 1260:Declaration of Independence 622: 398:and his companions sail to 378:of his 1911 version of the 10: 3666: 3424:Cambridge University Press 3317: 3124:if you want to avoid them. 3069:his book-length sequences 2335:, taken from a passage in 2146:are mentioned in passing. 2124:A History of Money Systems 2080:, a room in the church of 1384:and "traitors" (like king 820:Eleven New Cantos XXXI–XLI 476:history, the world of the 31: 3263:An Exchange on Ezra Pound 2987: 2502:in a survey ranging from 2473:(or Eparch; in Greek the 2101:Bank of the United States 1984:cantos are the Confucian 1966:Bank of the United States 1374:Filippo Tommaso Marinetti 1288:per pares et legem terrae 1011:. De Mailla was a French 869:, a condensed version of 3475:Liebregts, P. Th. M. G. 3409:The American Ezra Pound 3333:Ezra Pound and His World 3267:New York Review of Books 3134: 3081:(1973). More generally, 3054:, especially Snyder and 2912:Can vei la lauzeta mover 2863:I cannot make it cohere. 2293:, "Kadamon thugater" or 2209:ubi amor, ibi oculuc est 2097:John Randolph of Roanoke 1792:Rubaiyat of Omar Khayyam 801:XXXI–XLI (XI New Cantos) 453:Homeric Hymn to Dionysus 420:, in a Latin version by 304: 3096:The poetic response to 2998:William Carlos Williams 2860:And I am not a demigod, 2448:in the east and of the 2234:amongst other sources. 2059:Richard of Saint Victor 1937:St. Elizabeths Hospital 1862:George Gemistos Plethon 1841:'s work and celebrates 1118:Jean-François Gerbillon 1023:figure and his view of 415:Second Homeric Hymn to 3221:The Life of Ezra Pound 2898:Notes for Canto CXVII 2727: 2604: 2283:La trahison des clercs 2140:Alexander von Humboldt 1977: 1425: 1378:Ezzelino III da Romano 1215:Canto LXIV covers the 1156: 1015:who spent 37 years in 991: 944:candles on the bay at 918: 814: 653: 338: 146: 3521:Sullivan, J.P. (ed). 3413:Yale University Press 2908:A Draft of XVI Cantos 2725: 2602: 2510:to strike distinctly 2261:'s 12th-century poem 2082:St. Hilaire, Poitiers 2039:Franklin D. Roosevelt 1963: 1927:Published in 1956 as 1768:to the fleshiness of 1595:. Another theme sees 1579:), a girl painted by 1420: 1334:. These lines invoke 1225:Cumis ego oculis meis 1154: 989: 908: 877:XLII–LI (Fifth Decad) 808: 651: 634:A Draft of XXX Cantos 593:Henri Gaudier-Brzeska 517:Piero della Francesca 513:Leon Battista Alberti 499:, 15th-century poet, 335:Piero della Francesca 329: 316:Three Mountains Press 312:A Draft of XVI Cantos 310:Published in 1925 as 164:A Draft of XVI Cantos 144: 3625:Poetry by Ezra Pound 3549:Terrell, Carroll F. 3507:Makin, Peter (ed.). 3422:. Ed. Ira B. Nadel ( 3269:, Volume 33, No 15, 3219:Stock, Noel (1974). 3174:Accessed 24.03.2016. 3023:, and the effect of 2691:Charles Eliot Norton 2609:ontological argument 2582:Anselm of Canterbury 2444:and the rise of the 2267:Federal Reserve Bank 1843:Wilfrid Scawen Blunt 1835:Pocket Book of Verse 1658:Le Chant des oiseaux 1593:Bernard de Ventadorn 1463:Morris Edmund Speare 1459:Pocket Book of Verse 1202:Eripuit caelo fulmen 1141:Dom Metello de Souza 915:Stefano Gaetano Neri 854:John Scotus Eriugena 775:transatlantic flight 723:for the first time. 437:Eleanor of Aquitaine 253:Eleusinian Mysteries 63:improve this article 3346:Bacigalupo, Massimo 3296:Poet of Many Voices 3294:In an essay called 3148:Masks of Ezra Pound 3010:Hermetic Definition 2947:, his adulation of 2702:First published as 2636:Book of Master Kuan 2563:Book of the Prefect 2551:Book of the Prefect 2470:Book of the Prefect 2414:First published as 2356:tu mi fai rimembrar 2314:The Maxims of King 2236:Apollonius of Tyana 2183:Pound then invokes 2152:Baucis and Philemon 2031:Alexander the Great 1603:, from the tale of 1471:Francesco del Cossa 1429:First published as 1386:Victor Emmanuel III 1276:Court of St James's 1160:First published in 995:First published in 871:Hanno the Navigator 830:, and the diary of 787:Hieronymus Soncinus 740:Albigensian Crusade 509:Tempio Malatestiano 470:classical mythology 3563:Wilhelm, James J. 3393:Eastman, Barbara. 3207:American Quarterly 2728: 2655:Book of the Eparch 2605: 2475:Eparchikon Biblion 2450:Carolingian Empire 2409:XCVI–CIX (Thrones) 2387:Life of Apollonius 2369:, forgotten while 2178:Templum aedificans 2132:Rodolphus Agricola 2115:, amongst others. 2066:Congress of Vienna 2043:Harry Dexter White 2000:Thomas Hart Benton 1978: 1704:Lorenzo de' Medici 1426: 1272:Comte de Vergennes 1198:Writ of assistance 1157: 1139:, John Adams, and 1102:Toyotomi Hideyoshi 992: 919: 815: 738:at the end of the 654: 613:Russian Revolution 556:by exploiting the 521:Agostino di Duccio 339: 171:Chinese characters 147: 3454:978-0-8014-3133-3 3045:The Maximus Poems 3033:Charles Reznikoff 3021:Objectivist poets 2514:coinage, through 2350:, this time from 2120:Alexander del Mar 2105:Thales of Miletus 1992:Séraphin Couvreur 1987:Book of Documents 1970:Thirty Years View 1910:in Canto XXIII. 1787:Edward Fitzgerald 1766:Sandro Botticelli 1722:episode from the 1447:freedom of speech 1328:Hymn of Cleanthus 1212:" into the text. 1206:Benjamin Franklin 832:John Quincy Adams 754:'s voyage to the 611:' account of the 589:Richard Aldington 410:The Divine Comedy 394:episode in which 139: 138: 131: 113: 16:(Redirected from 3657: 3650:Unfinished poems 3567:(Walker, 1977). 3379:D'Epiro, Peter. 3363:Cookson, William 3312: 3309: 3303: 3292: 3286: 3259: 3253: 3250: 3244: 3241: 3235: 3234: 3216: 3210: 3203: 3197: 3190: 3184: 3181: 3175: 3169: 3163: 3160:Modern Philology 3156: 3150: 3144: 2962:Marjorie Perloff 2954:George P. Elliot 2873:Women of Trachis 2844:Who can lift it? 2818:-based magazine 2446:Byzantine Empire 2379:Alexander Biddle 2367:Dutch Revolution 1950:Women of Trachis 1816:Modernist poetry 1812:George Santayana 1782:Richard Lovelace 1654:Clément Janequin 1625:Aubrey Beardsley 1613:Meyer Rothschild 1486:The Pisan Cantos 1449:in his defence. 1431:The Pisan Cantos 1422:Aubrey Beardsley 1397:Guido Cavalcanti 1316:Native Americans 1233:respondebat illa 609:Lincoln Steffens 601:Ernest Hemingway 567:This section of 537:little magazines 535:and a string of 422:Georgius Dartona 134: 127: 123: 120: 114: 112: 71: 47: 39: 21: 18:The Pisan Cantos 3665: 3664: 3660: 3659: 3658: 3656: 3655: 3654: 3635:Prison writings 3620:Modernist texts 3605: 3604: 3535:Surette, Leon. 3369:(Anvil, 1985). 3320: 3315: 3310: 3306: 3293: 3289: 3277:. Retrieved on 3260: 3256: 3251: 3247: 3243:Liebregts, 316. 3242: 3238: 3231: 3217: 3213: 3204: 3200: 3191: 3187: 3182: 3178: 3170: 3166: 3157: 3153: 3145: 3141: 3137: 3052:Beat Generation 2990: 2924: 2875:. In this, the 2699: 2618:François Villon 2594:Honoré Mirabeau 2541:of the emperor 2479:Leo VI the Wise 2411: 2325:Saint Augustine 2238:appears, as do 2199:) out of hell ( 1924: 1900:Bertran de Born 1866:Pietro Lombardo 1847:Rudyard Kipling 1774:Marie Laurencin 1758:Irish Civil War 1754:Laurence Binyon 1706:, the emperors 1656:'s choral work 1557:sorella la luna 1538:Ford Madox Ford 1510:episode of the 1415: 1402:Italian fascism 1344: 1268:Edward Bancroft 1221:Boston Massacre 1162:Cantos LII–LXXI 1149: 1025:Chinese history 997:Cantos LII–LXXI 984: 935:Bank of England 921:Canto XLV is a 911:Pietro Leopoldo 900:Pietro Leopoldo 879: 850:Donna mi pregha 803: 625: 350:Robert Browning 307: 287:Arabic numerals 191: 135: 124: 118: 115: 72: 70: 60: 48: 37: 28: 23: 22: 15: 12: 11: 5: 3663: 3653: 3652: 3647: 3642: 3637: 3632: 3630:American poems 3627: 3622: 3617: 3603: 3602: 3597: 3592: 3587: 3576: 3575: 3561: 3547: 3545:978-0738831107 3533: 3519: 3505: 3495:Pound's Cantos 3493:Makin, Peter. 3491: 3473: 3456: 3442: 3416: 3411:. (New Haven: 3405: 3391: 3377: 3360: 3343: 3329:Ackroyd, Peter 3319: 3316: 3314: 3313: 3304: 3287: 3254: 3245: 3236: 3229: 3211: 3198: 3185: 3183:Liebregts, 97. 3176: 3164: 3151: 3146:Blackmur 1934 3138: 3136: 3133: 3132: 3131: 3128: 3125: 3122: 3118: 3117: 3114: 3111: 3108: 3105: 3091:Conceptual art 3056:Allen Ginsberg 3027:on Zukofsky's 3002:Helen in Egypt 2989: 2986: 2970:Louis Zukofsky 2958:Adolf Eichmann 2923: 2920: 2865: 2864: 2861: 2858: 2855: 2852: 2849: 2848: 2847: 2846: 2845: 2793:Marcella Spann 2778:Joseph F. Rock 2752:Kallistragalos 2732:Cantos 110–116 2717:James Laughlin 2708: 2707: 2698: 2695: 2687: 2686: 2683: 2680: 2676: 2675: 2672: 2669: 2647:river of light 2578:kalon kagathon 2535:Gassire's Lute 2465:Western Europe 2420: 2419: 2410: 2407: 2360:Garden of Eden 2333:non fosse cive 2109:Antoninus Pius 2107:, the emperor 1933: 1932: 1923: 1920: 1738:Marshal Pétain 1605:Gassire's Lute 1435: 1434: 1414: 1411: 1349: 1348: 1343: 1340: 1251:The Waste Land 1166: 1165: 1148: 1145: 1110:Manchu dynasty 1001: 1000: 983: 980: 888: 887: 878: 875: 824: 823: 802: 799: 752:Niccolo d'Este 734:stronghold at 687:Song of Roland 665:'s account of 646: 645: 624: 621: 525:triumphal arch 511:. Designed by 407:'s opening to 324: 323: 306: 303: 283:Roman numerals 245: 244: 241: 238: 211:The Waste Land 198:R. P. Blackmur 190: 187: 156:modernist poem 137: 136: 51: 49: 42: 26: 9: 6: 4: 3: 2: 3662: 3651: 3648: 3646: 3643: 3641: 3638: 3636: 3633: 3631: 3628: 3626: 3623: 3621: 3618: 3616: 3613: 3612: 3610: 3601: 3598: 3596: 3593: 3591: 3588: 3586: 3583: 3582: 3581: 3580: 3574: 3573:0-80-270553-7 3570: 3566: 3562: 3560: 3559:0-520-08287-7 3556: 3552: 3548: 3546: 3542: 3538: 3534: 3532: 3531:0-14-080033-6 3528: 3524: 3520: 3518: 3517:9780195175295 3514: 3510: 3506: 3504: 3503:0-04-811001-9 3500: 3496: 3492: 3490: 3489:0-8386-4011-7 3486: 3482: 3478: 3474: 3472: 3471:0-571-10668-4 3468: 3464: 3463:The Pound Era 3460: 3457: 3455: 3451: 3447: 3444:Ellis, Mary. 3443: 3441: 3440:0-521-43117-4 3437: 3433: 3432:0-521-64920-X 3429: 3425: 3421: 3417: 3414: 3410: 3406: 3404: 3400: 3396: 3392: 3390: 3386: 3383:(UMI, 1983). 3382: 3378: 3376: 3375:0-89255-246-8 3372: 3368: 3364: 3361: 3359: 3358:0-231-04456-9 3355: 3351: 3347: 3344: 3342: 3341:0-500-13069-8 3338: 3334: 3330: 3327: 3326: 3325: 3324: 3308: 3301: 3298:reprinted in 3297: 3291: 3284: 3280: 3276: 3272: 3268: 3264: 3258: 3249: 3240: 3232: 3230:0-380-00191-8 3226: 3222: 3215: 3208: 3202: 3195: 3189: 3180: 3173: 3168: 3161: 3155: 3149: 3143: 3139: 3129: 3126: 3123: 3120: 3119: 3115: 3112: 3109: 3106: 3103: 3102: 3101: 3099: 3094: 3092: 3088: 3084: 3080: 3079: 3074: 3073: 3067: 3063: 3062: 3057: 3053: 3048: 3046: 3042: 3041:Charles Olson 3038: 3034: 3030: 3026: 3022: 3017: 3015: 3011: 3007: 3003: 2999: 2995: 2985: 2983: 2979: 2975: 2974:Basil Bunting 2971: 2966: 2963: 2959: 2955: 2950: 2946: 2945:anti-Semitism 2942: 2941: 2936: 2932: 2928: 2919: 2917: 2913: 2909: 2905: 2901: 2896: 2894: 2888: 2886: 2881: 2878: 2874: 2870: 2862: 2859: 2856: 2853: 2850: 2843: 2842: 2841: 2840: 2838: 2837: 2836: 2834: 2828: 2826: 2821: 2817: 2813: 2809: 2804: 2802: 2798: 2794: 2790: 2785: 2783: 2779: 2775: 2770: 2768: 2764: 2759: 2757: 2753: 2749: 2745: 2740: 2736: 2733: 2724: 2720: 2718: 2714: 2705: 2701: 2700: 2694: 2692: 2684: 2681: 2678: 2677: 2673: 2670: 2667: 2666: 2665: 2663: 2658: 2656: 2652: 2648: 2644: 2639: 2637: 2633: 2630: 2626: 2621: 2619: 2615: 2614:William Rufus 2610: 2601: 2597: 2595: 2589: 2587: 2583: 2579: 2574: 2572: 2568: 2564: 2558: 2556: 2552: 2548: 2544: 2540: 2536: 2531: 2529: 2528:Flamen Dialis 2525: 2524:solar worship 2521: 2517: 2513: 2509: 2505: 2501: 2496: 2494: 2489: 2484: 2480: 2476: 2472: 2471: 2466: 2462: 2458: 2455: 2451: 2447: 2443: 2438: 2436: 2432: 2428: 2424: 2417: 2413: 2412: 2406: 2404: 2399: 2395: 2390: 2388: 2384: 2380: 2376: 2375:Benjamin Rush 2372: 2368: 2363: 2361: 2357: 2353: 2349: 2348:Divine Comedy 2345: 2340: 2338: 2334: 2330: 2326: 2322: 2321: 2317: 2310: 2308: 2304: 2298: 2296: 2292: 2288: 2284: 2280: 2276: 2275:Sigmund Freud 2272: 2268: 2264: 2260: 2256: 2251: 2249: 2245: 2242:, partner of 2241: 2240:Helen of Tyre 2237: 2233: 2229: 2225: 2221: 2217: 2212: 2210: 2204: 2202: 2198: 2194: 2190: 2186: 2181: 2179: 2174: 2170: 2166: 2161: 2159: 2158: 2157:Metamorphoses 2153: 2147: 2145: 2144:Louis Agassiz 2141: 2137: 2133: 2129: 2125: 2121: 2116: 2114: 2110: 2106: 2102: 2098: 2093: 2091: 2087: 2083: 2079: 2073: 2071: 2067: 2062: 2060: 2056: 2052: 2046: 2044: 2040: 2036: 2032: 2028: 2024: 2018: 2016: 2011: 2009: 2005: 2001: 1997: 1993: 1989: 1988: 1983: 1975: 1971: 1967: 1962: 1958: 1956: 1952: 1951: 1946: 1942: 1938: 1930: 1926: 1925: 1919: 1915: 1911: 1909: 1905: 1901: 1897: 1892: 1890: 1885: 1883: 1879: 1875: 1871: 1867: 1863: 1859: 1854: 1852: 1848: 1844: 1840: 1836: 1831: 1829: 1825: 1819: 1817: 1813: 1808: 1806: 1801: 1796: 1794: 1793: 1788: 1783: 1779: 1775: 1771: 1767: 1762: 1759: 1755: 1751: 1750:Walter Rummel 1746: 1744: 1739: 1733: 1731: 1730: 1725: 1721: 1717: 1713: 1709: 1705: 1701: 1697: 1692: 1690: 1686: 1680: 1678: 1677:A Lume Spento 1674: 1670: 1665: 1663: 1659: 1655: 1652: 1649: 1645: 1644:Gerhart Münch 1640: 1638: 1634: 1630: 1629:Paul Verlaine 1626: 1622: 1618: 1614: 1609: 1606: 1602: 1598: 1594: 1588: 1586: 1585:brododactylos 1582: 1581:Édouard Manet 1578: 1574: 1570: 1566: 1562: 1558: 1554: 1549: 1547: 1543: 1539: 1535: 1531: 1527: 1526: 1521: 1517: 1513: 1509: 1504: 1502: 1497: 1495: 1491: 1487: 1481: 1479: 1476: 1472: 1468: 1464: 1460: 1456: 1450: 1448: 1444: 1440: 1432: 1428: 1427: 1423: 1419: 1410: 1408: 1403: 1398: 1393: 1391: 1387: 1383: 1379: 1375: 1371: 1367: 1362: 1360: 1359: 1358:Divine Comedy 1354: 1346: 1345: 1339: 1337: 1333: 1329: 1325: 1321: 1317: 1311: 1309: 1308:James Madison 1303: 1301: 1297: 1291: 1289: 1285: 1284:trial by jury 1281: 1277: 1273: 1269: 1265: 1261: 1255: 1252: 1248: 1247: 1242: 1238: 1234: 1230: 1226: 1222: 1218: 1213: 1211: 1207: 1203: 1199: 1195: 1190: 1188: 1184: 1180: 1174: 1172: 1163: 1159: 1158: 1153: 1144: 1142: 1138: 1134: 1130: 1125: 1123: 1119: 1113: 1111: 1107: 1103: 1099: 1098:Emperor Jimmu 1095: 1090: 1088: 1084: 1080: 1076: 1072: 1068: 1063: 1061: 1060: 1054: 1049: 1047: 1046: 1045:Book of Rites 1040: 1038: 1034: 1030: 1026: 1022: 1021:Enlightenment 1018: 1014: 1010: 1006: 998: 994: 993: 988: 979: 977: 973: 972: 967: 961: 957: 955: 951: 947: 943: 938: 936: 932: 928: 924: 916: 912: 907: 903: 901: 897: 893: 885: 882:Published as 881: 880: 874: 872: 868: 863: 857: 855: 851: 848: 844: 839: 837: 833: 829: 821: 818:Published as 817: 816: 812: 807: 798: 796: 792: 788: 784: 780: 776: 771: 768: 764: 759: 757: 753: 749: 744: 741: 737: 733: 729: 724: 722: 718: 717:Social Credit 712: 710: 706: 702: 697: 693: 692:Arnaut Daniel 689: 688: 683: 679: 675: 670: 668: 664: 658: 650: 643: 639: 635: 631: 627: 626: 620: 618: 614: 610: 606: 605:Fernand Léger 602: 598: 597:Wyndham Lewis 594: 590: 586: 582: 578: 574: 573:Divine Comedy 570: 565: 563: 559: 555: 554: 548: 546: 542: 541:small presses 538: 534: 530: 526: 522: 518: 514: 510: 506: 502: 498: 493: 491: 487: 483: 479: 475: 471: 466: 464: 463: 462:Metamorphoses 458: 454: 450: 446: 442: 441:Helen of Troy 438: 434: 430: 425: 423: 419: 418: 412: 411: 406: 401: 397: 393: 392: 387: 386: 381: 377: 373: 369: 368:Andreas Divus 365: 361: 360: 355: 351: 347: 346: 336: 332: 328: 321: 317: 313: 309: 308: 302: 300: 296: 295:Canti postumi 292: 288: 284: 280: 276: 274: 269: 264: 262: 258: 254: 250: 242: 239: 236: 235: 234: 231: 228: 224: 220: 215: 213: 212: 207: 203: 199: 195: 186: 184: 183:Leo Frobenius 180: 176: 172: 167: 165: 161: 157: 153: 152: 143: 133: 130: 122: 111: 108: 104: 101: 97: 94: 90: 87: 83: 80: – 79: 75: 74:Find sources: 68: 64: 58: 57: 52:This article 50: 46: 41: 40: 35: 30: 19: 3578: 3577: 3564: 3550: 3536: 3522: 3508: 3494: 3476: 3462: 3459:Kenner, Hugh 3445: 3419: 3408: 3394: 3380: 3366: 3349: 3332: 3322: 3321: 3307: 3295: 3290: 3266: 3257: 3248: 3239: 3220: 3214: 3206: 3201: 3193: 3188: 3179: 3167: 3159: 3154: 3147: 3142: 3097: 3095: 3087:found poetry 3082: 3076: 3070: 3065: 3059: 3049: 3044: 3036: 3028: 3024: 3018: 3013: 3009: 3005: 3001: 2993: 2991: 2981: 2977: 2967: 2938: 2926: 2925: 2915: 2911: 2907: 2899: 2897: 2889: 2884: 2872: 2869:Sacred Edict 2868: 2866: 2832: 2829: 2824: 2819: 2805: 2800: 2788: 2786: 2771: 2766: 2762: 2760: 2751: 2743: 2741: 2737: 2731: 2729: 2709: 2703: 2688: 2661: 2659: 2654: 2650: 2646: 2642: 2640: 2635: 2631: 2622: 2606: 2590: 2585: 2577: 2575: 2570: 2567:Sacred Edict 2566: 2562: 2559: 2554: 2550: 2539:Sacred Edict 2538: 2534: 2532: 2506:, the first 2504:Abd al Melik 2499: 2497: 2474: 2468: 2439: 2434: 2430: 2426: 2422: 2421: 2415: 2402: 2397: 2393: 2391: 2386: 2383:Philostratus 2364: 2355: 2351: 2347: 2343: 2341: 2336: 2332: 2313: 2311: 2303:Roman Empire 2299: 2286: 2282: 2279:Julien Benda 2262: 2252: 2231: 2227: 2223: 2213: 2208: 2205: 2196: 2192: 2182: 2177: 2162: 2155: 2148: 2135: 2123: 2117: 2094: 2077: 2074: 2069: 2063: 2054: 2047: 2035:Napoleon III 2019: 2014: 2012: 2007: 2003: 1995: 1985: 1981: 1979: 1973: 1969: 1954: 1948: 1941:Book of Odes 1940: 1934: 1928: 1916: 1912: 1903: 1893: 1886: 1873: 1855: 1850: 1834: 1832: 1828:deep ecology 1823: 1820: 1809: 1797: 1790: 1778:Walt Whitman 1763: 1747: 1734: 1727: 1723: 1693: 1688: 1684: 1681: 1676: 1669:Jean Cocteau 1666: 1661: 1657: 1641: 1610: 1604: 1589: 1584: 1564: 1556: 1550: 1542:Victor Plarr 1530:The Seafarer 1529: 1523: 1519: 1511: 1505: 1498: 1485: 1482: 1474: 1461:, edited by 1458: 1451: 1439:Pearl Harbor 1436: 1430: 1394: 1369: 1363: 1356: 1350: 1331: 1327: 1312: 1304: 1292: 1287: 1256: 1250: 1244: 1236: 1232: 1228: 1224: 1214: 1209: 1201: 1191: 1186: 1182: 1179:Washington's 1175: 1167: 1161: 1137:Risorgimento 1126: 1114: 1094:Kien Ouen Ti 1091: 1087:Ming dynasty 1083:Yeun dynasty 1064: 1059:Book of Odes 1057: 1050: 1043: 1041: 1036: 1004: 1002: 996: 975: 969: 962: 958: 939: 926: 920: 889: 883: 858: 849: 843:Mitteleuropa 840: 835: 825: 819: 783:Christianity 772: 760: 745: 725: 721:C.H. Douglas 719:theories of 713: 705:Borso d'Este 701:lotus eaters 685: 671: 659: 655: 638:Nancy Cunard 633: 629: 572: 568: 566: 558:money supply 551: 549: 544: 494: 490:neoplatonist 467: 460: 452: 426: 414: 408: 389: 385:The Seafarer 383: 357: 343: 340: 311: 298: 294: 278: 277: 272: 265: 256: 248: 246: 232: 226: 219:A Retrospect 218: 216: 209: 201: 193: 192: 175:close reader 168: 163: 150: 149: 148: 125: 116: 106: 99: 92: 85: 78:"The Cantos" 73: 61:Please help 56:verification 53: 29: 3075:(1968) and 3072:Planet News 2922:Controversy 2885:Kakitsubata 2833:terzo cielo 2825:Kakitsubata 2812:Elie Fréron 2547:F.W. Baller 2344:Make it new 2329:Shakespeare 2318:to His Son 2244:Simon Magus 2086:John Heydon 2023:Elizabeth I 1896:J.P. Angold 1617:stamp scrip 1546:Henry James 1534:W. B. Yeats 1494:Gary Snyder 1455:James Legge 1320:Indian Wars 1280:Magna Carta 1264:Silas Deane 1171:Edward Coke 1129:Yong Tching 1116:1685 under 1053:Xia dynasty 909:Grand Duke 709:city states 667:Kublai Khan 642:Hours Press 585:World War I 529:James Joyce 501:condottiero 478:troubadours 474:Renaissance 380:Anglo-Saxon 364:Renaissance 268:neoplatonic 261:troubadours 223:Hugh Kenner 206:T. S. Eliot 119:August 2022 3615:1962 poems 3609:Categories 3523:Ezra Pound 3403:0915032023 3389:0835714047 3271:October 09 3194:boundary 2 3098:The Cantos 3083:The Cantos 3066:The Cantos 3025:The Cantos 3006:The Cantos 2994:The Cantos 2982:The Cantos 2943:, Pound's 2927:The Cantos 2916:The Cantos 2797:Olga Rudge 2774:Talleyrand 2739:expiated. 2643:Institutes 2431:The Cantos 2394:Rock Drill 2352:Purgatorio 2224:The Cantos 2193:m'elevasti 2008:Rock Drill 1982:Rock Drill 1974:The Cantos 1955:Rock Drill 1870:Heraclitus 1830:movement. 1824:The Cantos 1700:Trojan War 1633:Ben Jonson 1467:eucalyptus 1443:Rome Radio 1407:Cavalcanti 1390:El Alamein 1370:terza rima 1306:Hamilton, 1298:, king of 1237:apothanein 1229:tu theleis 1194:James Otis 1037:The Cantos 976:The Cantos 894:bank, the 828:John Adams 696:linguistic 678:Propertius 663:Marco Polo 569:The Cantos 545:The Cantos 503:, lord of 299:The Cantos 279:The Cantos 273:Rock Drill 227:The Cantos 202:The Cantos 194:The Cantos 160:Ezra Pound 154:is a long 151:The Cantos 89:newspapers 3037:Testimony 2949:Confucian 2931:Mussolini 2893:Jannequin 2820:Threshold 2789:AOI NO UE 2763:AOI NO UE 2756:Toba Sojo 2571:kredemnon 2543:K'ang Hsi 2516:Athelstan 2488:philology 2291:Leucothea 2271:Karl Marx 2232:Chou King 2169:Parnassus 2070:Sagetrieb 2051:Yggdrasil 2033:, as are 2027:Cleopatra 2015:Chou King 1996:Chou King 1945:Sophocles 1874:panta rei 1872:' phrase 1839:Swinburne 1716:Antoninus 1708:Justinian 1696:Mount Ida 1673:Leviticus 1536:, Joyce, 1324:Epictetus 1246:Satyricon 1241:Petronius 1217:Stamp act 1133:Kien Long 1029:Buddhists 779:Excideuil 756:Holy Land 736:Montsegur 728:Provençal 617:modernist 562:Confucius 553:ex nihilo 417:Aphrodite 189:Structure 3483:, 2004. 3426:, 1999) 3415:, 1989). 3300:Sullivan 3014:Paterson 2880:Herakles 2808:Voltaire 2767:Lux enim 2662:Paradiso 2651:Paradiso 2632:Kuan Tzu 2555:Paradiso 2526:and the 2493:tesserae 2461:Lombards 2459:and the 2457:kingdoms 2454:Germanic 2427:Paradiso 2337:Paradiso 2320:Merikara 2307:Avicenna 2248:Theodora 2228:Paradiso 2197:Paradiso 2165:Castalia 2128:Aurelian 2111:and St. 2057:or art. 1904:tethneke 1889:Tiresias 1720:Nausicaa 1651:composer 1597:Ecbatana 1565:Hagaromo 1520:Ouan Jin 1382:Pius XII 1332:paideuma 1296:Lycurgus 971:Analects 966:Napoleon 925:against 867:periplus 795:Petrarch 682:Catullus 623:XVII–XXX 577:Plotinus 459:'s poem 449:Dionysus 429:Sordello 396:Odysseus 366:scholar 249:periploi 179:medieval 3318:Sources 3279:July 18 2935:fascism 2900:et seq. 2877:demigod 2816:Belfast 2586:Odyssey 2520:Fortuna 2512:Islamic 2435:Thrones 2423:Thrones 2403:Odyssey 2287:Odyssey 2281:termed 2259:Layamon 2185:Amphion 2113:Ambrose 1947:' play 1943:and of 1882:Mencius 1724:Odyssey 1689:Zagreus 1577:Cythera 1553:Taishan 1516:Wanjina 1512:Odyssey 1508:Cyclops 1366:tercets 1196:in the 1187:Odyssey 1183:Odyssey 1122:quinine 1079:Ghengis 1033:Taoists 946:Rapallo 892:Sienese 847:canzone 684:to the 362:by the 359:Odyssey 314:by the 103:scholar 3579:Online 3571: 3557: 3543: 3529: 3515: 3501: 3487: 3469: 3452: 3438: 3430: 3401: 3387: 3373: 3356: 3339: 3227: 2988:Legacy 2904:Semele 2629:Taoist 2625:Selena 2508:Caliph 2295:Cadmon 2201:Erebus 2090:Helios 2055:tekhne 1968:. His 1858:Pindar 1770:Rubens 1685:hennia 1662:nekuia 1648:French 1601:Wagadu 1573:Ixotta 1561:Kuanon 1525:nekuia 1478:fresco 1300:Sparta 1075:KinKwa 1067:Tatars 1017:Peking 1013:Jesuit 954:Adonis 950:Tammuz 942:votive 923:litany 767:Mozart 763:Titian 748:d'Este 732:Cathar 581:Virgil 505:Rimini 486:El Cid 482:Sappho 391:nekuia 376:syntax 345:Poetry 105: 98: 91: 84: 76: 3323:Print 3135:Notes 2940:usura 2782:Tibet 2713:Tyrol 2483:Guild 2398:polis 2257:from 2255:Diana 2173:Muses 1878:Dryad 1805:Venus 1800:Ceres 1712:Titus 1637:Lethe 1621:Wörgl 1501:fugue 1475:March 1353:Dante 1106:Korea 931:usury 927:Usura 862:Circe 533:Eliot 405:Dante 400:Hades 382:poem 372:metre 354:Homer 320:Paris 305:I–XVI 257:usura 110:JSTOR 96:books 34:Canto 3569:ISBN 3555:ISBN 3541:ISBN 3527:ISBN 3513:ISBN 3499:ISBN 3485:ISBN 3467:ISBN 3450:ISBN 3436:ISBN 3428:ISBN 3399:ISBN 3385:ISBN 3371:ISBN 3354:ISBN 3337:ISBN 3283:2008 3275:1986 3225:ISBN 2748:Hebe 2744:wake 2316:Kati 2273:and 2263:Brut 2189:Isis 2142:and 2041:and 1868:and 1780:and 1743:lynx 1714:and 1544:and 1492:and 1490:H.D. 1336:Zeus 1266:and 1235:and 1131:and 1071:Oulo 1031:and 952:and 791:Fano 765:and 690:and 680:and 674:Ovid 603:and 539:and 519:and 457:Ovid 445:Troy 374:and 291:coda 82:news 3265:". 3035:'s 3029:"A" 2933:'s 2463:in 2220:Set 2203:). 2167:on 2122:'s 2002:'s 1908:Pan 1789:'s 1691:). 1639:". 1569:Noh 1567:(a 1473:'s 1355:’s 1290:). 1007:by 929:or 789:of 640:'s 636:by 433:Lir 356:'s 318:in 158:by 65:by 3611:: 3479:. 3461:. 3434:, 3365:. 3348:. 3331:. 3281:, 3273:, 3093:. 3047:. 2984:. 2895:. 2827:. 2664:— 2620:. 2557:. 2452:, 2385:' 2216:Ra 2037:, 2029:, 2025:, 1957:. 1860:, 1845:, 1745:. 1710:, 1540:, 1496:. 1409:. 1392:. 1326:' 1243:' 1231:, 1227:, 1112:. 917:.) 797:. 758:. 711:. 676:, 599:, 595:, 591:, 547:. 531:, 480:, 472:, 301:. 263:. 255:; 185:. 3302:. 3285:. 3233:. 2978:A 2634:( 2218:- 1976:. 1368:( 1286:( 813:. 644:. 337:. 322:. 132:) 126:( 121:) 117:( 107:· 100:· 93:· 86:· 59:. 36:. 20:)

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