Moody, D. (2007). Ezra Pound: Poet—Volume I the young genius, 1885–1920. Oxford: Oxford University Press. Pound was also an important figure for the poets of the Beat Generation, especially Snyder and Allen Ginsberg. Snyder's interest in things Chinese and Japanese stemmed from his early reading of Pound's writings, and his long poem Mountains and Rivers Without End (1965–1996) reflects his reading of The Cantos 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 varie This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Yeh, M. H. (1987). Metaphor and bi: Western and Chinese poetic. Comparative Literature, 39(3), 237–254. 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 J.P. Angold, a young English poet whom Pound admired. This news is woven through phrases from a lament by the troubadour Bertran de Born (which Pound had once translated as "Planh for the Young English King") and a double occurrence of the Greek word tethneke ("is dead") remembered from the story of the death of Pan in Canto XXIII.

investment in new bank buildings– As Pound would later repeat and refine in the poem, banks have a social responsibility. Bankers can decide to be simply usurers and invest in money itself (or own slums to exploit the poor) or may use a part of their wealth tosupport the city, people, country where they work and live. They can choose to be patrons of the arts, philanthropists, benefactors, saviors.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. He then added a further three cantos and the whole eventually appeared as A Draft of XXX Cantos in an edition of 200 copies. The major locus of these cantos is the city of Venice.

Hinton, D. (2002). Mountain home: The wilderness poetry of ancient China. New York: New Directions. The first canto in the sequence, Canto LXXXV, contains 104 Chinese characters from the Chou King, in addition to a number of Latin phrases, mostly taken from Couvreur's translation. 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. we sit here – Pound met T. S. Eliot in Verona at the beginning of June 1922 ( MC 238-40). It was the second time they were on a holiday together (after Provence in 1919) and it must have been a happy time, as Pound alluded to this meeting years later, in 1930 (XXIX/145) and 1945 (LXXVIII/501). Wang, W., & Yu, P. (1980). The poetry of Wang Wei: New translations and commentary. Bloomington: Indiana University Press.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 Honoré Mirabeau in his imprisonment and Ovid in his exile "had it worse" than Pound in his incarceration. [11] Sir Edward Coke: "the clearest mind ever in England" (Canto CVII). Eliot, T. S. (2014). Ezra Pound: His metric and poetry. In The complete prose of T.S. Eliot: Apprentice years, 1905–1918 (Eds., J. B. Spears & R. Schuchard) (pp. 626–647). Baltimore: Johns Hopkins University Press. Henry – possible reference to Henry Longfellow, as indicated in Mary de Rachewiltz’ Italian translation: “E i peones ‘alla baracca grande/Li portarono’-/ Avrebbe detto Henry Longfellow.” De Rachewiltz made her translation in collaboration with her father after he returned from St. Elizabeths in 1958, so it is fair to assume the indication of Longfellow’s name was sanctioned by him. 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 classical mythology, Renaissance history, the world of the troubadours, Sappho's poetry, a scene from the legend of El Cid that introduces the theme of banking and credit, and Pound's own visits to Venice to create a textual collage saturated with neoplatonist images of clarity and light.

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 slowness is beauty|golden ratio]], a room in the church of St. Hilaire, Poitiers built to that rule where one can stand without throwing a shadow, Mencius on natural phenomena, the 17th-century English mystic John Heydon (who Pound remembered from his days working with Yeats) and other images relating to the worship of light including "'MontSegur, sacred to Helios". The canto then closes with more on economics.

The Bayrischer Rundfunk Recordings, recorded at Schloss Brunnenburg, Tirolo di Merano, Italy,December 1959

Ezra Pound started writing The Cantos around May 1915 and stopped by 1959. After that date, uncollected fragments of the poem continued to be published, Drafts and Fragments (1968), Posthumous Cantos (2002, 2015) and Sero te amavi (forcoming). The first collection of drafts andfragments (1968) is now included within the body of The Cantos proper, having received Pound’s authorization, and is considered the poem’s epilogue. XXXI–XLI (XI New Cantos) [ edit ] Thomas Jefferson, who was, in Pound's view, a new Sigismondo Pandolfo Malatesta. Published as Eleven New Cantos XXXI–XLI. New York: Farrar & Rinehart Inc., 1934. 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 Cyclops episode of the Odyssey. This figure blends into the Australia rain god Wanjina, 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 Ouan Jin, or man with an education. This theme recurs in the line "a man on whom the sun has gone down", a reference to the nekuia from Canto I, which is then explicitly referred to. This recalls The Seafarer, 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 W. B. Yeats, Joyce, Ford Madox Ford, Victor Plarr and Henry James. Finally, Pound/Odysseus is seen "on a raft blown by the wind".

Rainey, Lawrence Scott. Ezra Pound and the Monument of Culture: Text, History, and the Malatesta Cantos. Chicago: U of Chicago P, 1991.Burt, J. (2012). Hypotaxis and parataxis. In S. Cushman, C. Cavanagh, J. Ramazani, & P. Rouzer (Eds.), The Princeton encyclopedia of poetry and poetics (pp. 650–651). Princeton: Princeton University Press. Kern, R. (1996). Orientalism, modernism, and the American poem. Cambridge: Cambridge University Press. Qian, Z. (2003). The modernist response to Chinese art: Pound, Moore. Charlottesville: University of Virginia Press. El otro personaje citado al comienzo del Canto XII, Nicolás Castaño Capetillo (1836-1926), es bastante más conocido: a comienzos del siglo XX, fue el hombre más acaudalado de Cuba. De origen vasco, llegó a la isla en 1849 y desde 1851 trabajó en Cienfuegos como dependiente de bodega, vendedor ambulante y empleado de Esteban Cacicedo, hasta establecerse por su cuenta en una fábrica de velas y una tienda mixta que perdió en un incendio. Con un socio fundó la Castaño Intriago, casa comercial y bancaria que duró hasta 1888. Mediante créditos llego a ser acreedor de algunos de los principales negocios de la ciudad, y propietario de varios centrales. Años después, su fortuna se unió familiarmente con la de los Falla, otra de las más ricas familias cubanas. Según algunos historiadores cubanos, en el origen de su inmensa fortuna están las confiscaciones a los cubanos condenados por sus ideales o acciones separatistas, bajo el control de una Junta de Bienes Embargados. Castaño, teniente del Batallón de Voluntarios de Cienfuegos, fue miembro de una de esas comisiones. Al parecer, por esa vía muchas de las propiedades enajenadas a los patriotas cayeron en sus manos” ( Busto 2014).