usurers – in this canto, Pound introduces the theme of usury for the first time, as he told Prof Schelling in July 1922: “The first 11 cantos are preparation of the palette. I have to get down all the colours or elements I want for the poem.” The primary goals of the project are twofold: maintain and develop the current and future readership of the poem through multimedia annotation; further, provide a space where the community of Pound scholars, as well as students of the poem can find the best work of the past, study the poem individually or in a classroom, and develop the scholarship of the future. The project brings together everything we know at present on each canto - it is a collection, evaluation and assessment of our whole research on the poem since its beginnings to the present day.

Canto I’by Ezra Pound is the start of Pound’s collection of musings, The Cantos. ‘Canto I’is a translation of one part of The Odyssey.Other sources indicate 44 steps, as the first row of seats is raised from the bottom floor of the arena. Pound was aware of the discrepancy when he wrote in canto XI: “I have sat here/ for forty four thousand years” (XI: ll.85-86; see also OCCEP XI: n.32).

Finally, Pound ends the canto by including a respectful dedication to Aphrodite. He uses the phrase “Cypria munimenta sortita est” which is Latin for “The citadels of Cyprus were her appointed realm,” suggesting that it’s only for love that a journey like this can be made. Without explaining why Pound felt like he needed to make a dedication to Aphrodite, the poem ends with “So that:”. 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. Arena romana – Arena di Verona, built in the 1 st century AD, the fourth largest Roman theatre in Italy, capable of holding about 30,000 spectators (Bolla 24). It was originally used for shows of gladiators and fighting animals, then later for plays, opera, bullfights, and political events. The theatre originally had three tiers of galleries, but the third tier, the highest, was demolished to provide stone for the city wall in the time of Theodoric (r. Italy 493-526). (Bolla 13.)At the core of Canto CV are a number of citations and quotations from the writings of St. Anselm. This 11th-century philosopher and inventor of the ontological argument for the existence of God who wrote poems in rhymed prose appealed to Pound because of his emphasis on the role of reason in religion and his envisioning of the divine essence as light. In the 1962 interview already quoted, Pound points to Anselm's clash with William Rufus over his investiture as part of the history of the struggle for individual rights. Pound also claims in this canto that Anselm's writings influenced Cavalcanti and François Villon. 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. Sullivan, M. (1979). Symbols of eternity: The art of landscape painting in China. Redwood City: Stanford University Press. 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. Mons Quade... elsewhere recorded – Pound met Quade at the same time with Baldy, in 1910, and recorded him in a short piece called “Stark realism” which he published in Pavannes and Divisions in 1918.

Pound, E. (1951). The letters of Ezra Pound 1907-1941. In D.D. Paige (Ed.), London: Faber and Faber.

Cantos VIII–XI draw on the story of Sigismondo Pandolfo Malatesta, 15th-century poet, condottiero, lord of Rimini 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 Tempio Malatestiano. Designed by Leon Battista Alberti and decorated by artists including Piero della Francesca and Agostino di Duccio, this was a landmark Renaissance building, being the first church to use the Roman triumphal arch as part of its structure. For Pound, who spent a good deal of time seeking patrons for himself, James Joyce, Eliot and a string of little magazines and small presses, the role of the patron was a crucial cultural question, and Malatesta is the first in a line of ruler-patrons to appear in The Cantos. 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 Bunting, Yeats, Joyce and the vocabulary of the U.S. Army. The goddess in her various guises appears again, as does Awoi's hennia, the spirit of jealousy from "AOI NO UE", a Noh play translated by Pound. The canto closes with an invocation of Dionysus ( Zagreus). Swartz, W. (2008). Pentasyllabic shi poetry: landscape and farmstead Poetry. In Z. Cai (Ed.), How to read Chinese poetry: a guided anthology (pp. 121–140). New York: Columbia University Press. These two cantos, written in Italian, were not collected until their posthumous inclusion in the 1987 revision of the complete text of the poem. Pound reverts to the model of Dante’s Divine Comedy and casts himself as conversing with ghosts from Italy’s remote and recent past. 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.

In the next lines, Odysseus describes the ritual he and his men performed at the edge of the world, the place that Circe told them to go. He took out his sword and dug a “pitkin,” or a small pit, and everyone poured wine into it to honor the dead. Odysseus muses about the power of sacrifices, especially bulls, in the following lines. He adds a sheep t the pile for the blind prophet Tiresias. Because of all this praying and sacrificing, souls come out of “Erebus,” a part of the underworld.This canto then moves to the fountain of Castalia on Parnassus. This fountain was sacred to the Muses 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 fold" and the erect temple ( Templum aedificans) also serve as images of sexual love. 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 acceptance and resignation, despite the return to the sphere of action, prompted by the death of Angold, that marks most of the canto. Canto lines level – Here the reader encounters the poem itself together with the new multimedia annotation. Within the glosses, we find links, images, maps and other supporting material.