Maya,
     I think the only synchronicity in Pound’s work
was well explained by Professor Pearlman; concerning
Chinese influence, there we go: Pound took the Chinese
written character as Fenollosa put it, and assumed it
was a very good example of how poesy works — or has to
work. The technique of The Cantos, as well as the
technique of many of his poems, is the development
Pound gave to the previous cubist experience, not only
from cubist painters, but from French poets like
Cocteau, Apollinaire, Reverdy and others. You can find
this opinion with arguments in Octavio Paz’s Los Hijos
del Limo. There’s a very good book on the French
influence called L’Influence du Symbolisme Français
sur la Poésie Américaine (de 1910 a 1920), Paris,
Librairie Ancienne Honoré Champion, 1929, written by
René Taupin.

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