I agree with you that there is some comfort in the Pisan cantos, and some kind of wispish meloncholy elevating beauty in the Drafts and Fragments--and I have been compelled into admitting that different people find their comforts in different ways--but the Cavalcanti translation? The Tuscan intellectualized version of courtly love, of fin amours? Man, that would be cold and confusing comfort for me. Cavalcanti and to some degree, his friend Dante approach love in much the same way that Pound suggests his Mauberly approaches work--from the vantage of pure aesthetics--so that they pass by, "inconscient, full gaze," the women whom they would adore.
But thank-you for a reply--and I gladly admit that in many ways, each of us finds a different Cantos.
>>> Eric Wagner <[log in to unmask]> 08/27 1:00 PM >>>
In a message dated 8/25/99 6:41:01 AM Pacific Daylight Time,
[log in to unmask] writes:
<< I wonder if Pound would see his Cantos as a work to comfort during those
certain times late in the night, far from home? I think Frost's work might
serve this end, but the Cantos is primarily a working text, not a comforting
one. (not to say that it does not possess comforting moments, or lyrical,
Where is this quality in the Cantos that most provides the comfort of
which you write? Serious question.
I think Pound intended the Cantos to delight, teach and move. I certainly
have found a great deal of comfort from it, especially from the Cavalcanti
translation, Canto 45, the Pisan Cantos and the Drafts and Fragments.