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Ezra Pound discussion list of the University of Maine <[log in to unmask]>
Erin Templeton <[log in to unmask]>
Thu, 4 Jun 1998 13:17:44 -0400
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Ezra Pound discussion list of the University of Maine <[log in to unmask]>
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As for intentional structure in the Cantos:
Don't forget that this was a *lifetime* project we're talking about here--!
 Pound worked on the Cantos for 50 years!  His ideas of order and structure
probably underwent some pretty radical change, especially from EP's
original conception.  Most critics talking about structure are, from my
experience, looking at the whole thing, not just I-XXX.  Isolating these is
a good idea, and you might even want to refine it even more--the early
Cantos were published in smaller groups as well.
Just some more food for thought . . .
Good Luck!
At 05:47 PM 6/3/98 -0400, David Centrone wrote:
>You wrote:  "In other words,
>the thesis statement you give below sounds too general, or
>like rediscovery of the wheel.  Perhaps you can refine it"
>. . . . tell me about it, I've got at least six books on the table on the
>topic of organization of _Cantos_; the theme seems quite done already.  At
>present it doesn't seem like there is a "new" angle at all.  But on the plus
>side, I've got about 10 months to complete the thing (and its an undergrad
>project -- meaning they're taking it easy).
>What interests me about organization is the controversy; T. S. Eliot said:
>"That never worries me, and I do not believe that I care.  I know that Pound
>has a scheme and a kind of philosophy behind it; it is quite enough for me
>that he thinks he knows what he is doing."  Plenty of other critics become
>fully irate at the notion of finding order to _Cantos_.
>Even in responding to my little blip there seems to be a variety of degrees
>of opinion as to how much intentional structure there was / is in it.  I
>don't think that I plan to find a structure which has never been seen, but I
>would like to accurately explore what IS there.  Over the months, I may
>develop a "new" angle, but now I've got to produce a draft of a prospectus.
>Several critics have objectified "Odysseus in Hades" (I - XXX) as a thematic
>and structural introduction for all of the following Cantos wherein (I'm
>gleening from different sources) the concept of the "subject rhyme" is
>how's ". . . mimicking the seeming spontaneity" of real-world events sound,
>instead of transpiration?
>what's wrong with "transpiration"?
>Anyway, thanks to all respondents.  I'll be back.
>Dave Centrone
>At 06:54 PM 6/3/98 +0900, you wrote:
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