Canto LXXIV:

"I don't know how humanity stands it
with a painted paradise at the end of it
without a painted paradise at the end of it"

Other painted walls - Canto III:

"Here stripped, here made to stand
Drear waste, the pigment flakes from the stone
Or plaster flakes, Mantegna painted the wall.
Silk tatters, Nec Spe Nec Metu."

canto XX

"Walls painted to look like arras"

And most significantly in Cantos XLV and LI:

"hath no man a painted paradise on his church wall"

"no paradise on his church wall"

It is interesting that Pound talks about Paradise on church walls.  In
England the empahasis is on Hell or medieval "Doom" paintings depicting the
suffering of the damned at the Last judgement.  I don't know about Italian
church frescoes.  Perhaps the difference between the italian and English
mind-sets.  Northern and Mediterranean.

J.L. Carr has a novel  "a Month in the country" about post second world war
England with a damaged war veteran restoring a doom painting in an English
church.  What is all that about?

degsey

>From: Elizabeth Oness <[log in to unmask]>
>Reply-To: Ezra Pound discussion list of the University of Maine
>  <[log in to unmask]>
>To: [log in to unmask]
>Subject: a painted paradise
>Date: Thu, 18 May 2000 08:34:56 -0500
>
>Dear EP List members,
>
>I have a question, and I'm living in a place with no proper concordance.
>
>Somewhere in The Cantos, I remember reading something like:
>
>How can man stand it
>with a painted paradise/ at the end of it?
>Without a painted paradise at the end of it?
>
>I'm sure these line breaks are wrong, but does anyone know WHERE in the
>Cantos this is?
>
>Of course I'm also grateful for elucidation beyond the immediate elegance
>of
>the questions.
>
>Elizabeth Oness

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