Dan:
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
introduced.
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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>>Date: Tue, 02 Jun 1998 23:06:15 -0500
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