Dave,
 
Your subject, as you've generally defined it to date,
sounds too difficult to do anything original with--even
given a lot more than the ten months you've got.  It
took me a few years to figure out the lay of the
land.
 
Might I suggest that you make life easier for yourself
and do a study which focuses on the various critical
views (major ones) that have come forth on overall
Cantos structure, perhaps categorizing these views,
maybe even chancing a bit of evaluation of them--
as to whether they make the reading any more accessible?
You might then locate your own work to date somewhere
along this critical axis.
 
My revulsion at "transpiration" is that I still don't
think "transpire" is a *formally* acceptable synonym for
"to happen."
 
Anyway, good luck with the project.  Worst that can
happen is you'll learn a lot.
 
==Dan
 
 
At 05:47 PM 6/3/98 -0400, you wrote:
>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
>>>To: [log in to unmask](robert brown)
>>>From: [log in to unmask]
>>>
>>>If you receive an email titled "WIN A HOLIDAY" DO NOT open it.
>>>>  It will erase everything on your hard drive. Forward this letter
>>>>  out to as many people as you can. This is a new, very malicious
>>>>  virus and not many people know about it. This information was
>>>>  announced yesterday morning from Microsoft; please share it with
>>>>  everyone that might access the internet.
>>>>
>>>>  Once again, pass this along to everyone in your address book so
>>>>  that this may be stopped.
>>>>
>>>
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>
Dan Pearlman                    Office: Department of English
102 Blackstone Blvd. #5                 University of Rhode Island
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Tel.: 401 453-3027                      Tel.: 401 874-4659
email: [log in to unmask]            Fax:  401 874-2580