Thanks for some responses (from yesterday: I'm on digest mode: please
excuse my out-of-stepness)!

I did mean "humanist," Jacob. If "Pound" is going to show "remorse," such
affect (remorse, or contrition, etc) I think is going to be complexly
projected as a conflict within, and onto, the dearest and most cherished
cultural values that his work exhibits -- Italian humanist values,
Cavalcanti, etc.
        Remorse will not be focused into and then dispensed by some Cartesian
identity-prop, "I, Ezra Pound," holding his very Self momentarily
accountable for the excesses of his own realm of poetico-political
values/forces -- while at the same time unaccountably disguising this
sovereign Self through the artifice of a libretto.
        Whatever remorse there may be, which induces a set of
conflicted articulations of value, it is momentary -- as I suggested, it
is a tactical affect, specific to the local literary needs of C.81.

I still need to develop the Spain/"green world" nexus. But, to me C81 is a
fascist ethnographer's rumination on the "cultural level" of Spain's
'folk' (and its church/state, that in late 15thC had massively purged its
borders of its Jewish population, those who did not convert), among other
things. As Terrell notes, the padre Jose in C81 is one who gave Pound copy
of Cavalcanti MS. If I could just end with a vague statement for now, it
seems to me that the return to the green world is complexly coded at many
levels.

Louis