On 06/02/1998 05:55 PM David Centrone said: > >Ezra Pound's Vorticism, as illustrated in Cantos I - XXX, employs the use of >"subject-rhymes," in the form of historical and imagistic relations, where >meanings develop as the context changes; with this in mind, the concept of >order, itself, has become an issue (focus / theme) of Cantos -- appearing to >be chaotic, their structure arises like a vortex, assuming the form of the >transpiration of real-world events. David: Here are three articles on structure and order in the Cantos that I have found useful (if contradictory): Terrell, Carroll F. "Canto Thirty-Six." _Paideuma_ 18.1/2 (1986), 215-226. Kenner, Hugh. "Self Similarity, Fractals, Cantos." _ELH_. 55.3 (1988), 721-730. Blasing, Mutlu Konuk. "Designs on History: Ezra Pound, the Puritans, and Self-Fulfilling Prophecies." _The Calvinist Roots of the Modern Era_. Ed. Aliki Barnstone, Michael Tomasek Manson and Carol J. Singley. Hanover, NH: UP of New England, 1997. 3-19. This last one I find particularly interesting because it discusses the Cantos in terms of metalepsis and synecdoche and the way these play into a kind of typology that converts "before and after, cause and effect, and temporal and logical sequences into each other endlessly," and then shows how this practice is similar to (but not necessarily influenced by) the typological practices of some 17th century Puritans. Emphasizes "the repeat in history." Good luck. James Atkinson [log in to unmask]