Nicholas Castaño – Nicolás Castaño y Capetillo (1836-1926) Spanish businessman and banker, one of the richest persons in Cuba during his lifetime. Canto LV is mainly concerned with the rise of the Tatars and the Tartar Wars, ending about 1200. There is a lot on money policy in this canto and Pound quotes approvingly the Tartar ruler Oulo who noted that the people "cannot eat jewels". This is echoed in Canto LVI when KinKwa remarks that both gold and jade are inedible. This canto is mainly concerned with Ghengis and Kublai Khan and the rise of their Yeun dynasty. The canto closes with the overthrow of the Yeun and the establishment of the Ming dynasty, bringing us to around 1400. les gradins... calcaire – Fr. “the steps, forty-three in limestone.” Pound is referring to the French version of the Baedeker, which contained this information. In the first lines of the third stanza of ‘Canto I,’the speaker describes how all of a sudden, Anticlea (his mother) shows up before Odysseus gets to answer Eplenor. He sends her off before running into Tiresias, the man he’s been looking for. This is the second time that Odysseus has existed in the underworld, and Tiresias notes that. Tiresias prepares to share a bit of knowledge with Odysseus in exchange for the drink of wine he’s brought him.

Canto XCIII opens with a quote, "A man's paradise is his good nature", taken from The Maxims of King Kati to His Son Merikara. [10] The canto then proceeds to look at examples of benevolent action by public figures that, for Pound, illustrate this maxim. These include Apollonius making his peace with animals, Saint Augustine on the need to feed people before attempting to convert them, and Dante and Shakespeare writing on distributive justice, an aspect of their work that the poet points out is generally overlooked. Central to this aspect is a fragment from Dante, non fosse cive, taken from a passage in Paradiso, Canto VIII, in which Dante is asked "would it be worse for man on earth if he were not a citizen?" and unhesitatingly answers in the affirmative. Law, S. S. M. (2011). Being in traditional Chinese landscape painting. Journal of Intercultural Studies, 32(4), 369–382.Shi Qing, dir. “The Lady of the Dynasty.” [The story of the Tang queen Yang Yuhuan, also known as Yang Guifei]. Featuring Fan Bingbing, Leon Lai and Wu Chun. 2015. YouTube. As The Cantos Project is numbering the lines of The Cantos, references to cantos already glossed will be by canto number and line(s), as standard with classical works. Example: III: ll.7–17. The first canto in the sequence, Canto LXXXV, contains 104 Chinese characters from the Chou King, in addition to a number of Latin phrases, mostly taken from Couvreur's translation. There are also a small number of Greek words. The overall effect for the English-speaking reader is one of unreadability, and the canto is hard to elucidate unless read alongside a copy of Couvreur's text. Quinn’s banking friends are tailor dummy copies of once vital bankers like the Medicis. Canto XII handles them in the same style as Baldy, with one considered difference: Because Quinn’s bankers have more responsibility than Baldy Bacon, their hollowness is more pernicious” (Bush 250). Finally, Pound ends the canto by including a respectful dedication to Aphrodite. He uses the phrase “Cypria munimenta sortita est” which is Latin for “The citadels of Cyprus were her appointed realm,” suggesting that it’s only for love that a journey like this can be made. Without explaining why Pound felt like he needed to make a dedication to Aphrodite, the poem ends with “So that:”.

Despite all the controversy surrounding both poem and poet, The Cantos has been influential in the development of English-language long poems since the appearance of the early sections during the 1920s. Amongst poets of Pound's own generation, both H.D. and William Carlos Williams wrote long poems that show this influence. Almost all of H.D.'s poetry from 1940 onwards takes the form of long sequences, and her Helen in Egypt, written during the 1950s, covers much of the same Homeric ground as The Cantos (but from a feminist perspective), and the three sequences that make up Hermetic Definition (1972) include direct quotations from Pound's poem. In the case of Williams, his Paterson (1963) follows Pound in using incidents and documents from the early history of the United States as part of its material. As with Pound, Williams includes Alexander Hamilton as the villain of the piece.At the core of Canto CV are a number of citations and quotations from the writings of St. Anselm. This 11th-century philosopher and inventor of the ontological argument for the existence of God who wrote poems in rhymed prose appealed to Pound because of his emphasis on the role of reason in religion and his envisioning of the divine essence as light. In the 1962 interview already quoted, Pound points to Anselm's clash with William Rufus over his investiture as part of the history of the struggle for individual rights. Pound also claims in this canto that Anselm's writings influenced Cavalcanti and François Villon. Qian, Z. (2000). Pound and Chinese art in the ‘British Museum era’. In H. M. Dennis (Ed.), Ezra Pound and poetic influence (pp. 100–112). Amsterdam: Rodopi. Cheng, M., & Tang, W. H. (2018). Essential terms of Chinese painting. Kowloon: City University of Hong Kong Press. Sullivan, M. (1979). Symbols of eternity: The art of landscape painting in China. Redwood City: Stanford University Press. The Noh figure of Awoi (from AOI NO UE), ravaged by jealousy, reappears together with the poet Ono no Komachi, the central character in two more Noh plays translated by Pound. She represents a life spent meditating on beauty which resulted in vanity and ended in loss and solitude. The canto draws to a close with the phrase Lux enim ("light indeed") and an image of the oval moon.