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Ezra Pound

2007 Schools Wikipedia Selection. Related subjects: Writers and critics

   Ezra Pound in 1913.
   Ezra Pound in 1913.

   Ezra Weston Loomis Pound ( October 30, 1885 – November 1, 1972) was an
   American expatriate, poet, musician, and critic who, along with T. S.
   Eliot, was a major figure of the Modernist movement in early 20th
   century poetry. He was the driving force behind several Modernist
   movements, notably Imagism and Vorticism. The critic Hugh Kenner said
   on meeting Pound: "I suddenly knew that I was in the presence of the
   centre of modernism."

Early life and contemporaries

   Pound was born in Hailey, Idaho, United States to Homer Loomis and
   Isabel Weston Pound. He studied for two years at the University of
   Pennsylvania and later received his B.A. from Hamilton College in 1905.
   During studies at Penn, he met and befriended William Carlos Williams
   and H.D. ( Hilda Doolittle), to whom he was engaged for a time. H.D.
   also became involved with a woman named Frances Gregg around this time.
   Shortly afterwards, H.D. and Gregg, along with Gregg's mother, went to
   Europe.

   Afterward, Pound taught at Wabash College in Crawfordsville, Indiana
   for less than a year, and left as the result of a minor scandal. In
   1908 he traveled to Europe, settling in London after spending several
   months in Venice.

The London Revolution

   The cover of the 1915 wartime number of the Vorticist magazine BLAST
   Enlarge
   The cover of the 1915 wartime number of the Vorticist magazine BLAST

   Pound's early poetry was inspired by his reading of the pre-Raphaelites
   and other 19th century poets and medieval Romance literature, as well
   as much neo-Romantic and occult/mystical philosophy. When he moved to
   London, under the influence of Ford Madox Ford and T. E. Hulme, he
   began to cast off overtly archaic poetic language and forms in an
   attempt to remake himself as a poet. He believed W. B. Yeats was the
   greatest living poet, and befriended him in England, eventually being
   employed as the Irish poet's secretary. He was also interested in
   Yeats's occult beliefs. During the war, Pound and Yeats lived together
   at Stone Cottage in Sussex, England, studying Japanese, especially Noh
   plays. They paid particular attention to the works of Ernest Fenollosa,
   an American professor in Japan, whose work on Chinese characters Pound
   developed into what he called the Ideogrammic Method. In 1914, Pound
   married Dorothy Shakespear, an artist, and the daughter of Olivia
   Shakespear, a novelist and former lover of W.B. Yeats.

   In the years before the First World War, Pound was largely responsible
   for the appearance of Imagism, and contributed the name to the movement
   known as Vorticism, which was led by Wyndham Lewis. These two
   movements, which helped bring to notice the work of poets and artists
   like James Joyce, Wyndham Lewis, William Carlos Williams, H.D., Richard
   Aldington, Marianne Moore, Rabindranath Tagore, Robert Frost, Rebecca
   West and Henri Gaudier-Brzeska, can be seen as central events in the
   birth of English-language modernism. Pound also edited his friend
   Eliot's The Waste Land, the poem that was to force the new poetic
   sensibility into public attention.

   In 1915, Pound published Cathay, a small volume of poems that Pound
   described as “For the most part from the Chinese of Rihaku [Li Po],
   from the notes of the late Ernest Fenollosa, and the decipherings of
   the professors Mori and Ariga.". The volume includes works such as The
   River Merchant's Wife: A Letter and A Ballad of the Mulberry Road.
   Unlike previous American translators of Chinese poetry, who tended to
   work with strict metrical and stanzaic patterns, Pound offered readers
   free verse translations celebrated for their ease of diction and
   conversationality. Many critics consider the poems in Cathay to be the
   most successful realization of Pound's Imagist poetics. Whether or not
   the poems are valuable as translations continues to be a source of
   controversy. Neither Pound nor Fenollosa spoke or read Chinese
   proficiently, and Pound has been criticized for omitting or adding
   sections to his poems which have no basis in the original texts. Many
   critics argue, however, that the fidelity of Cathay to the original
   Chinese is beside the point. Hugh Kenner, in a chapter entitled "The
   Invention of China," contends that Cathay should be read primarily as a
   book about World War I, not as an attempt at accurately translating
   ancient Eastern poems. The real achievement of the book, Kenner argues,
   is in how it combines meditations on violence and friendship with an
   effort to "rethink the nature of an English poem" . These ostensible
   translations of ancient Eastern texts, Kenner argues, are actually
   experiments in English poetics and compelling elegies for a warring
   West.

   The war shattered Pound's belief in modern western civilization and he
   abandoned London soon after, but not before he published Homage to
   Sextus Propertius ( 1919) and Hugh Selwyn Mauberley ( 1920). If these
   poems together form a farewell to Pound's London career, The Cantos,
   which he began in 1915, pointed his way forward.

Paris

   In 1920, Pound moved to Paris where he moved among a circle of artists,
   musicians and writers who were revolutionising the whole world of
   modern art. He was friends with notable figures such as Marcel Duchamp,
   Tristan Tzara, Fernand Leger and others of the Dada and Surrealist
   movements. He continued working on The Cantos, writing the bulk of the
   "Malatesta Sequence" which introduced one of the major personas of the
   poem. The poem increasingly reflected his preoccupations with politics
   and economics. During this time, he also wrote critical prose,
   translations and composed two complete operas (with help from George
   Antheil) and several pieces for solo violin. In 1922 he met and became
   involved with Olga Rudge, a violinist. Together with Dorothy
   Shakespear, they formed an uneasy ménage à trois which was to last
   until the end of the poet's life.

Italy

   Ezra Pound's annotations on his copy of James Legge's translation of
   the Book of Poetry (Shih Ching), in the Sacred Books of the East.
   Enlarge
   Ezra Pound's annotations on his copy of James Legge's translation of
   the Book of Poetry ( Shih Ching), in the Sacred Books of the East.

   On 10 October 1924, Pound left Paris permanently and moved to Rapallo,
   Italy. He and Dorothy stayed there briefly, moving on to Sicily, and
   then returning to settle in Rapallo in January 1925. In Italy he
   continued to be a creative catalyst. The young sculptor Heinz Henghes
   came to see Pound, arriving penniless. He was given lodging and marble
   to carve, and quickly learned to work in stone. The poet James Laughlin
   was also inspired at this time to start the publishing company New
   Directions which would become a vehicle for many new authors.

   At this time Pound also organized an annual series of concerts in
   Rapallo where a wide range of classical and contemporary music was
   performed. In particular this musical activity contributed to the 20th
   century revival of interest in Vivaldi, who had been neglected since
   his death.

   In Italy Pound became an enthusiastic supporter of Mussolini, and
   anti-Semitic sentiments begin to appear in his writings. He made his
   first trip back home for many years in 1939, on the eve of the Second
   World War, and considered moving back permanently, but in the end he
   chose to return to Italy.

   Aside from his political sympathy with the Mussolini regime, Pound had
   personal reasons for staying. His elderly parents had retired to Italy
   to be with him, and were in poor health and would have difficulty
   making the trip back to America even under peacetime conditions. He
   also had an Italian-born daughter by his mistress Olga Rudge: Mary (or
   Maria) Rudge was a young woman in her late teens who had lived in Italy
   her whole life and who might have had difficulty relocating to America
   (even though she had American as well as Italian citizenship.)

   Pound remained in Italy after the outbreak of the Second World War,
   which began more than two years before his native United States
   formally entered the war in December 1941. He became a leading Axis
   propagandist. He also continued to be involved in scholarly publishing,
   and he wrote many newspaper pieces. He disapproved of American
   involvement in the war and tried to use his political contacts in
   Washington D.C. to prevent it. He spoke on Italian radio and gave a
   series of talks on cultural matters. Inevitably, he touched on
   political matters, and his opposition to the war and his anti-Semitism
   were apparent on occasions. A transcript from one of his broadcasts
   reads: "The big Jew is so bound up with this Leihkapital that no one is
   able to unscramble that omelet. It would be better for you to retire to
   Darbyshire and defy New Jerusalem, better for you to retire to
   Gloucester and find one spot that is England than to go on fighting for
   Jewry and ignoring the process....You let in the Jew and the Jew rotted
   your empire, and you yourselves out-jewed the Jew....And the big Jew
   has rotted EVERY nation he has wormed into" (March 15, 1942).

   It is not clear if anyone in the United States ever actually heard his
   radio broadcasts, since Italian radio's shortwave transmitters were
   weak and unreliable. It is clear, however, that his writings for
   Italian newspapers (as well as a number of books and pamphlets) did
   have some influence in Italy.

   In July 1943, the southern half of Italy was overrun by Allied forces.
   At the Allies' behest, King Victor Emmanuel III dismissed Mussolini as
   premier of the Kingdom of Italy. Mussolini escaped to the north, where
   he declared himself the President of the new Salo Republic. Pound
   played a significant role in cultural and propaganda activities in the
   new republic, which lasted till the spring of 1945.

   On May 2, 1945, he was arrested by Italian partisans, and taken
   (according to Hugh Kenner) "to their HQ in Chiavari, where he was soon
   released as possessing no interest." The next day, he turned himself in
   to U.S. forces. He was incarcerated in a United States Army detention
   camp outside Pisa, spending twenty-five days in an open cage before
   being given a tent. Here he appears to have suffered a nervous
   breakdown. He also drafted the Pisan Cantos in the camp. This section
   of the work in progress marks a shift in Pound's work, being a
   meditation on his own and Europe's ruin and on his place in the natural
   world. The Pisan Cantos won the first Bollingen Prize from the Library
   of Congress in 1948.

St. Elizabeths

   After the war, Pound was brought back to the United States to face
   charges of treason. The charges covered only his activities during the
   time when the Kingdom of Italy was officially at war with the United
   States, i.e., the time before the Allies captured Rome and Mussolini
   fled to the North. Pound was not prosecuted for his activities on
   behalf of Mussolini's Saló Republic (evidently because the Republic's
   existence was never formally recognized by the United States). He was
   found unfit to face trial because of insanity and sent to St.
   Elizabeths Hospital in Washington, D.C., where he remained for 12 years
   from 1946 to 1958. His insanity plea is still a matter of some
   controversy, since in retrospect his activities and his writings during
   the war years do not appear to be those of a clinically insane person.
   The insanity plea was part of a plea bargain designed to save his life,
   since treason is potentially a capital offense. As it turned out, there
   were a number of other American Axis collaborators who stood trial
   after the war without being sentenced to death. Pound's controversial
   insanity plea is mirrored by the fate of Norwegian author and
   collaborator Knut Hamsun, who was similarly dubbed insane by
   embarrassed authorities despite evidence (in the form of subsequent
   published material) to the contrary.

   Following his release, Pound was asked his opinions on his home
   country. He famously quipped: "America is a lunatic asylum."
   Subsequently he returned to Italy, where he remained until his death in
   1972. Pound was conceited and flamboyant, not to say obsessive, which
   in psychiatric terms became "grandiosity of ideas and beliefs."

   By contrast, E. Fuller Torrey believed that Pound was coddled by
   Winfred Overholser, the superintendent of St. Elizabeths. According to
   Torrey, Overholser admired Pound's poetry and allowed him to live in a
   private room at the hospital, where he wrote three books, received
   visits from literary celebrities and enjoyed conjugal relations with
   his wife and several mistresses. However, the reliability of Torrey’s
   allegations has been questioned. Other scholars have presented
   Overholser as behaving solely in a humane way to his famous patient,
   without allowing him special privileges. At St. Elizabeths, Pound was
   surrounded by poets and other admirers and continued working on The
   Cantos as well as translating the Confucian classics.

   One of Pound's most frequent visitors was the then-chairman of the
   States' Rights Democratic Party, with whom Pound used to discuss
   strategy and tactics on how best to rally public support for the
   preservation of racial segregation in the American South.

   Pound was also befriended there by Hugh Kenner, whose The Poetry of
   Ezra Pound (1951) was highly influential in causing a re-assessment of
   Pound's poetry. Other scholars began to edit the Pound Newsletter,
   which eventually led to the publication of the first guide to The
   Cantos, Annotated Index to the Cantos of Ezra Pound (1957). Pound was
   most happy in his relations with fellow-poets, like Elizabeth Bishop,
   who recorded her response to Pound’s tragic situation in the poem "
   Visits to St. Elizabeths," and Robert Lowell, who visited and
   corresponded extensively with Pound. Another visitor who is believed to
   have inspired the love-poetry in Cantos XC-XCV was the artist Sheri
   Martinelli. Both William Carlos Williams and Louis Zukosfsky were among
   Pound's visitors, as was Guy Davenport, who subsequently wrote his
   Harvard dissertation on Pound's poetry (published as Cities on Hills in
   1983). Pound was finally released after a concerted campaign by many of
   his fellow poets and artists, particularly Robert Frost and Archibald
   MacLeish. He was still considered incurably insane, but not dangerous
   to others.

Return to Italy and Death

   Grave of Pound in the San Michele cemetery, Venice
   Enlarge
   Grave of Pound in the San Michele cemetery, Venice

   On his release, Pound returned to Italy where he continued writing, but
   his old certainties had deserted him. Although he continued working on
   The Cantos, he seemed to view them as an artistic failure. Allen
   Ginsberg, in an interview with Michael Reck, stated that Pound seemed
   to regret many of his past actions, and that he regretted that his work
   was tainted with "that stupid, suburban prejudice of anti-Semitism" ,
   although contemporaneous letters published in recent years indicate
   that he was still unrepentently anti-Semitic. Pound died in Venice in
   1972.

Musical Quality of Pound's Poetry

   Pound's The Cantos, one of the 20th century's most important literary
   works, is a poem that contains music and bears a title that could be
   translated as The Songs --though it never is. Pound's ear was tuned to
   the motz el sons of troubadour poetry where, as musicologist John
   Stevens has noted, "melody and poem existed in a state of the closest
   symbiosis, obeying the same laws and striving in their different media
   for the same sound-ideal - armonia."

   In his essays, Pound wrote of rhythm as "the hardest quality of a man's
   style to counterfeit." He challenged young poets to train their ear
   with translation work to learn how the choice of words and the movement
   of the words combined. But having translated texts from ten different
   languages into English, Pound found that translation did not always
   serve the poetry: "The grand bogies for young men who want really to
   learn strophe writing are Catullus and Francois Villon. I personally
   have been reduced to setting them to music as I cannot translate them."
   While he habitually wrote out verse rhythms as musical lines, Pound did
   not set his own poetry to music.

   In 1919, when he was 34, Pound began charting his path as a novice
   composer, writing privately that he intended a revolt against the
   impressionistic music of Debussy. An autodidact, Pound described his
   working method as "improving a system by refraining from obedience to
   all its present 'laws'..." With only a few formal lessons in music
   composition, Pound produced a small body of work, including a setting
   of Dante's sestina, "Al poco giorno," for violin. His most important
   output is the pair of operas: Le Testament, a setting of Francois
   Villon's long poem of that name, written in 1461; and Cavalcanti, a
   setting of 11 poems by Guido Cavalcanti (c. 1250-1300). Pound began
   composing the Villon with the help of Agnes Bedford, London pianist and
   vocal coach. Though the work is notated in Bedford's hand, Pound
   scholar Robert Hughes has been able to determine that Pound was
   artistically responsible for the work's overall dramatic and acoustic
   design.

   During the fecund Paris years of 1921-1924, Pound formed close
   friendships with the American pianist and composer George Antheil, and
   Antheil's touring partner, the American concert violinist Olga Rudge.
   Pound championed Antheil's music and asked his help in devising a
   system of micro-rhythms that would more accurately render the
   vitalistic speech rhythms of Villon's Old French for Le Testament. The
   resulting collaboration of 1923 used irregular meters that were
   considerably more elaborate than Stravinsky's benchmarks of the period,
   Le Sacre du Printemps (1913) and L'Histoire du Soldat (1918). For
   example, "Heaulmiere," one of the opera's key arias, at a tempo of
   quarter note = M.M. 88, moves from 2/8 to 25/32 to 3/8 to 2/4 meter
   (bars 25-28), creating for the performers ferocious difficulties in
   hearing the current bar of music and anticipating the upcoming bar.
   Rudge performed in the 1924 and 1926 Paris preview concerts of Le
   Testament, but insisted to Pound that the meter was impractical.

   In Le Testament there is no predictability of manner; no comfort zone
   for singer or listener; no rests or breath marks. Though Pound stays
   within the hexatonic scale to evoke the feel of troubadour melodies,
   modern invention runs throughout, from the stream of unrelenting
   dissonance in the mother's prayer to the grand shape of the work's
   aesthetic arc over a period of almost an hour. The rhythm carries the
   emotion. The music admits the corporeal rhythms (the score calls for
   human bones to be used in the percussion part); scratches, hiccoughs,
   and counter-rhythms lurch against each other--an offense to courtly
   etiquette. With "melody against ground tone and forced against another
   melody," as Pound puts it, the work spawns a polyphony in polyrhythms
   that ignores traditional laws of harmony. It was a test of Pound's
   ideal of an "absolute" and "uncounterfeitable" rhythm conducted in the
   laboratory of someone obsessed with the relationship between words and
   music.

   After hearing a concert performance of Le Testament in 1926, Virgil
   Thomson praised Pound's accomplishment. "The music was not quite a
   musician's music," he wrote, "though it may well be the finest poet's
   music since Thomas Campion. . . . Its sound has remained in my memory."

   Robert Hughes has remarked that where Le Testament explores a
   Webernesque pointillistic orchestration and derives its vitality from
   complex rhythms, Cavalcanti (1931) thrives on extensions of melody.
   Based on the lyric love poetry of Guido Cavalcanti, the opera's numbers
   are characterized by a challenging bel canto, into which Pound
   incorporates a number of tongue-in-cheek references to Verdi and a
   musical motive that gestures to Stravinsky's neo-classicism. By this
   time the relationship with Antheil had considerably cooled, and Pound,
   in his gradual acquisition of technical self-sufficiency, was free to
   emulate certain aspects of Stravinsky. Cavalcanti demands attention to
   its varying cadences, to a recurring leitmotif, and to a symbolic use
   of octaves. The play of octaves creates a surrealist straining against
   the limits of established compositional laws, of history and fate, of
   physiology, of reason, and especially against the limits of a love born
   of desire. The audience is asked to strain to hear a political cipher
   hidden within the music.

   Pound's statement, "Rhythm is a FORM cut into TIME," distinguishes his
   20th century medievalism from Antheil's SPACE/TIME theory of modern
   music, which sought pure abstraction. Antheil's system of time
   organization is inherently biased for complex, asymmetric, and fast
   tempi; it thrives on innovation and surprise. Pound's more open system
   allows for any sequence of pitches; it can accommodate older styles of
   music with their symmetry, repetition, and more uniform tempi, as well
   as newer methods, such as the asymmetrical micro-metrical divisions of
   rhythm created for Le Testament.

   Pound's iconoclastic music can be compared to that of his contemporary,
   Charles Ives. Both subjected melody to sophisticated techniques of
   juxtaposition and layering, Pound shaping melody with literary textures
   and Ives with harmonic and contrapuntal textures. Each experimented
   with the combination of different genres placed into a single complex
   work. Ives selected from among hymns, folk tunes, ballads and
   minstrelsy, as well as instrumental pieces. Pound selected from a vocal
   gamut of plainchant, homophony, troubadour melodies, bel canto and
   nineteenth century opera clichés, as well as 20th-century polyrhythms
   and cabaret style singing.

   Pound's music theories are reactionary and revolutionary, irascible and
   philosophic. His reach passes through the physical science of sound to
   offer many epiphanies.

Importance

   Because of his political views, especially his support of Mussolini and
   his anti-Semitism, Pound attracted much criticism throughout the second
   half of the twentieth century. As historical revisionist models of
   criticism wane, however, it seems as though Pound scholars are becoming
   interested in his words and not his views. It is almost impossible to
   ignore the vital role he played in the modernist revolution in 20th
   century literature in English. Pound's perceived importance has varied
   over the years. The location of Pound -- as opposed to other writers
   such as T.S. Eliot -- at the centre of the Anglo-American Modernist
   tradition was famously asserted by the critic Hugh Kenner, most fully
   in his account of the Modernist movement titled The Pound Era. The
   critic Marjorie Perloff has also insisted upon the centrality of Pound
   to numerous traditions of "experimental" poetry in the 20th century.

   As a poet, Pound was one of the first to successfully employ free verse
   in extended compositions. His Imagist poems influenced, among others,
   the Objectivists. The Cantos and many of Pound's shorter poems were a
   touchstone for Allen Ginsberg and other Beat poets; Ginsberg made an
   intense study of Pound's use of parataxis which had a major influence
   on his poetry. Almost every 'experimental' poet in English since the
   early 20th century has been considered by some to be in his debt.

   As critic, editor and promoter, Pound helped the careers of Yeats,
   Eliot, Joyce, Wyndham Lewis, Robert Frost, William Carlos Williams,
   H.D., Marianne Moore, Ernest Hemingway, D. H. Lawrence, Louis Zukofsky,
   Basil Bunting, George Oppen, Charles Olson and other modernist writers
   too numerous to mention as well as neglected earlier writers like
   Walter Savage Landor and Gavin Douglas.

   Immediately before the first world war Pound became interested in art
   when he was associated with the Vorticists (Pound coined the word).
   Pound did much to publicize the movement and was instrumental in
   bringing it to the attention of the wider public (he was particularly
   important in the artistic careers of Henri Gaudier-Brzeska and Wyndham
   Lewis).

   As translator, although his mastery of languages is open to question,
   Pound did much to introduce Provençal and Chinese poetry to English
   speaking audiences. For example, insofar as major poets such as
   Cavalcanti and Du Fu, are known to the English speaking world, it is
   mainly because of Pound. He revived interest in the Confucian classics
   and introduced the West to classical Japanese poetry and drama (e.g.
   the Noh). He also translated and championed Greek, Latin and
   Anglo-Saxon classics and helped keep these alive for poets at a time
   when classical education and knowledge of anglo-saxon was in decline.

   In the early 1920s in Paris, Pound became interested in music, and was
   probably the first serious writer in the 20th century to praise the
   work of the long-neglected Italian composer Antonio Vivaldi and to
   promote early music generally. He also helped the early career of
   George Antheil, and collaborated with him on various projects.

   The secret to Pound's seemingly bizarre theories and political
   commitments perhaps lie in his occult and mystical interests, which
   biographers have only recently begun to document. 'The Birth of
   Modernism' by Leon Surette is perhaps the best introduction to this
   aspect of Pound's thought.

Selected works

     * 1908 A Lume Spento, poems.
     * 1908 A Quinzaine for This Yule, poems.
     * 1909 Personae, poems.
     * 1909 Exultations, poems.
     * 1910 Provenca, poems.
     * 1910 The Spirit of Romance, essays.
     * 1911 Canzoni, poems.
     * 1912 Ripostes of Ezra Pound, poems.
     * 1912 Sonnets and ballate of Guido Cavalcanti, translations.
     * 1915 Cathay, poems / translations.
     * 1916 Certain noble plays of Japan: from the manuscripts of Ernest
       Fenollosa, chosen and finished by Ezra Pound, with an introduction
       by William Butler Yeats.
     * 1916 "Noh", or, Accomplishment: a study of the classical stage of
       Japan, by Ernest Fenollosa and Ezra Pound.
     * 1916 The Lake Isle, poem.
     * 1917 Lustra of Ezra Pound, poems.
     * 1917 Twelve Dialogues of Fontenelle, translations.
     * 1918 Quia Pauper Amavi, poems.
     * 1918 Pavannes and Divisions, essays.
     * 1919 The Fourth Canto, poems.
     * 1920 Umbra, poems and translations.
     * 1920 Hugh Selwyn Mauberley, poems.
     * 1921 Poems, 1918-1921, poems.
     * 1922 The Natural Philosophy of Love, by Rémy de Gourmont,
       translations.
     * 1923 Indiscretions, essays.
     * 1923 Le Testament, one-act opera.
     * 1924 Antheil and the Treatise on Harmony, essays.
     * 1925 A Draft of XVI Cantos, poems.
     * 1927 Exile, poems
     * 1928 A Draft of the Cantos 17-27, poems.
     * 1928 Ta hio, the great learning, newly rendered into the American
       language, translation.
     * 1930 Imaginary Letters, essays.
     * 1931 How to Read, essays.
     * 1933 A Draft of XXX Cantos, poems.
     * 1933 ABC of Economics, essays.
     * 1933 Cavalcanti, three-act opera.
     * 1934 Homage to Sextus Propertius, poems.
     * 1934 Eleven New Cantos: XXXI-XLI, poems.
     * 1934 ABC of Reading, essays.
     * 1935 Make It New, essays.
     * 1936 Chinese written character as a medium for poetry, by Ernest
       Fenollosa, edited and with a foreword and notes by Ezra Pound.
     * 1936 Jefferson and/or Mussolini, essays.
     * 1937 The Fifth Decade of Cantos, poems.
     * 1937 Polite Essays, essays.
     * 1937 Digest of the Analects, by Confucius, translation.
     * 1938 Culture, essays.
     * 1939 What Is Money For?, essays.
     * 1940 Cantos LII-LXXI, poems.
     * 1944 L'America, Roosevelt e le Cause della Guerra Presente, essays.
     * 1944 Introduzione alla Natura Economica degli S.U.A., prose.
     * 1947 Confucius: the Unwobbling pivot & the Great digest,
       translation.
     * 1948 The Pisan Cantos, poems.
     * 1950 Seventy Cantos, poems.
     * 1951 Confucian analects, translated by Ezra Pound.
     * 1956 Section Rock-Drill, 85-95 de los Cantares, poems.
     * 1956 Women of Trachis, by Sophocles, translation.
     * 1959 Thrones: 96-109 de los Cantares, poems.
     * 1968 Drafts and Fragments: Cantos CX-CXVII, poems.
     * 1997 Ezra Pound and Music, essays.
     * 2002 Canti postumi, poems
     * 2003 Ego scriptor cantilenae: The Music of Ezra Pound,
       operas/music.

Audio recordings

     * Recording of "Usura" Canto XLV, read by Pound (mp3).
     * Recording of sections from Hugh Selwyn Mauberley and others, read
       by Pound (RealAudio).
     * Ego scriptor cantilenae: The Music of Ezra Pound, excerpts from the
       two operas plus three works for solo violin, selected from
       performances all over the world.
     * "The Four Steps" talk, in which Pound outlines his antipathy
       towards all forms of bureacracy - BBC Home Service 21 June 1958
       (RealAudio).

   Readings of Ezra Pound's work by other than author
     * Complete recordings with full text of all 15 Cathay translations.
       (Public domain MP3)
     * Recording with full text Two selections from Pound's Ripostes: "The
       Seafarer" and "The Alchemist." (Public domain MP3)

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