Summary:
Pound begins The Cantos with a passage describing Odysseus and his companions sailing to Hades to find out what their futures hold. Canto II opens with an exploration of identity through an examination of four different versions of the poet Sordello: the actual poet, the titular character in a Browning poem, Pound's version of him, and his brief life that he wrote about in his manuscripts. Further on in the canto, there are other explorations of identity, mainly relating to the sea. Cantos III-VII take place in the Mediterranean, where Pound draws on classic mythology and the Renaissance in order to portray themes of clarity and light. These cantos are indicative of Pound's Imagist style.
Cantos VII-XI tell the story of Sigismondo Pandolfo Malatesta, a 15th century poet and patron of the arts. They focus on the construction of the Church of San Francesco. Canto XII tells three moral tales about profit, and XIII introduces Confucius and his ethical teachings. Cantos XIV-XVI are made up of a vision of Hell inspired by Dante's Divine Comedy, finishing with a recount of World War I and the Russian Revolution.
The majority of Cantos XVII through XXX take place in Venice. Canto XVII contains a story about Dionysus, while XVIII and XIX discuss financial exploitation, beginning with Marco Polo's account of Kublai Khan's paper money, and ending with a criticism of war and those who profit from it. Canto XX contains a group of words and images from Mediterranean poetry, forming what Pound calls a "clear song." The Canto finishes with the Song of the Lotus Eaters. In Canto XXI, Pound discusses the Medici bank and the Medici family's effect on Venice, which he contrasts with the (positive) actions of Thomas Jefferson. The following canto focuses on finance as well.
Canto XXIII compares the destruction of Montségur, a Cathar stronghold during the Albigensian Crusade, to the destruction of Troy. Canto XXIV returns to 15th century Italy and tells the tale of the d'Este family and Niccolo d'Este's voyage to the Holy Land. Cantos XXV and XXVI discuss the Book of the Council Major and incorporate Pound's own memories of Venice, and Canto XXVII contains a condemnation of the Russian Revolution's destructive legacy. Canto XXVIII includes a passage that takes place on a transatlantic flight. Pound rejects Christianity in the final two cantos of this section, both of which return to the "clear song." This section concludes with the printer, Hieronymus Soncinus of Fano, preparing to print the works of Petrarch.
Analysis:
To fully understand The Cantos, the reader must possess basic knowledge about the particular subjects that Pound references. Pound densely packed these poems with allusions to history, literature, politics, economics, and many cultural topics that Pound was interested in while he was writing. In particular, he focuses on classic mythology. It is beneficial for the reader to look up each cultural reference while studying the Cantos.
The lack of a plot makes The Cantos seem loose and structureless. They read like a stream of consciousness. However, one anecdote or reference will frequently appear across several cantos, which does serve to tie them together. However, the Cantos are more about continuity than union, and they build upon one other thematically. Additionally, the Cantos were originally published in separate sections, so some of these divisions are innate to Pound's process. Though Pound had preached Imagism throughout his career, which called for short, concise poetry, that style did not lend itself to the epic Cantos. As a result, Pound turned to what he called Vorticism, a much more abstract style.
Economics are a common theme in this section of The Cantos. Pound discusses profit and financial exploitation, makes references to World War I and the Russian Revolution (which were occurring while he was writing). In comparison to some of Pound's earlier poems, it becomes apparent that the poet's focus has shifted. His later works include much more societal criticism than his earlier ones, and the Cantos reflect his changing political views as he encountered different European cultures.
Pound's fascination with history is evident throughout the Cantos. He begins Canto I with the story of Odysseus and his companions sailing to Hades, and progresses through history to the 15th century and the poet Malatesta, and then on through the Renaissance, and finally, to World War I and the Russian Revolution. In his trajectory of opinions, it seems as though Pound's opinion of the world became increasingly grim. Towards the en of The Cantos, he continues to idolize classical mythology and the ancient stories of Greece and Italy. However, he clearly loathes the way that society has become concerned less with art, beauty, and literature (most evident in Hugh Selwyn Mauberly) and too wrapped up in war and financial success.
