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British Literature and Classical Music: Cultural Contexts, 1870–1945 by David Deutsch

British Literature and Classical Music: Cultural Contexts, 1870–1945 by David Deutsch connection to anything in the “finished” poem. But of course the poem never was finished, the proposed one hundred cantos, à la Dante’s Divine Comedy , sputtering on to 116 and then, as Bacigalupo says, exhausting itself as a “volcano which had not stopped throwing out sublimities and fatuities over sixty years.” The editorial sympathy that Professor Bacigalupo extends to Pound, a sympathy exemplie fi d by the helpful explanatory notes that he supplies for each fragment, is tempered by his recognition that the Cantos do not constitute a suc- cessful poem. Yes, Pound possessed “genius,” but by the time of his incarceration (1945 – 58) in St. Elizabeths Hospital, the genius was a “crumb of folly” that had grown to “full- scale paranoia.” Yes, Carlo Izzo described Pound to T. S. Eliot as “the greatest living creator of language” (and Eliot apparently concurred), but that language by the end came embedded in obscurity, malice, and confusion. The value of this collection is owing, then, not only to the solicitude that Profes - sor Bacigalupo brings to his editorial labors but also to the way in which it gives evidence that Pound’s poetry, the whole of it, is essentially http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Common Knowledge Duke University Press

British Literature and Classical Music: Cultural Contexts, 1870–1945 by David Deutsch

Weber, William
Common Knowledge , Volume 24 (1) – Jan 1, 2018
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Copyright
Copyright © 2017 Duke University Press
ISSN
0961-754X
eISSN
1538-4578
DOI
10.1215/0961754X-4254072
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Abstract

connection to anything in the “finished” poem. But of course the poem never was finished, the proposed one hundred cantos, à la Dante’s Divine Comedy , sputtering on to 116 and then, as Bacigalupo says, exhausting itself as a “volcano which had not stopped throwing out sublimities and fatuities over sixty years.” The editorial sympathy that Professor Bacigalupo extends to Pound, a sympathy exemplie fi d by the helpful explanatory notes that he supplies for each fragment, is tempered by his recognition that the Cantos do not constitute a suc- cessful poem. Yes, Pound possessed “genius,” but by the time of his incarceration (1945 – 58) in St. Elizabeths Hospital, the genius was a “crumb of folly” that had grown to “full- scale paranoia.” Yes, Carlo Izzo described Pound to T. S. Eliot as “the greatest living creator of language” (and Eliot apparently concurred), but that language by the end came embedded in obscurity, malice, and confusion. The value of this collection is owing, then, not only to the solicitude that Profes - sor Bacigalupo brings to his editorial labors but also to the way in which it gives evidence that Pound’s poetry, the whole of it, is essentially

Journal

Common Knowledge – Duke University Press

Published: Jan 1, 2018

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