LOQUITUR: En Ezra Pound.
They imprisoned this man in a hell-hole for that he was a traitor.
The scene is at the end of his life.
“Section: Rock-Drill De Los Cantares” is the sequence of Ezra Pound’s “The Cantos” containing Cantos LXXXV-XCV. Here, Pound’s ideas on paradise, slowly built upon in the previous cantos, are brought to their zenith. These eleven cantos capture the idea of paradise that Pound is trying to articulate and achieve, and the relationship this has on culture and language.
The primary difficulty of Ezra Pound’s “Hugh Selwyn Mauberley” lies in identifying the speaker in each of the respective poems in the sequence. Is Pound speaking, or is Mauberley? Precisely what is the relationship between the two? And what ideas is Pound ultimately trying to communicate? There is no consensus; conflicting interpretations, based on every possible combination and permutation of Pound and Mauberley exist.
“Sestina: Altaforte” by Ezra Pound explores the character of Bertran de Born, a French baron and Occitan troubadour. Pound manipulates the relationship between poet and persona, emphasizing the simultaneous artifice and naturalness in Bertran, to show Bertran’s primal and authentic character. Pound portrays Bertran independently to create a historical authenticity and objectivity, but cannot help but hint at the poet’s influence and own ideas. Hugh Kenner precisely notes this, saying Pound’s persona “crystallizes a modus of sensibility in its context.” (Kenner 11) The persona can thus be seen as a transparent mask: Pound wears the face of Bertran to immerse the reader in the historic context and character, but to make his own personal sensibilities stronger. Using this technique, Bertran is portrayed more vividly and personally, and “Sestina: Altaforte” can be read as an acceptance and vindication of Bertran de Born.