CANTO XXX

Interpreted in the widest possible terms, the lyric condemns only Judeo-Christian dualism, which undermines man’s reverence for natural process and causes him to pervert those beneficent and self-regulating operations which Artemis represents. Interpreted more narrowly  but no less symbolically  (and safely), the lyric rejects not all forms of pity and compassion, but only “cheap sentiment,” the false tolerance by the weak of others’ weakness, incompetence, mediocrity, and imprecision, none of which nature, cast in the form of unstinting Artemis, ever condones.  [...] One might thus conclude that Artemis’ violence represents nothing more lethal than a rigorous attitude toward life. Even if Pound meant to apply her hard lessons to human societies, they might figure within a conservative tradition inaugurated by Nietzsche and continued, with major alterations, by the Catholic Max Scheler. 

Robert Casillo. The Genealogy of Demons.. Evanston Ill.: Northwestern UP, 1988. 111.

CANTO XXX - READINGS

Pound reading Canto XXX.

Harvard Vocarium Readings, Cambridge Mass., 17 May 1939. 

PennSound.

David Moody. Introduction to Canto XXX. Paul Cunningham reading the canto. Video clip on ucreate.

A Reading of The Cantos of Ezra Pound. II. Cantos of the 1920s.

Edinburgh University, 50 George Square, 5 October 2017.

Photos courtesy of Svetlana Ehtee, October 2017.

Copyright © 1934, 1968 by Ezra Pound. Used by permission of New Directions Publishing Corp.

CANTO XXX

XXX – BIBLIOGRAPHY

ARTICLES IN JOURNALS AND COLLECTIONS

1. Bacigalupo, Massimo. "'And as for Text We  Have Taken It...': Retranslating Ezra Pound's Renaissance Cantos." Lingue e Linguaggi 14 (2015): 121-135. Free online here and here .
2. Bornstein, George. “The Book as Artefact: Historicizing Ezra Pound’s First Thirty Cantos.” The Book as Artefact: Text and Border. Eds. Anne Mette Hansen, et al. Amsterdam, New York: Rodopi, 2005. 151-164. Also in Variants: The Journal of the European Society for Textual Scholarship 4 (2005): 151-164. 
3. Byron, Mark. “Bibliographic Technography: Ezra Pound's Cantos as Philological Machine.” Writing, Medium, Machine: Modern Technographies. Eds. Sean Pryor and David Trotter. London: Open Humanities Press, 2016. 153-165. Free online here and here.
4. Chapman, Chris. “Do you want any more of this archaic information on folks, up to 1745? Rethinking Ezra Pound’s Italian Renaissance.” Textual Practice 25.3 (2011): 543-62.
5. Cook, Albert. “Rhythm and Person in The Cantos.” New Approaches to Ezra Pound. Ed. Eva Hesse. Berkeley and los Angeles: U of California Press, 1970.  349-65. 360-62. 
6. Derdeyn, LeeAnn and Tim Redman. “Canto 30.” Readings in The Cantos. Ed. Richard Parker. Clemson: Clemson UP, 2018. 249-62. 
7. Little, Matthew. “Pound and Yah: Bishop Carame’s Translation of Avicenna as Background.” Paideuma: A Journal Devoted to Ezra Pound Scholarship 12.1 (1983): 33-40.
8. Terrell, Carroll F. “Mag-Tsze, Thomas Taylor, and Madam ΥΛΗ.” Paideuma 7.1-2 (Spring-Fall 1978): 141-54.

BOOK CHAPTERS AND SECTIONS

1. Albright, Daniel. “Early Cantos I-XLI.” The Cambridge Companion to Ezra Pound. Ed. Ira Nadel. Cambridge: Cambridge UP, 1999. 85.
2. Bacigalupo, Massimo. “Annotazioni XXX.” Ezra Pound XXX Cantos. Parma: Ugo Guanda, 2012. 352.
3. Brooker, Peter. “From Canto XXX.” A Student’s Guide to The Selected Poems of Ezra Pound. London: Faber, 1979. 271-72.
4. Casillo, Robert.  The Genealogy of Demons. Anti-Semitism, Fascism, and the Myths of Ezra Pound. Evanston Ill.: Northwestern UP, 1988. 110-11.
5. Childs, John Steven. Modernist Form: Pound's Style in the Early Cantos. Selinsgrove: Susquehanna UP, 1986. 99-101.
6. Cookson, William. “Artemis.”A Guide to The Cantos of Ezra Pound. London: Anvil, 2001. 45-46.
7. De Rachewiltz, Mary and Maria Ardizzone. “Commento: XXX [Artemis].”Ezra Pound I Cantos. A cura di Mary de Rachewiltz. [Bilingual English-Italian edition]. Milano: Mondadori, 1985. 1520.
8. Davenport, Guy. “Coda to XXX Cantos.” In Cities on Hills. A Study of I-XXX of Ezra Pound’s Cantos. Epping: Bowker, 1983. 249-52.
9. Flory, Wendy. Ezra Pound and The Cantos: A Record of Struggle. New Haven: Yale UP, 1980. 139.
10. Froula, Christine. “from Canto XXX.” In A Guide to Ezra Pound’s Selected Poems. New York: New Directions, 1983. 159-61.
11. Ickstadt, Heinz and Eva Hesse. “Anmerkungen und Kommentar: Canto XXX.” Ezra Pound. Die Cantos. Tr. by Eva Hesse and Manfred Pfister. Eds. Manfred Pfister and Heinz Ickstadt. Zurich: Arche Literatur Verlag, 2013. 1236-7.
12. Moody, David A. Ezra Pound: Poet. A Portrait of the Man & His Work. Volume II. The Epic Years 1921-1938. Oxford: Oxford UP, 2014. 89-90.
13. Nassar, Eugene Paul. The Cantos of Ezra Pound. The Lyric Mode. Baltimore: Johns Hopkins UP, 1975. 49, 55, 146.
14. Pearlman, Daniel D. “Time Is the Evil.” The Barb of Time. On the Unity of Ezra Pound’s Cantos. New York: Oxford UP, 1969. 115-31.
15. Read, Forrest. ’76: One World and the Cantos of Ezra Pound. Chapel Hill: University of North Carolina Press, 1981. 194-5.
16. Ricciardi, Caterina. Eikones. Ezra Pound e il Rinascimento. Napoli: Liguori Editore, 1991.
17. Terrell, Carroll F. “Canto XXX.” A Companion to The Cantos of Ezra Pound. Berkeley: California UP, 1993. 117-19.

DIGITAL RESOURCES

1. “Canto XXX.” A Canto a Day. Blog, 28 February 2009. Accessed 20 July 2018. Free online. 
2. “Hungarians in Babel: Pound, Ezra. Canto XXX.” [English text with Hungarian translation and Pound’s reading] Babelmatrix.
3. Guidi, Paolo. “Canto XXX.” The Cantos of Ezra Pound. Etching series. 11 October 2012. Accessed 15 July 2018. Free online. 
4. Sellar, Gordon. “Blogging Pound's The Cantos: Canto XXVIII-XXX.” gordsellar.com, 4 July 2012. Web. 31 Oct. 2015. Free online.