Spirit of Romance. 1910. Ed. Richard Sieburth. New York: New Directions, 2005.

Cavalcanti is presented in the chapter “Lingua toscana,” alongside Dante and the poets of the dolce stil nuovo. The translations Pound uses for his comments are Rossetti’s. Pound nevertheless turns against his role model by translating Guido Orlandi’s sonnet “Onde si muove and donde nasce l’Amore” that was the root of Cavalcanti’s “Donna mi prega” and which Rossetti did not translate. Pound would translate this poem a second time in 1929 and publish it in his essay “Guido’s Relations” (The Dial, July 1929).


Provença. Boston: Small, Maynard, & Co. 1910. [Includes Sonnet: Chi è questa ?; Of Grace [Ballata Fragment, II]; To Our Lady of Vicarious Atonement (Ballata); Epilogue: To Guido Cavalcanti; Notes.]



“I Gather the Limbs of Osiris III. [Guido Cavalcanti]” New Age X.7 (14 December 1911): 155-6. [Sonnets VII, XXXV and Ballate V, VII, IX.] Republished in P&P I: 47-8.

Canzoni. London: Elkin Matthews, 1911. [Material from Provença republished.]



Sonnets and Ballate of Guido Cavalcanti. Boston: Small, Maynard & Co., April 1912.

Revised edition: London: Stephen Swift, May 1912. 


  • Faithfully following Rossetti, Pound does not attempt a translation of “Donna mi prega.” Nevertheless, he adds the canzone’s envoi at the end of his “Introduction.”
  • As Italian text, Pound used the Cavalcanti extract from an anthology called Parnaso Italiano. Ed. Francesco Zanzotto. Vol. II. Venice: Antonelli 1846 cols. 240-76. (Anderson xi, xxxiv).



“Troubadours: Their Sorts and Conditions.” Quarterly Review CCXIX. 437 (Oct. 1913) 426-40. Republished in P&P I: 165-179; LE 102-3.

“After the compositions of Vidal and of Rudel and of Ventadour, of Bornelh and Bertrans de Born and Arnaut Daniel, there seemed little chance of doing distinctive work in the ‘canzon de l’amour courtois.’ There was no way, or at least there was no man in Provence capable of finding a new way of saying in seven closely rhymed strophes that a certain girl, matron or widow was like a certain set of things, and that the troubadour’s virtues were like another set and that all this was very sorrow-ful or otherwise, and that there was but one obvious remedy. […] Novelty is reasonably rare even in modes of decadence and revival. The three devices tried for poetic restoration in the early 13th century were the three usual devices. Certain men turned to talking art and aesthetics and attempted to dress up the folk-song. Certain men tried to make verse more engaging by stuffing it with an intellectual and argumentative content. Certain men turned to social satire. […] 

The second, and to us the dullest of the schools, set to explaining the nature of love and its affects. […]

And Cavalcanti wrote: ‘A lady asks me, wherefore I wish to speak of an accident which is often cruel.’ Upon this poem there are nineteen great and learned commentaries. And Dante, following in his elders’ footsteps, has burdened us with a ‘Convito.’  P&P  I: 175; LE 102, 103.



Umbra. London: Elkin Matthews, 1920.

[Selection from the Sonnets and Ballate of Guido Cavalcanti: I-III, V-VIII, XV, XXVI, XXXIII, XXXV, Madrigal, Ballate I, II-III, V-VII, XI-XIV.]


Cantos in periodicals

A Draft of XXX Cantos

Eleven New Cantos

The Fifth Decad

rsz toscana siena3 tango7174


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