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Readings in the Cantos: Volume I$
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Richard Parker

Print publication date: 2018

Print ISBN-13: 9781942954408

Published to Liverpool Scholarship Online: May 2019

DOI: 10.3828/liverpool/9781942954408.001.0001

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Canto 30

Canto 30

Chapter:
(p.249) 19 Canto 30
Source:
Readings in the Cantos: Volume I
Author(s):

LeeAnn Derdeyn

Tim Redman

Publisher:
Liverpool University Press
DOI:10.3828/liverpool/9781942954408.003.0020

Building off critical gestures from Eva Hesse and Phillip Furia, we claim throughout this essay that Pound’s Canto 30 privileges ecology, an ecopoetics that situates human persons within their organic, natural connections with the “green world” and its cycles of life. Through inventive “translated” myths of two medieval couples (King Pedro of Portugal and his queen, Inês de Castro; Alfonso d’Este, the Duke of Ferrara, Italy and his queen, Lucrezia Borgia), Pound considers that art is analogous to nature’s cycle of rebirth. He is an aesthetic environmentalist ahead of his time, and Canto 30—rather than being limited by an eros/thanatos conceptualization—is constituted by, and interconnected through, a “green” theme, death begetting life. Always interested in not only the cultural conservation of art, but also the living quality of art, the liveliness—the fecundity, the “ecology,” of art—Ezra Pound is also driven to engender the renaissance of art as central to culture and the future of humanity.

Keywords:   Ezra Pound, Canto 30, 20th Century American Modernist Literature, Ecopoetics, Environmental literature, eros/thanatos

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