Article Index







guidi XXXV


One suspects that Pound’s folksy use of the term “wobble” in his translation of the Chung Yung as Unwobbling Pivot (1945) may stem from the present canto, which goes on to indict the upper middle classes of Central Europe for their sentimentality, a “sensitivity without direction” that Pound absurdly associates with Jewishness and makes responsible for a cultural blight he sums up as “the general indefinite wobble.”

Daniel D. Pearlman, The Barb of Time. On the Unity in Ezra Pound’s Cantos, 154.



HELL: CANTOS XIV and XVI [modern decadence in London and Vienna]

CANTO XVI [taking the pulse of the age by conversations and vignettes]

GERYON: CANTOS XVIII and XIX [cowardice and weakness in war: WWI]

CANTOS XXV and XXVI [Venice at its commercial zenith]

CANTO XXXVIII [portrait of contemporary life]









rsz canto 35 2

Ezra Pound and Dorothy Pound. Canto XXIX. In Shakespear’s Pound: Illuminated Cantos

Nacogdoches, TX: LaNana Creek Press, [Brookfield: Ashgate Publishing], 1999.

Photo reproduction courtesy of Walter Baumann.








Correspondence by Ezra Pound: (c) Mary de Rachewiltz and the Estate of Omar S. Pound. Reproduced by permission.




Pound, Ezra. Ezra Pound and James Laughlin: Selected Letters. Ed. David M. Gordon. New York: Norton, 1994.


Beinecke Library Olga Rudge Papers YCAL 54. Series I. Box no./Folder no



To Olga Rudge, 29 July 1931

YCAL 54, 11/270

Ziao, cara


Got one succulent morsel from ole Sraffa’s Rev/ Drit/ Commerciale. dunno if the field can be further woiked.


To Olga Rudge, 4 August 1931

YCAL 54, 11/271



letter from Zuk’s frien an musician Serly wantin I spose to convince me he is future of music// arrived in Paris, desires pleasure of conversation. amiable epistle.


To Olga Rudge, 20 August 1931

YCAL 54, 11/275



He thinks Mr T.Serly is prob. a good composer.


To Olga Rudge, 21 August 1931, Rapallo

YCAL 54, 11/276

Ziao, cara


Also putt in 3 hours with Serly on fewchoor of moozik 


To Olga Rudge, 22 August 1931

YCAL 54, 11/276

Ziao cara/

He has retyped his articles and done a bit of voise on mitteleuropa. Etc/ and translated his harmony supplement into henglish fer mr Serly Tibor. 


From Dorothy Pound, 7 September 1931

Lilly Library, Pound Mss. III

Mao – Two Cantos today: I like them very much. They follow on well. You give curious difference in flavour between the beloved Quattrocento & 162=...


From Dorothy Pound, 8 September 1931

Lilly Library, Pound Mss. III



Your two letters this a.m.

I may be able to take yr. Cantos in person to Whale [Frank Morley at Faber] – I will await further orders from you anyway – yes, I was feeling that they re-iterated, or balanced v. well.


A few spelling slips in Cantos I will send you list, from 34 A. C after receiving No. 3 to make sure none are intentional.</>

Am so glad you’ve done some more – no architecture in the period? all Siena much earlier?

Note: Siena was fresh in Dorothy’s mind - in the letter, she mentions a few postcards of the Palio which she intended to preserve carefully and bring back to Rapallo.


To Dorothy Pound, 10 September 1931

Lilly Library, Pound Mss. III


Have got as far as Querini [Stampalia] ole H. Brown on Venetian trade rather good.


To Dorothy Pound, 4 October 1931

Lilly Library, Pound Mss. III

I have now material for three canti / which with the three in XXX that aren’t in the folio, and the 3 in Pagany; makes as you might say nine towards vol. 3 of folio. so that one might have it ready some time next year. She can consider prob/ of the CAPS at her leisure.


To Dorothy Pound, 5 October [1931]

Lilly Library, Pound Mss. III

He has done 2nd. version of the J. Q. Adams canto. With this I see a block of four. Have writ. Neumayer and Zuk. to dig up Van Buren'sautobiography. If by chance you see anyone or pass any other book shop, OR if it cd. be weedled out any library. [...] Martin VanBuren, somethingth pres. of the U. S. call it the 8th. only sometimes they count the 8 year ones double./// With 3. in the Hours XXX, 3 in Pagany; and the 4 in prospect, one is on the way towards the 3d. folio vol. 


To Dorothy Pound, 7 October [1931]

Lilly Library, Pound Mss. III

Versions of two canti now in fairly good order. 



From Olga Rudge, 14 March [1933]

YCAL 54, 13/339

Ciao Amore – 


She had seen Canto XXXVII so when it arrived on top of her question to him re present american bank wuzzle she thought he had sent it again as answer – 

She has with her mss - of cantos XXXIV XXXV XXXVI & now XXXVII – in case he needs same –



To James Laughlin, 22 January 1934

L/JL 16

ALL right/ copies of 35/36 discovered. [...] If you havent already already printed 38/ the three ought to make a group/ you can add feetnote/ that 37 deals with Van Buren and has already been announced by the Chicago AshCan. [...] If 35/36/38 dont show main design at any rate they indicate variety of the opus. reflection on rereading carbon of 35 a few hours after pea/roozul of Btch/ and Bugl/ “: As 35 was done sometime ago its main purpose was NOT to annoy Mr Blackmur// but that incidental effect seems now almost unavoidable.”

Note. Bitch and Bugle was one of Pound’s derogatory names for the American literary magazine Hound & Horn (1927-1934), edited at various times by Richard Blackmur and Lincoln Kirstein. 







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  1. Casillo, R. “Nature, History, and Anti-Nature in Ezra Pound’s Fascism.” Papers on Language & Literature 22.3 (1986), 284-311. 
  2. Casillo, Robert. “The Meaning of Venetian History in Ruskin and Pound.” U of Toronto Quarterly 55.3 (Spring 1986): 235-260. First page.
  3. Flory, Wendy. “Pound and Anti-Semitism.” The Cambridge Companion to Ezra Pound. Ed. Ira Nadel. Cambridge: Cambridge UP, 1999. 292.
  4. Hesse, Eva. “Answers to Queries.” Paideuma: A Journal Devoted to Ezra Pound Scholarship 5.2 (Fall 1976): 346.
  5. Kimpel, Ben D. and T. C. Duncan Eaves. “Two Notes on Ezra Pound’s ‘Cantos.’” Modern Philology 78.3 (February 1981): 285-8.
  6. Lauber, John. “Pound’s Cantos: A Fascist Epic.” American Studies 12.1 (April 1978) : 3-21.
  7. Parker, Richard. “Canto 35.” Readings in The Cantos. Vol. 1. Clemson: Clemson UP: 2018. 
  8. Stone, Douglas. “Pound’s Mr. Corles: Canto XXXV.” Paideuma: A Journal Devoted to Ezra Pound Scholarship 2.3 (Winter 1973): 411-4.



  1. Cookson, William. “Mitteleuropa.” A Guide to The Cantos of Ezra Pound. London: Anvil, 2009. 50.
  2. Davie, Donald. Ezra Pound: Poet as Sculptor. Oxford: Oxford UP, 1968. 139.
  3. Davis, Earle. Vision Fugitive: Ezra Pound and Economics. Lawrence KS.: UP of Kansas, 1968. 125-6.
  4. De Rachewiltz, Mary and Maria Ardizzone. “Commento: XXXV.” Ezra Pound. I Cantos. A cura di Mary de Rachewiltz. [Bilingual English-Italian edition]. Milano: Mondadori, 1985. 1524. 
  5. Ickstadt, Heinz and Eva Hesse. “Anmerkungen und Kommentar: Canto XXXV.” Ezra Pound. Die Cantos. Tr. by Eva Hesse and Manfred Pfister. 1246.
  6. Moody, David. Ezra Pound: Poet. Vol. II: The Epic Years 1921-1939. Oxford: Oxford UP, 2014. 169. 
  7. Pearlman, Daniel. “Attention to the Times and Seasons.” In The Barb of Time: On the Unity of Ezra Pound’s Cantos. Oxford: Oxford UP, 1969. 
  8. Stock, Noel. Reading the Cantos. A Study of Meaning in Ezra Pound. New York: Pantheon Books, 1966. 24-5.
  9. Terrell, Carroll F. “Canto XXXV.” A Companion to The Cantos of Ezra Pound. Berkeley: California UP, 1993. 133-9. 
  10. Wilhelm, J. J. Ezra Pound The Tragic Years. 1925-1972. University Park: The Pennsylvania State UP, 1994. 99-100.
  11. Zacharasiewicz, Waldemar. Transatlantic Networks and the Perception and Representation of Vienna and Austria between the 1920s and 1950s. Vienna: Austrian Academy of Sciences Press, 2018. 227-8.



  1. Guidi, Paolo. “Canto 35.” Etching. 20 December 2012. Free online.
  2. “XXXV.” A Canto a Day. Blog. 18 March 2009. Free online.
  3. Sellar, Gordon. “Blogging Pound’s The Cantos: Cantos XXXIV-XXXVI.”, 8 August 2012. Web. 31 Oct. 2015. Free online.


Cantos LII - LXXI

confucius adams 2