From: Subject: Carlos Riobo - The Spirit of Ezra Pound's Romance Philology: Dante's Ironic Legacy of the Contingencies of Value - Comparative Literature Studies 39:3 Date: Mon, 3 May 2004 20:36:50 -0700 MIME-Version: 1.0 Content-Type: multipart/related; boundary="----=_NextPart_000_00D9_01C4314E.5CCA2BE0"; type="text/html" X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1409 This is a multi-part message in MIME format. ------=_NextPart_000_00D9_01C4314E.5CCA2BE0 Content-Type: text/html; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Content-Location: http://0-muse.jhu.edu.opac.sfsu.edu/journals/comparative_literature_studies/v039/39.3riobo.html Carlos Riobo - The Spirit of Ezra Pound's Romance = Philology: Dante's Ironic Legacy of the Contingencies of Value - = Comparative Literature Studies 39:3
Copyright =A9 2002 by The Pennsylvania = State University.=20 All rights reserved.

Comparative = Literature=20 Studies 39.3 (2002) 201-222=20
 
[Access=20 article in PDF]=20

The Spirit of Ezra Pound's Romance Philology: =
Dante's=20 Ironic Legacy of the Contingencies of Value

Carlos Riob=F3

For George Merino =
September 11, 2001=20

The Spirit of Romance (1910) embodied Ezra Pound's = reaction=20 against a current of Romance philology prevailing in his day=97a=20 positivistic discipline that used texts as artifacts in the = ultimate=20 service of newly constructed national ideologies and literary = canons.=20 Throughout the rise of nationalism in the late nineteenth and = early=20 twentieth centuries, European countries began defining their = modern=20 histories. They consolidated a cultural identity, defined in part = through=20 national texts purported to reflect essential and transcendent = qualities=20 of the nation, and created rivalries both among their own = inhabitants and=20 with neighboring nations. Pound tried to free philology from this = type of=20 divisive service by defining himself not as a direct descendent of = British=20 or American philologies, but of Dante's philology instead=97a = discipline=20 based on the intrinsic value of the literary work regardless of = temporal=20 constraint or national affiliation.=20

Dante's De vulgari eloquentia, written in 1303-1304, was = one of=20 his responses to the Florentine political battles of ideology and = culture=20 similar to the battles and forces that were fracturing Ezra = Pound's world.=20 Dante manipulated the divide of high and low cultures, of Latin = and vulgar=20 cultures, to his advantage, disavowing claims to literature's = national and=20 temporal essences. He was an imperfect ancestor for Pound, = however, since=20 Dante ultimately replicated the type of divisive system he was = challenging=20 by setting himself up as the god in a cult of the vernaculars and=20 silencing the poetic voices of his literary rivals. Pound = refashioned=20 Dante for his own ends=97as a corrective to the ills of philology = in the=20 early [End Page 201] twentieth century. Pound promoted = certain=20 literature that he felt transcended time and place because of its = lyrical=20 and synchronistic essences. Like Dante, Pound too manipulated = literary=20 histories and references, which he touted as transcending national = and=20 temporal boundaries. Pound's own poetry and cantos derived = authority and=20 weight from the ancestors he legitimized. Ultimately, Pound stood = at the=20 pinnacle of the personal pantheon he created. He was not vexed by = the type=20 of anxiety of influence proposed by Harold Bloom but basked in the = "beneficent conception of literary influence" termed by George = Bornstein.=20 1 Neither all of Dante's judgments were = acceptable to=20 Pound, nor were all of Pound's tastes and controversial views = acceptable=20 to us, his modern readers. The legacy that Pound would leave us, = his=20 readers, however, like Dante's original legacy, ultimately exposed = the=20 contingent natures of poetry and of its aesthetic value and = judgement.=20

Ezra Pound's work was linked to Dante's through a regenerative = legacy=20 that redefined literature and literary histories. Pound was a = craftsman of=20 a new Romance philology that resisted the normative academic = philology of=20 his day by championing the type of literary history first written = by Dante=20 in the De vulgari eloquentia. Romance philology, as it = would later=20 be known in the nineteenth and twentieth centuries, was a = political tool=20 Dante used unremittingly in his own fourteenth century: he = arranged his=20 own canonization and the oblivion of some of his fellow poets. = Pound used=20 Dante's tradition to enfranchise, within a new historiography, = medieval=20 poets and works written out of national literary canons and = teleologies=20 for centuries as illegitimate ancestors. Pound chose these = particular=20 figures because of the transcendental universal quality he saw in = their=20 work. He lent them a voice and, through his translations, a new = language=20 with which to speak to modern readers. Guido Cavalcanti was one of = these=20 elided poets whose virtual absence from literary histories was = already=20 contrived in Dante's work. Pound recovered Cavalcanti and exalted = his=20 poetry, thereby rewriting the tradition he inherited from Dante, = as he=20 used it to supplant the philological vein of his own day. As a = craftsman=20 of literary history, Pound rebelled against the Cartesian = apparatus=20 2 of nineteenth century German romanische = Philologie that had so distorted the discipline as prefigured = by=20 Dante. Pound forged a new Romance philology that displaced Dante's = own=20 primacy as it derived legitimacy to do so from Dante's own = founding=20 gesture. The Spirit of Romance is the anvil on which Pound = hammered=20 out the formative canon of his synchronistic literary history = first in=20 1910 and through subsequent revisions. 3 Within the various versions of this text, = Pound laid=20 the foundation [End Page 202] for his pedagogic project and = philosophy of translation, as he refashioned for his chosen reader = the=20 type of legacy left by Dante in the Middle Ages.=20

Medieval Philology and Dante's Political Legacy =

Dante's legacy is a politically inflected analysis of language = and the=20 Romance lyric tradition. He is now known as the first Romance = philologist,=20 albeit avant-la-lettre, since he recognized the commonality = that=20 Romance languages share and appreciated their political power as a = form of=20 resistance to the dominant politics and classical culture of his = day.=20 Dante laid the foundation for just such a philosophy of resistance = in his=20 De vulgari eloquentia. This Latin treatise on language and = poetry,=20 written in the early fourteenth century, is widely regarded as the = first=20 work to assert the inherent superiority of vital, vernacular = languages=20 over Latin and the first ardent effort at literary criticism based = on=20 close analytical reading since the classical era. Why was Dante's = work so=20 crucial in the politically precarious world of Florentine = politics? What=20 was at stake?=20

Let us remember that the officially recognized languages of = power and=20 prestige (of high culture) in Dante's thirteenth and fourteenth = century=20 Europe were the classical and standardized ones, namely Latin and = Greek,=20 and not a Romance vernacular tongue. In fact, there was no = national=20 vernacular koine in what is today known as Italy, but = numerous=20 Romance dialects instead. The Italian Peninsula's mongrel = vernacular=20 voices had not yet been standardized, not having forcefully = asserted=20 themselves as hegemonic as Castilian had already begun to do in = the=20 previous century in much of the Spain of Alfonso X. In fact, most = of=20 Dante's (best known) writing was done in political exile, away = from his=20 beloved Florence. In this light, the languages he chose for his = De=20 vulgari and Commedia took on a crucial political = significance.=20 The former was a treatise on Romance languages, yet it was written = in=20 Latin, a classical language and marker of high culture. The move = was=20 calculated: his intended audience was the custodians of the = official=20 language and the (literary) tradition that Latin represented. = Dante=20 attempted to create a consensus among these people (many of whom = were=20 responsible for his exile) with regard to the validity, if not=20 superiority, of Romance over Latin as an idiom for poetic = expression=97an=20 expression in which Dante excelled. Dante, who was already quite = adept at=20 writing lyric in Romance, began the De vulgari with a = resounding=20 declaration of his own extreme originality: [End Page 203]=20

Since I find that no one before me has = dealt=20 with the matter of eloquence in the vernacular; and since I see = how=20 necessary such knowledge is to everyone (for Nature allows it = not only=20 to men but even to women and children); I shall attempt [. . .] = to be of=20 service to the speech of the common people [by] pouring into so = great a=20 vessel the water of my own wit. 4

The more "democratic" vernacular belonged to everyone, = including=20 unschooled women and children, while Latin was presumably an idiom = controlled by men in power, men who had exiled Dante and his = political=20 kin. These men could not, however, control communication (writing) = in the=20 non-standardized vernacular dialects. They could not restrict = undesirable=20 vernacular messages from the masses because, as Dante says, "the=20 vernacular[, unlike Latin, is] the language which children gather = from=20 those around them when they first begin to articulate words" (47). =

Dante's Commedia was a successful tool of resistance = because it=20 was written in a Florentine vernacular, one that Dante might have = hoped=20 would become hegemonic and vindicate him before his persecutors = and=20 literary rivals, both; one that even children could understand, = certainly=20 much to the chagrin of the historical figures of Dante's day who = were=20 depicted and exposed in his Inferno to be read or = understood by the=20 masses. This epic, his grand lyrical composition, stands today as = the=20 bedrock of Italian literature. Dante had the last vernacular = laugh. He=20 understood the natural vicissitudes and development to which all=20 languages=97standardized or not=97are susceptible and he = manipulated the=20 divide between high and low cultures. This understanding was both=20 liberating for Dante and threatening at the same time. As long as = Dante=20 could benefit from the vernacular's ubiquitous use and mutating = nature, he=20 would be able to evade those who wished to erase him from official = memory=20 by controlling his means of expression and, ultimately, by exiling = him.=20 The vernacular's many non-standardized variants, however, also = meant that=20 Dante's vernacular writing might lose prominence as soon as a more = ubiquitous or more evolved dialect emerged. Dante was keenly aware = of this=20 latter threat and so fashioned for himself a poetic and linguistic = lineage=20 at whose pinnacle he stood looking down on his literary forebears = who=20 would ensure his lineage as the legitimate tradition to be passed = on and=20 inherited by his own readers.=20

The De vulgari, for its part, showed Dante's fascination = with=20 the Proven=E7al lyric and its relation to the other earliest = vernacular=20 poetry in which he was interested. Dante, too, was searching for = the aegis=20 of tradition [End Page 204] with which to identify. His = interest in=20 the lyric poetry of the troubadors was primarily due to his search = for=20 tenable and enfranchising predecessors who had lent respectability = to=20 writing in a Romance vernacular. As we mentioned above, however, = Dante=20 might have hoped that his poetic idiom, if not actual = literary=20 product, would be the one to supplant Latin in his native = Florence, even=20 to the exclusion of some of his contemporary fellow vernacular = writers and=20 rivals such as Guido Cavalcanti.=20

Cavalcanti shared a precarious and highly problematic = relationship with=20 Dante. He was both the person to whom Dante dedicated his Vita=20 nuova and Dante's nemesis. A contemporary of Dante's, = Cavalcanti was a=20 Florentine poet for whose exile Dante ultimately voted. These two = poets=20 shared a complicated relationship of rivalries for poetic = achievement and=20 mastery. Dante eventually branded Cavalcanti an apostate who had = strayed=20 from the true poetic path. Their divergent poetic paths are often = noted by=20 modern scholars:=20

       = For=20 Guido, memory [. . .] is the place where love literally resides. = In his=20 skeptical materialism there is no room for a vision that might = relieve=20 one's dark desires. The deeper truth [. . .] is imageless.=20
       For Dante, on the = contrary,=20 love reveals its truth only as the child of time [. . .] and = hence under=20 the sway of mutability and death. The temporality of desire = links it=20 unavoidably to memory, but memory is here=97and this is the main = departure=20 from Cavalcanti=97a book or the "memoria artificialis," which is = one of=20 the five parts of rhetoric. 5

Dante banished Cavalcanti, his earlier "first friend," from = both=20 Florence and his literary canon, leaving just traces of a = discernable=20 anxiety of influence. He made passing reference to Cavalcanti a = mere three=20 times in the De vulgari and practically excluded him = completely=20 from the Commedia, except as an echo through Cavalcanti's = father:=20

       "Se = per=20 questo cieco
carcere vai per altezza d'ingegno,
mio = figlio ov'=20 =E8? e perch=E9 non =E8 teco?" =
       E io a=20 lui: "Da me stesso non vegno:
colui ch'attende l=E0 per qui = mi mena=20
forse cui Guido vostro ebbe a disdegno". 6
       = "If it is=20 your high intellect that lets you journey here, [End Page = 205]=20
through this blind prison,
where is my son? Why is he = not with=20 you?"
       I answered: "My = own=20 powers have not brought me;
he who awaits me there, leads me = through=20 here
perhaps to one your Guido did disdain." 7

Cavalcanti, the putative Averroist, "[made] of memory a = sepulcher,"=20 while Dante used it to access the vision "through which the poet = [could]=20 question the phenomena of natural existence" (Mazzotta 61). Dante = learned=20 from Cavalcanti and other poets of the Dolce stil nuovo, = however,=20 that knowledge could be a product of the poetic imagination. These = ideas,=20 arguably attributable to Hispano-Arabs such as Averroes, were the = driving=20 force of the Vita nuova, dedicated to Cavalcanti. = Ultimately,=20 though, Dante tried to silence the echoes of his poetic rivals' = ideas in=20 his own writing. He was compelled to transcend their influence and = supplant their popularity.=20

Dante's philology was motivated, in part, by a need to keep = himself=20 from being elided or written out of "Italian" literary history, a = canon=20 that would likely reflect the winners in the ideological battles = and not=20 the losers=97the exiles like himself. Moreover, Dante wanted to = ensure his=20 own triumph over contemporary rival poets, whom he himself muffled = in his=20 De vulgari and Commedia. Guido Cavalcanti was one of = these=20 on again, off again rivals whom Dante ultimately silenced within = the=20 interstices of his work's pages. Cavalcanti was also the hinge = between=20 Dante's and Pound's philologies. Guido Cavalcanti was one of those = poets=20 whom Pound chose to enfranchise within his interpretation of = literary=20 history=97The Spirit of Romance=97and whose "mask" Pound = wore in=20 numerous poetic articulations. 8 Pound became the self-anointed priest of = Dante's=20 Romance philology but reformed the cult, erecting his own deities = and=20 tearing down others. What is important is to recognize that, = although the=20 type of philology championed by both Dante and Pound did privilege = and=20 give primacy to content over form, each of these two poets = envisioned=20 himself as the (self-appointed) guide who would elucidate that = content.=20 Playing the role of guide, as we shall see, is inherently a = problematic=20 endeavor.=20

Making Dante New:
The 'Conversion of = Poetics'=20 9

Ezra Pound explicitly took up the spirit of Dante's De = vulgari=20 eloquentia, referring to this text various times early on in = The=20 Spirit of Romance. He [End Page 206] included both = Dante and=20 Cavalcanti in this work=97a gesture that would have chagrined = Dante despite=20 the fact that Pound was deriving authority to create such a = conjunction=20 from the tradition started by Dante himself. In fact, what was at = stake in=20 The Spirit of Romance is the same legacy guarded by Dante = in the=20 De vulgari; a tradition that was based on literary = interpretation=20 and evaluation, requisite steps for reevaluating the literary = canon. But,=20 just as Pound reevaluated Dante's taste and poetic judgements, we, = Pound's=20 readers, must evaluate and judge Pound's aesthetic criteria.=20

As James J. Wilhelm notes, "during his career Pound was engaged = with at=20 least six major presentations of Cavalcanti's work. In surveying = Pound's=20 letters, we constantly find Cavalcanti's name coupled with that of = Dante=20 Alighieri" (Wilhelm 332). In the first publication of The = Spirit of=20 Romance, Pound seemed to esteem Dante over Cavalcanti, "a = spirit [. .=20 .] less subtle than Dante." 10 When the book was reedited in 1929, = Pound changed=20 this judgment by adding the following footnote to the words "less = subtle=20 than Dante": "I retract this expression" (110). In another = footnote in=20 1929, Pound increased Cavalcanti's claims by stating that "Dante = is less=20 in advance of his time than Guido Cavalcanti" (132). Pound found=20 Cavalcanti more and more attractive, as he began to work with him = and to=20 neglect Dante. Cavalcanti was emblematic of the rogue poet who = wrote=20 against the grain, against the establishment, but nonetheless = increased in=20 popularity and esteem. Dante, on the other hand, was looking to = reform=20 historiography and thus ensure his own centrality. Ezra Pound was = a bit of=20 both Florentine poets: Pound was the renegade and unapologetic = Guido as=20 well as the Dante who championed order, even though it was a new = order,=20 for his chosen reader.=20

In his later years, Pound's esteem of Cavalcanti eclipsed his=20 admiration for Dante. Did Pound admire Cavalcanti, as James = Wilhelm says,=20 for his "idealism because it was not slavishly aligned to = tradition"=20 (Wilhelm 339)? Was Guido Cavalcanti a "mask for Ezra Pound"? Pound = was=20 ultimately competing with Dante, releasing Cavalcanti from his = silent tomb=20 and granting him a voice, since his poetry had been obscured by = literary=20 history. As Wilhelm notes, Pound freely made assertions about = Cavalcanti=20 "through poetic inference that ignore the rules of discursive = logic"=20 (Wilhelm 332). Pound aligned Cavalcanti with Neoplatonism, while = most=20 critics see him far closer to the opposing tradition of = Aristotelianism.=20 11=20

Although in many ways Pound did see literary history through = the=20 Dantesque synchronic prism, he was compelled to fit within that = vision an=20 adumbration of himself=97a heterodox Guido Cavalcanti who used = "precise=20 [End Page 207] interpretive metaphor [and] phrases = [corresponding]=20 to definite sensations undergone." 12=20

Tu puoi sicuramente gir, canzone, =
l=E0 've=20 ti piace, ch'io t'ho s=EC adornata
ch'assai laudata sar=E0 = tua ragione=20
da le persone c'hanno intendimento:
di star con l'altre = tu non=20 hai talento.
You may go safely, canzone,=20
wherever you please, for I've adorned you so well
that = your=20 reason shall be plenty praised
by those who possess = understanding:=20
you do not wish to be with any others. 13

This envoi, with which the stilnovist, Cavalcanti, = dispatched=20 his much lauded Canzone, "Donna me prega," is a medieval coda that = was=20 awakened and once again infused with life, becoming the modern = mots=20 justes of Ezra Pound. In these words, the spirit of Pound's = Romance=20 was embodied=97a robust harmony that accompanies his writing in a = "dance of=20 the intellect among words." 14 In the resuscitation, Pound rendered = Cavalcanti's=20 "intendimento" as the tendentious "intelligence," 15 in contrast to Lowry Nelson Jr.'s less = charged=20 word, "understanding." 16 "Intelligence" is evidence of a more = engaged, even=20 tendentious reading than "understanding." This is the type of = reading that=20 Pound advocated, one in which the reader must analyze the text, or = not=20 read it at all; a reading that is ultimately a political gesture. = Edward=20 Said, an advocate of intellectual engagement of theory and praxis, = would=20 argue that all reading, critical practice, and literary histories = are=20 always inherently political, and so one must take a = position.=20 17 To think that one could do otherwise = would be at=20 best naive. Pound did take a position; one that betrayed his own = human=20 foibles and contingent values to us future readers.=20

Ultimately, "Pound attempted to alter and expand the limited = cultural=20 curriculum of his English-speaking readers," much as T.S. Eliot = had=20 attempted to "change the canon of early seventeenth-century = English=20 literature." 18 Pound's legacy is an uncomfortable one, = however,=20 since it was implicitly predicated on a "chosen" reader who could=20 appreciate the literary canon created by the philologist, who = supposedly=20 could tap into the original energy of meaning behind the words = that had=20 come down to him. 19 [End Page 208] Pound deliberately = undertook=20 a project through which he could differentiate this, his = philology, from=20 academic philology and the attendant specter of its influence. = Academic=20 philology viewed texts as artifacts, documentary evidence of both=20 etymologies and national literary history as defined by political = entities=20 of Pound's time. The Spirit of Romance opened with an = apparently=20 complacently crafted preface=97a dedication "AD LECTOREM ELECTUM." = As such,=20 Pound immediately and explicitly assigned his text to a coterie of = readers=20 and removed it from the domain of the dilettante, the uninitiated, = or=20 otherwise quotidian reader. From the very beginning, the reader = was told=20 that this was not to be "a philological work, [. . . but] only by = courtesy=20 can it be said to be a study in comparative literature" (Pound,=20 SR7). This declaration was no doubt directed at the = "unsuspecting"=20 reader schooled in the heuristic philological tradition of the = nineteenth=20 century, through which Pound himself "floundered somewhat = ineffectually"=20 (7) while in graduate school at the University of Pennsylvania. = Philology=20 as such, "the rags of morphology, epigraphy, privatleben = and the=20 kindred delights of the archaeological or 'scholarly' mind" (7) = was not of=20 concern to Pound. The meaning and value of poetry cannot be = quantified as=20 was endeavored through the philology operating in Pound's day. = Poetry can,=20 however, be interpreted and translated and be used to create or = rewrite=20 traditions=97endeavors with dangerous implications. Before we = consider the=20 perils of the interpretive guide and chosen reader more fully, it = would be=20 important to remember the professional current against which Pound = was=20 working.=20

Nineteenth Century Philology and the National = Imperative=20

Pound resisted the impassioned nationalistic vein that ran = through=20 Romance studies in the second half of the nineteenth century and = through=20 his own day. National philologies emerged in alliance with the = model of=20 historical linguistics, not surprisingly, given the disciplines' = concern=20 with validating the role of the Romance vernaculars in the = literary=20 history of modern Europe. It was in the middle to late eighteen = hundreds=20 when many countries (both western European and Latin American) = sought to=20 consolidate a political nationalism that would replace the = ethnoreligious=20 identities of their stratified systems and set them apart from = their=20 neighboring nations. Two significant European cases in point were=20 Bismarck's Prussia and a united and liberated Italy in 1861, under = Victor=20 Emmanuel. Such countries created cultural legacies that would = "mirror the=20 nation as well as encourage the [End Page 209] acquisition = by the=20 population of socially important values and norms." 20 In this endeavor, "national culture is = really=20 literary in nature" (xi). The creation of literary canons records, = in a=20 standard vernacular, a nation's history as a touchstone for = understanding=20 and coping with the vicissitudes of an uncertain present and = nascent=20 future. The losers of political battles are also the losers of = literary=20 battles and are elided from the canons, from the nation's new = self-image.=20 The art of war ensures the former and the art of philology ensures = the=20 latter.=20

After 1800, when Sanskrit was discovered as an object of = European=20 study, Indo-European linguistics was constituted. The scrutiny of = this=20 "originary language" coupled with the spirit of the Romantic age = of=20 cultural history created an important precondition for the origins = of what=20 today is known as modern philology. Romanticism was in part a = reaction=20 against the rules of classicism. The Romantics valued modern and = not=20 classical languages and literatures. Curiously, Romance philology = arose,=20 not in Spain, Italy, or France, but in Germany (actually Prussia) = in the=20 early nineteenth century. At this pivotal moment, "philological = practice=20 and discourse coincide with the struggle for national identity." = 21 The nineteenth century witnessed a = "confluence of=20 scholarship and politics [. . .] as Bismarck was unifying Germany = and=20 carving out a place for it as a competitive industrial and = colonial power"=20 (128). In fact, Romance philology "developed into a scholarly = discipline=20 in the Prussian university system as conceived by Humboldt," = 22 whereas in "France, Spain, and Italy it = was=20 established only some decades later" (2). This politico-academic=20 collaboration was one of the state's many endeavors to control and = augment=20 "knowledge of the history of the nation as official knowledge" = (12).=20

Friedrich Diez (1794-1876) applied the technique of historical=20 linguistics, which had been developed in the Indo-European field = by Rasmus=20 Rask (1787-1832) and Jakob Grimm (1785-1863), to Romance = languages. Diez,=20 who began "scientific" work in Romance linguistics, inaugurated = the=20 discipline of German Romance philology, along with Uhland, as an = outgrowth=20 of German Romanticism. The German Romantic spirit posited a = Romance=20 substratum to "Germanness": "the achievements of Romanische=20 Philologie was more and more to enable its public to = 'rediscover' in=20 the culture of the national past that identity which had already = been=20 internalized in various phases of the process of socialization" = (31). And=20 so it is that in the nascent empire of Germany, Diez the academic = could=20 construct a discipline in the service of the political order to = fashion a=20 narrative in a manner that nurtured the foundational myth of the = emerging=20 nation. One of the reasons [End Page 210] why Romance = philology=20 began in Prussia and not in a Latin state such as France, where = Gaston=20 Paris and others would later dominate Romance studies, was that in = France,=20 "[d]espite the political and social changes from Empire to = Restoration and=20 Bourgeois Monarchy, French national identity was never the object = of a=20 quest, undertaken between national decadence and national rebirth" = (20).=20 In Germany, however, "during the last decades of the 19th century, = society=20 and government. . . quite consciously required and supported . . . = the=20 pattern of national structures of identity" (30).=20

In France, the academic discipline of French medieval studies = was not=20 even founded until 1852, when Paulin Paris, Gaston Paris's father, = was=20 appointed by Napoleon III as the nation's first professor of = medieval=20 languages and literatures. Although from the outset the discipline = was=20 forged from a union of politics and culture (Paulin Paris had been = an=20 archivist at the Biblioth=E8que Imp=E9riale), it would be the = younger Paris,=20 Gaston, who truly sought to "find in the origins of the French = language=20 and national consciousness what Charles De Gaulle, at a later = moment, but=20 with the same motivation, would call 'la grandeur de la France'" = (Nichols=20 28). It was at a time of national crisis, in the early 1870's, = during the=20 siege of Paris, that Gaston Paris articulated the genetic = relationship=20 between scholarly and political concerns most viscerally in his = lecture on=20 "La Chanson de Roland et la nationalit=E9 fran=E7aise":=20

L'histoire de la litt=E9rature d'un = peuple [. .=20 .] est l'histoire de sa vie morale, et particuli=E8rement de sa = conscience=20 nationale: c'est =E0 ce point de vue que je veux examiner = aujourd'hui ce=20 que nous pouvons recueillir encore de substantiel et de vital = dans=20 l'=E9tude de notre po=E9sie la plus ancienne. 23
The history of a people's literature [. = . .]=20 is the history of its moral life, and particularly of its = national=20 conscience: It is from this point of view that I want to examine = today=20 that which we can still cull of a substantial and vital nature = from the=20 study of our oldest poetry. 24

Gaston Paris went on to invoke a love for national institutions = as a=20 necessary step in the formation of the French nationality.=20

By Paris's time, late nineteenth century philology had evolved = into a=20 "discipline committed [. . .] to the construction of civil and = national=20 imaginaries in western Europe" (Jusdanis 1). A pseudo-science, = this type=20 of philology used techniques such as the (re)construction of = historical=20 grammars [End Page 211] and paleography to prove the = "origins" of a=20 given (national) tradition, as exemplified in the search for = etymologies=20 or the ur-text. These artifacts, whether extant or = "reconstructed,"=20 25 were then touted as the missing link = that neatly=20 demarcated the precariously unified, modern culture from the old = fractious=20 one by adducing textual proof of cultural and linguistic origins. = 26 Functioning in such a capacity, = philology=20 reflected the scientific positivism sweeping through much of = Europe in the=20 middle to late nineteenth century=97a scientific assay purportedly = working=20 "objectively" with empirical evidence to distill dispositive = truth.=20 Through this lens, academic philology saw written documents as = rarified=20 artifacts, outside of time and space=97without historical context, = to be=20 read as juggernauts that would clear a diachronic path from = themselves all=20 the way to a present-day national teleology.=20

Pound used philology as a political tool to resist the type of = Romance=20 studies of his day and to forge a tradition that was not inflected = by the=20 constraints of national politics. In 1907, Pound left the United = States=20 and his graduate studies for a self-imposed exile in Europe. He = would=20 remain there, and especially in Italy, for a prolonged time. He = would seek=20 a different philology there. In his Spirit of Romance, Ezra = Pound=20 opted for a time and structure that were lyrical and synchronistic = (where=20 the past was a vital part of the present). Pound's labor continued = and=20 expanded Dante's foundational work. Both saved other exiled poets, = such as=20 the Proven=E7al troubadors, and made their work new.=20

As a discipline of study, the Proven=E7al poetic tradition was = of great=20 interest in Pound's time, both in England and in the U.S. 27 It epitomized, however, a literary = historical=20 epoch that, by Pound's time, had already been elided from the = national=20 narrative of France as an illegitimate ancestor. The Albigensians = (also=20 known as the Cathars), who lived in languedoc, were = eradicated in=20 the first half of the thirteenth century by the political powers = of=20 languedoil (Northern France), in what Pound called "a = sordid=20 robbery cloaking itself in religious pretence" (Pound, = SR101). What=20 remained of their cultural lyric production=97Proven=E7al = poetry=97was=20 subsequently exiled, spread out primarily through Northwestern = Spain and=20 Frederick II's Sicily. Today's France officially derives from the = culture=20 and polities triumphant in the Albigensian Crusade and not from = the=20 cultural strain of the vanquished Proven=E7als. It is therefore no = coincidence that the French national canon has not enfranchised = the=20 Proven=E7al lyric within its official literary history. As an = object of=20 study today, Proven=E7al poetry is usually offered by university = departments=20 of comparative literature, if at all. In fact, often times, = [End Page=20 212] all Romance languages are fractured into crystallized = disciplines=20 expediently but nominally grouped within Romance language = departments or=20 offered by specialist departments of Spanish, Italian, and French, = as if=20 there were no intersecting historical strands among these, and = between=20 them and other non-Romance literatures and languages; as if the = Spanish,=20 Italian, and French national identities that were constructed in = the not=20 too-distant past had always existed and were eternal, immutable,=20 monolithic, and uniquely authentic.=20

Pound not only validated Dante's inaugural gesture of saving = the exiled=20 Proven=E7als from canonical oblivion but also saved poets silenced = by Dante=20 such as Guido Cavalcanti, as we saw earlier. Pound's criterion = centered on=20 an inherent artistic value the lyric allegedly possessed, which = must be=20 brought over, across time, to modern readers. Pound stated a = concern for=20 the poetry itself, what he called "art," as opposed to the = "science" to=20 which philology aspired in his day. It is here, in the contingent = space=20 created by the opposition of ideal but vague terms such as "art" = and=20 "science," that Pound's approach to canon-making enters the = equally=20 contingent debate over Art and Taste today. He saw the study of = literature=20 as "hero-worship," as a veneration of the masters, not "failure, = or=20 mediocrity" (7). To problematize the contingent nature of taste, = one need=20 only invoke its implicit elitism and subjectivity. By what = criteria does=20 one jettison a particular work or author? Certainly the early = avowed=20 anti-Semitism and racism of Pound, no longer tolerated forms of = scholarly=20 or, in many circles, social discourses, would vitiate his = qualifications=20 as the best judge of what should be considered a "transcendental" = master=20 work. 28 Even T.S. Eliot's use of the title = "miglior=20 fabbro," in his dedication to The Waste Land, exalted = Pound's=20 mechanical skills and not the content of his work. Yet, what Pound = was=20 fostering was a movement away from a discipline (the philological=20 tradition that immediately preceded him) whose ultimate endeavor = was=20 somehow to quantify and catalogue=97in essence to arrive at a = distilled=20 truth, which could then be used as one of the elements in a = diachronic=20 literary history, linking events and people who otherwise shared = no causal=20 connection. Pound searched for a literary scholarship that would = "weigh=20 Theocritus and Yeats with one balance, and which will judge dull = men as=20 inexorably as dull writers of today" (Pound, SR8). It seems = that=20 for Pound, all ages were contemporaneous, synchronous; that in = literature,=20 the real time was independent of the apparent. Pound was dealing = with a=20 Platonic ideal, a form that was common to all human beings, and = which only=20 needed to be evoked in the appropriate modern idiom in order to = reawaken=20 the zeitgeist of the particular [End Page 213] human era in = which=20 it was originally articulated through poetry. This transcendental = spirit=20 was what Pound believed had to be translated and evoked through a = virile=20 and fecund living language, one that used signifiers that would = approach=20 the original referents as closely as possible in order to obviate = clich=E9s.=20

The Spirit of Romance:
A New Philological = Legacy

In The Spirit of Romance, Pound treated only the works = that he=20 claimed still possessed that transcendental spirit; the works that = were=20 more than mere artifacts. Pound discovered in medieval love poetry = a "cult=20 of emotions that transcends the sensual in order to achieve an=20 intellectual and spiritual ideal." 29 For Pound, this kind of love had its = origins in=20 the troubadors, but took a definitive shape from the Italian = poets. The=20 atmospheres of these various traditions were continuous with one = another=20 (historically and inherently). This was the effect of the cultural = dynasty=20 that Pound was proposing, with himself as its champion and latest=20 apotheosis. As Robert Pogue Harrison notes, Pound "is intent on = becoming a=20 point of conjunction in tradition, a savior of the 'and' that = assures=20 transcendent continuities between historical epochs." 30 But what basis of commonality allows a = synchronous=20 fit between poetry that is temporally centuries apart? The basis = of=20 commonality is an experience that Pound's The Spirit of = Romance=20 claimed to be universal among all humanity and present in medieval = love=20 poetry:=20

I believe in a sort of permanent basis = in=20 humanity, that is to say, I believe that Greek myth arose when = someone=20 having passed through delightful psychic experience tried to = communicate=20 it to others and found it necessary to screen himself from = persecution.=20 Speaking aesthetically, the myths are explications of mood. = (Pound,=20 SR92)

The substance of Greek myth was therefore grounded in human = experience,=20 or at least in symbolic representations thereof. For Pound, the = original=20 poetic language was charged or energized in such ways that it came = very=20 close to capturing common human experiences or latent primal = memories:=20 "Pound's poetic goal was the cultivation of 'adventures,' the = soul's=20 visionary memories of the paradise or the past it once knew" = (Longenbach=20 229).=20

In the essay How to Read (1931), published over two = decades=20 after the first publication of The Spirit of Romance, Pound = offered=20 a crystallized version [End Page 214] of the ideas (with = which he=20 had worked earlier) of the nature of poetic language. In this = essay and=20 the later ABC of Reading, Pound, himself, did try to impose = some=20 objective criteria for reading=97an act reminiscent of = philological=20 exercises. In How to Read, Pound considered three "kinds of = poetry": melopoeia, a musical property with which the words = were=20 charged above their literal meanings and which lent direction to = these=20 meanings; phanopoeia, a casting of images on the visual=20 imagination; and logopoeia, "the dance of the intellect = among=20 words." 31=20

As Pound stated in ABC of Reading, "It is mainly for the = sake of=20 the melopoeia that one investigates troubadour poetry," 32 as "poetry begins to atrophy when it = gets too far=20 from music" (Pound, ABC14). Pound developed his concept of=20 phanopoeia in his own Cantos. He achieved it in three basic = ways=97what came=20 to be known as the Imagist Credo. 33 Logopoeia could also be seen in the = poetry of the=20 troubadors, especially in Arnaut Daniel's search for le mot = juste,=20 resulting in his precision of language, "that explicit rendering, = be it of=20 external nature, or of emotion" (Pound, LE11), that Pound = also=20 praised in Dante and Cavalcanti. This type of precision makes the = writers=20 with whom Pound dealt seem hermetic to many because of, for = example,=20 Daniel's "refusal to use the 'journalese' of his day, and [because = of] his=20 aversion from an obvious familiar vocabulary" (Pound, = SR25). Pound,=20 himself, followed Daniel's example in his own poetry, and "valued = symbols=20 that do not have a fixed meaning, symbols that are infinitely = suggestive=20 and suggestive of the infinite" (Longenbach 81). What Pound found = most=20 interesting about Daniel, however, was his concern with = revitalizing his=20 own language: "And En Arnaut was the best artist among the = Proven=E7als,=20 trying the speech in new fashions, and bringing new words into = writing,=20 and making new blendings of words" (Pound, LE111). As = Stuart=20 McDougal states in Ezra Pound and the Troubadour Tradition, = "in=20 Arnaut Daniel's poems[, Pound] finds the precision of language he = so=20 admires in Dante, the introduction of a number of new stanzaic = forms, a=20 brilliant use of rhyme, and a thorough development of 'melopoeia,' = 'phanopoeia,' and 'logopoeia'." 34 Among all of the fabbri, Pound, "il = miglior" of=20 his time, undertook the task of resuscitating the medieval poets = by=20 retaining these qualities in his translations.=20

"Great art is made to call forth or create an ecstasy. The = finer the=20 quality of the ecstasy, the finer the art" (Pound SR82). = This=20 ecstatic vision with which Pound saw poetry was the impetus behind = his=20 artful translations of medieval poetry; an act that he preferred = to call=20 "traduction." As David Anderson notes in Pound's = Cavalcanti, Pound=20 avoided using the verb "to [End Page 215] translate," = preferring a=20 borrowed word (what linguists call a semantic calque) such as "to = bring=20 over" that recalled the etymology of the conventional term: "When=20 [Pound's] first translation of Cavalcanti's 'Donna me prega' = appeared in=20 The Dial in 1928, he called it a 'traduction,' replacing = the usual=20 word with a Latinism derived ultimately from traductio, 'a = leading=20 across'." (Anderson ix). And indeed, Pound did lead the souls of = the dead=20 or forgotten poets across, as he pried apart the interstices of = silence=20 punctuating Dante's literary history and resuscitated the lost = voices.=20 Ultimately, Pound's Cantos would create a dialogic structure = between the=20 voices of these texts.=20

What does this method of translation imply? Obviously, it is = quite=20 different from that used by the Victorians, such as D.G. Rossetti, = whose=20 translations, according to Pound, treated the poetry as artifacts = and=20 "obfuscated" the poets (Edwards xxiii). "Pound repeatedly went = against=20 Rossetti's grain, though he often mentioned his indebtedness to = the=20 precursory translator." 35 Pound's "traduction" was hardly literal, = since it=20 endeavored to revive "certain forces, elements or qualities, which = were=20 potent in medieval literature in Romance and are still potent in = English"=20 (Pound SR7). A literal translation would necessarily = contain=20 expressions that are now clich=E9s or that would not convey their = original=20 meanings. Pound's translations were meant to allow the original = texts to=20 speak to the modern reader just as they spoke to their first = readers, thus=20 establishing a dialogue between text and reader that was unimpeded = by=20 temporal constraints. But, since the original poetry used = music=97rhyme and=20 meter=97to capture and convey the author's physical sensation or = experience=20 to the reader, Pound had to achieve the same effect in a different = language and venue.=20

Pound's "traductions" used words and metaphors intended to = evoke in the=20 reader the same feelings evoked in the work's original reader, "to = recreate the unique virt=F9 of an individual writer or body = of=20 literature now largely forgotten" (Witemeyer 44). The translation = as such=20 reawakened a "ritual [. . .] that has its purpose and its effect" = (88).=20 Pound's type of translation did not necessarily seek a modern word = that=20 shared an etymology with the poetic word in question, since the = meaning of=20 the modern word could be quite different from that of its etymon.=20 Similarly, the context in which the original word was used might = no longer=20 exist. Therefore, although the etymology of a modern word might be = easily=20 identifiable, the contextual meaning might still be obscured. = Implicitly,=20 Pound realized the necessity for reproducing the medieval = utterances by=20 someone who was "qualified." He saw himself as that someone, one = who could=20 revive the paideuma of the medieval [End Page 216] = world by=20 carefully crafting his translations with comparably evocative = modern=20 language.=20

Pound tried to make available the type of performance that was = also=20 involved in the medieval balladic and epic oral traditions=97that = individual=20 performance that changed each time it was rendered. Although there = was a=20 basic story, a mental residual of the past, each performer = re-lived the=20 story, adding a touch of his or her own spirit to it. As the = medievalist=20 Ram=F3n Men=E9ndez Pidal said, "La tradici=F3n [oral], como todo = lo que vive, se=20 transforma de continuo; vivir es variar" ["The [oral] tradition, = like all=20 living things, is in continual transformation; to be alive is to = be in=20 flux"]. 36 When the oral performance of the ballad, = for=20 example, was removed, leaving words written on a page, the life of = the=20 work was snuffed out, and what remained was an inanimate shell. = Pound's=20 translations tried to infuse the poetic texts with rhythmic and=20 substantive life, in the spirit of Men=E9ndez Pidal's appraisal of = a living=20 balladic tradition.=20

For Pound, palpable life and simplicity of style were = characteristics=20 of the Spanish "geste." This is why Pound devoted a chapter in = The=20 Spirit of Romance, "Geste and Romance," to extolling the = virtues of=20 the Poema del Cid over those of the Chanson de = Roland. He=20 did this within a Dantesque frame. Pound opened the chapter with = great=20 deference to Dante's literary history, restating the list of = languages in=20 which the "best narrative poetry of the Middle Ages was written" = (Pound,=20 SR64). However, Pound, who claimed that "Dante is little = concerned=20 with Spain and may not have known the contemporary Poema del = Cid,"=20 (66) displaced the Roland's "'langue d'oil', the dialect of = Northern France," as the best language for epic and put Castilian = in its=20 place (64). This was Pound's attempt to rewrite Dante's literary = history=20 and to fashion his own. For some reason, perhaps because the De = vulgari is apparently an unfinished work, Dante did not extol = the=20 virtues of what is today the Spanish language in his treatise on = common=20 speech. Pound's valorization of the Cid over the = Roland=20 served as a corrective force to the canonical foundation laid by = Dante.=20

In this chapter, Pound quite explicitly differentiated his = approach to=20 literary history from that of the nineteenth century, exemplified = by the=20 French philologist Gaston Paris. Paris, in his lecture on the = "Chan=E7on=20 de Roland et la Nationalit=E9 fran=E7aise," tried to = appropriate the=20 Chansonde Roland, as part of the "French national style," = for his=20 diachronic history of French literature (74). Paris saw the = Roland as a key text in his narrative of national destiny. = As Pound=20 saw it in relation to the Cid, the substance of the = Roland=20 epic was a rather "wooden convention"=97in short, a fossil that = was [End=20 Page 217] not revivable (74). Pound saw in the Cid, = however,=20 that "unquenchable spirit [. . .] which gave life to the verse and = to the=20 apparently crude rhythm" (67). Pound reserved a place for the = Hispanic=20 epic in his literary universe because it possessed a latent life: = "As in=20 the Greek, or, indeed, as in most moving poetry, the simple lines = [of the=20 Cid] demand from us who read, a completion of the detail, a = fulfillment or crystallization of beauty implied" (68).=20

Pound purported to be able to capture a poem's latent, = transcendent=20 spirit, thus filtering it through his sensibilities, and = preventing=20 the reader from fully assessing it for himself or herself. This is = patently problematic and an uncomfortable aspect of all = translation. This=20 discomfort takes us back to the preface of The Spirit of = Romance,=20 dedicated to the chosen reader. The chosen reader then, was a = chosen=20 pupil=97one whom Pound would instruct in the art of making = literary history.=20 But, can or should Pound's judgement always be trusted? After all, = he=20 found an arguably anti-Semitic scene in the Cid, = "Antolinez's=20 manipulation of [. . .] two Jews, [Raquel and Vidas]," to be = "delightful"=20 (68). In light of Pound's professed and known views on blacks and = Jews,=20 37 one wonders if Pound's delight stemmed = from=20 anti-Semitic sentiment, and not just from any particular charm in = this=20 scene of the poem.=20

Chapter X of The Spirit of Romance, "Camoens," also = proves=20 problematic with regard to Pound's sensibilities. This is one of = those=20 figures whom Pound devalued. Pound damned Cam=F5ens with faint = praise and=20 backhanded compliments, setting him up as the straw man whom he = then tore=20 down, thinly veiling his value judgments of Cam=F5ens's style and = the=20 Portuguese language:=20

Camoens writes resplendent = bombast,=20 and at times it ispoetry. The unmusical speech of = Portugal is=20 subjugated, its many discords beaten into harmony. = As=20 florid rhetoric, the Lusiads are, I suppose, = hardly=20 to be surpassed. The charm is due to the vigor of their author, = his=20 unanimity, his firm belief in the glory of externals . . . = without once=20 pausing for any sort of philosophical reflection. 38

Therefore, although Pound said that Cam=F5ens did write = occasionally=20 resplendent poetry, he mitigated and even undercut the praise by = telling=20 his reader that it was bombastic; while OsLus=EDadas had = charm, Pound=20 said it was nonetheless florid rhetoric. On the one hand, Pound = seemed to=20 be praising Cam=F5ens for his enthusiasm, only to qualify it = severely by=20 denying OsLus=EDadas's profound philosophical vein. Pound = went on to=20 cite particular [End Page 218] passages of = OsLus=EDadas that=20 were "very clearly stated," that lacked ornateness (216). In doing = so,=20 Pound punctuated this chapter with tacit condemnation of the = un-cited=20 passages, with one fell swoop vilifying both Cam=F5ens and the = Portuguese=20 language. Ultimately, Pound explicitly condemned "the real = weakness of the=20 Lusiads" because it was "the epic of a cross section and = [voices] a=20 phase, a fashion of a people, and not their humanity" (216). = Although=20 Pound was kinder to Cam=F5ens by making him an object of scrutiny = than Dante=20 was to Cavalcanti, he, nonetheless, demonstrated such scrutiny's=20 contingent value.=20

Ezra Pound eventually developed his idea of translation as a = bridge=20 between a poem's original language and a modern reader's = understanding of=20 its symbolism. This ideological change practically obviated the = dubious=20 judgements of the very young Pound of The Spirit of = Romance. This=20 may have served as a sort of self-exculpatory mechanism 39 since Pound's philosophy of translation = was to=20 access whatever the modern zeitgeist happened to be. He was thus = free to=20 identify himself as a "product of his time," which had to be made = new by=20 each subsequent generation of readers. But such an uncomplicated=20 philosophy proves a conundrum in light of prospective readers' = ethnic,=20 class, religious, and numerous other differences, which may very = well=20 allow them to read beyond, against, despite, or through the = imagined=20 community tacitly assumed by Pound. One way in which Pound evaded=20 responsibility for bias was to say that often there would be = purposeful=20 ambiguities in his translations, which would compel the reader of = the=20 translation to go to the text in the original language and to = apprehend=20 the original meaning: "I am always filled with a sort of angry = wonder that=20 any one professing to care for poetry can remain in ignorance of = the=20 tongue in which the poem is written. It shows a dullness, a = stolidity"=20 (Pound, SR144). For almost all of the translations he = planned to=20 produce in his mature years, he intended to use bilingual editions = with=20 facing translations. As David Anderson notes in Pound's = Cavalcanti,=20 in his translations, "Pound made a conscious and highly innovative = attempt=20 to explore the potential of the facing-page translations as a = literary=20 form" (Anderson ix). Despite this, it is unclear whether = Pound=20 preferred the original to be read after his elucidation of it, or = that his=20 reincarnated translations displace the primacy of the original. = What is=20 clear is that Pound's work was predicated on the individual = reader's=20 interpretation, albeit a chosen reader's guided interpretation.=20

Ezra Pound, who disparaged or displaced canonical authors, = seems quite=20 suspect at times as the interpretive guide or aesthetic judge of = medieval=20 [End Page 219] poetry according to today's values. He is, = however,=20 no more suspect than Dante, himself, just different. Pound = redefined=20 Romance philology through a new, necessarily contingent voice, = which=20 invited, in fact was predicated on, cyclical reinterpretation. = The=20 Spirit of Romance is Pound's seminal work that animated chosen = original texts of medieval love poetry=97ossified artifacts of = philological=20 scholarship that was the complaisant, though possibly unwitting, = servant=20 of national ideology. Pound attempted to make the love poems sing = to the=20 modern reader, who, in turn, had to reanimate them himself and = herself=20 regardless of national affiliations. Ezra Pound brought together a = series=20 of essays about diverse epochs and regions of Europe to create = The=20 Spirit of Romance. This work, throughout its various = reworkings, was=20 his model of what philology could be=97a corrective to a world = fragmented=20 into rival nations and ultimately shattered by war and = disillusion.=20 Pound's philology made the past of his choosing and the present = living=20 parts of each other, where time was synchronistic and structure = was=20 lyrical. Dante and Pound tried to leave their future readers a=20 transcendental legacy that seemed based on inherently superior = poetic=20 qualities and not a literary legacy that was nationally contrived. = Both=20 men's personal motivations or preferences, however, ultimately = belied the=20 transcendental essence of art or culture they would bequeath to = their=20 heirs. Perhaps their true legacy is that literature (and its=20 interpretation), no matter what guise or name it may take, is = inherently=20 political and not representative of universal, immutable or = uncontestable=20 values.=20

Bard College=20

 


Notes

1. George Bornstein, Poetic Remaking: The Art = of=20 Browning, Yeats, and Pound (University Park: Pennsylvania = State UP,=20 1988) 140.=20

2. Academic philology, especially in the middle = to late=20 nineteenth century, worked within a frame championed in = Descartes's=20 Discourse on the Method for Conducting One's Reason=20

Rightly and for Searching for Truth (original French = text from=20 1637) and other works: a method for constructing a new system for = a=20 unified and certain body of human knowledge.=20

3. The original title was The Spirit of = Romance: An=20 Attempt to Define Somewhat the Charm of the Pre-Renaissance = Literature=20 of Latin Europe, by "Ezra Pound, M.A." (emphasis mine) = and=20 clearly bespoke Pound's trepidatious, if self-conscious, defiance = of his=20 doctoral dissertation committee's refusal to grant him an official = doctorate at the University of Pennsylvania. He first published = The=20 Spirit of Romance in London from a series of lectures he = delivered,=20 via the benevolence of his friend, Ernest Rhys, who persuaded J.M. = Dent to=20 publish it in 1910.=20

4. Marianne Shapiro, De Vulgari Eloquentia. = Dante's Book=20 of Exile (Lincoln: U of Nebraska P, 1990) 47.=20

5. Giuseppe Mazzotta, Dante's Vision and the = Circle of=20 Knowledge (Princeton: Princeton UP, 1993) 61.=20

6. Dante Alighieri, The Divine Comedy, = trans. and=20 commentary Charles Singleton (Princeton: Princeton UP, 1975)=20 Inferno10.58-63.=20

7. All English translations of the Inferno = are taken=20 from Allen Mandelbaum's The Divine Comedy of Dante Alighieri: A = Verse=20 Translation (Berkeley: U of California P, 1980) 89.=20

8. The allusion here is to James J. Wilhelm's = "Guido=20 Cavalcanti as a Mask for Ezra Pound," PMLA89 (1974a): = 332-40, which=20 studies Cavalcanti's various incarnations in Pound's writing.=20

9. The pun transparently resonates with John = Freccero's=20 indispensable Dante: The Poetics of Conversion (Cambridge, = Mass.:=20 Harvard UP, 1986) while adding the opposite dynamic in which the = self=20 remakes the word or memory.=20

10. Pound, The Spirit of Romance (1910. = London:=20 Peter Owen. Ltd., 1952) 110.=20

11. Critics who see Cavalcanti closer to = Aristotelianism=20 (or, more accurately, to Averroism) usually base their = observations on=20 Cavalcanti's well known canzone "Donna me prega," for example. = Critics who=20 also work with some of Cavalcanti's other pieces, such as "Gli = occhi di=20 quella gentil foresetta," often observe his use of Neoplatonic = theory. See=20 Dana E. Stewart's The Arrow of Love: Optics, Gender, and = Subjectivity=20 in Medieval Love Poetry (Lewisburg: Bucknell UP, forthcoming), = for=20 Cavalcanti's use of Galeno-platonic optical theory in such latter = works.=20

12. David Anderson, Pound's Cavalcanti = (Princeton:=20 Princeton UP, 1983) xiv.=20

13. All translations of Cavalcanti are my own.=20

14. Pound, Literary Essays of Ezra Pound = (Norfolk,=20 CT: New Directions Books, 1954) 25.=20

15. Pound, Translations of Ezra Pound = (London:=20 Faber & Faber, 1970) 25.=20

16. Lowry Nelson, ed. and trans., The Poetry = of Guido=20 Cavalcanti (New York: Garland, 1986) 41.=20

17. Said laid the groundwork for this philosophy = in the=20 preface to Beginnings: Intention and Method (New York: = Basic Books,=20 1975). He further emphasized it in the preface to The World, = the Text,=20 and the Critic (Cambridge: Harvard UP, 1983).=20

18. Hugh Witemeyer, "Early Poetry 1908-1920," in = The=20 Cambridge Companion to Ezra Pound. Ed. Ira B. Nadel (New York: = Cambridge UP, 1999) 45.=20

19. Pound espoused this idea also in his own = poetry. He=20 produced "unpopular poems designed to nourish an aristocratic = 'state of=20 mind'; the commoners, having no other choice, he reasoned, would = follow"=20 (James Longenbach, Stone Cottage: Pound, Yeats, and = Modernism [New=20 York: Oxford UP, 1988] 95).=20

20. Gregory Jusdanis, Belated Modernity and = Aesthetic=20 Culture: Inventing National Literature. Theory and History of=20 Literature. 81 (Minneapolis: U of Minnesota P, 1992) xi.=20

21. Stephen G. Nichols, "Modernism and the = Politics of=20 Medieval Studies," in Medievalism and the Modernist Temper. = Eds. R.=20 Howard Bloch and Stephen G. Nichols (Baltimore: Johns Hopkins UP, = 1996)=20 127-128.=20

22. Hans Ulrich Gumbrecht, "'Un Souffle = d'Allemagne ayant=20 pass=E9': Friedrich Diez, Gaston Paris, and the Genesis of = National=20 Philologies," Romance Philology60 (1986): 2.=20

23. G. Paris 1870:94, quoted in Gumbrecht 26.=20

24. All translations from the French are my own. =

25. A reconstructed etymology is often denoted = by an=20 asterisk to show that no textual record of that word remains, but = that,=20 instead, the analogous development of other Romance etymons, for = example,=20 justifies such a reconstruction.=20

26. A case in point is the French national = literary canon=20 and modern French studies, neither of which embraces the = Proven=E7al=20 tradition, instead, mainly locating their own "origins" in the = Chanson=20 de Roland and leaving that vestigial French tradition (the = Proven=E7al=20 one) to find a refuge in comparative literary studies and = comparative=20 literature departments.=20

27. See H.J. Chaytor's The Troubadours of = Dante=20 (Oxford: Clarendon, 1902) and Charles H. Grandgent's Discourses = on=20 Dante (Cambridge: Harvard UP, 1924) for example.=20

28. For one account of Ezra Pound's anti-Semitic = views see=20 Hyam Maccoby's "The Jew as Anti-Artist: The Antisemitism of Ezra = Pound,"=20 Mainstream22.3 (1976): 59-71. Pound eventually recanted the = anti-Jewish and anti-black remarks he had made earlier in life. It = is=20 important to remember, however, that Pound did broadcast such = remarks on=20 Italian radio before he was apprehended by U.S. forces. See Wendy = Stallard=20 Flory's "Pound and Antisemitism" in The Cambridge Companion to = Ezra=20 Pound. Ed. Ira B. Nadel (New York: Cambridge UP, 1999) 284-300 = for a=20 sober recounting of the effects of Pound's antisemitic broadcasts = on his=20 life and legacy. Pound was obsessed with monetary reform as well, = which he=20 advocated as a corrective to what he perceived as the overarching = control=20 of banks and world economies by Jews. Pound's antidote to this = perceived=20 ruination of the world was fascism. Leon Surette's chapter = "Banking and=20 Social Credit," in his Pound in Purgatory: From Economic = Radicalism to=20 Anti-Semitism (Chicago: U of Illinois P, 1999) elucidates this = path in=20 Pound's life.=20

29. Robert Edwards, ed. and trans., The = Poetry of Guido=20 Guinizelli (New York: Garland, 1987) iii.=20

30. Robert Pogue Harrison, The Body of = Beatrice=20 (Baltimore: Johns Hopkins UP, 1988) 159-160.=20

31. Pound, How to Read (London: Desmond = Harmsworth,=20 1931) 25.=20

32. Pound, ABC of Reading (Norfolk, CT: = New=20 Directions Books, 1951) 52.=20

33. The imagist credo, as paraphrased from = Pound's ABC=20 of Reading, consisted of a "direct treatment of the subjective = or=20 objective; the use of absolutely no word that does not contribute = to the=20 presentation; and, as regarding rhythm, a composition in the = sequence of=20 the musical phrase, not in the sequence of a metronome."=20

34. Stuart McDougal, Ezra Pound and the = Troubadour=20 Tradition (Princeton: Princeton UP, 1972) 107.=20

35. Roxana Preda, Ezra Pound's (Post)Modern = Poetics and=20 Politics: Logocentrism,=20

Language, and Truth (New York: Peter Lang, 2001) 89.=20

36. Ram=F3n Men=E9ndez Pidal, ed., Flor nueva = de romances=20 viejos32nd ed. (Madrid: Espasa-Calpe, S.A., 1989) 39. All = translations=20 from the Spanish are my own.=20

37. See above, n. 28.=20

38. Pound, Spirit of Romance216, emphasis = mine.=20

39. Pound wrote much of his own poetry through = the adopted=20 personae of historical poets, such as Cavalcanti. This technique, = learned=20 from Browning, was among other things, one of the ways Pound could = detach=20 himself from direct responsibility for his work's content.=20

http://0-muse.jhu.edu.opac.sfsu.edu:80/journals/comparative_lit= erature_studies/v039/39.3riobo.html=20 		 
------=_NextPart_000_00D9_01C4314E.5CCA2BE0 Content-Type: image/gif Content-Transfer-Encoding: base64 Content-Location: http://0-muse.jhu.edu.opac.sfsu.edu/images/journals/buttons/cls.gif R0lGODlhZAAkAPcAAP///0JCQkpKSlJSUmNjY2tra3t7e4yMjJSUlL29ve/n587GxtbOzufe3r21 ta2lpZyUlIyEhHtzc/fn5//v73Nra4R7e97OzufW1u/e3tbGxr2trca1tc69vbWlpa2cnO/e1s69 tca1raWUjP/v597Oxr2tpZyMhJSEe+fe1sa9taWclPfv5//3797WztbOxr21rbWtpZyUjJSMhHNr Y+/n3s7Gva2lnIyEe2tjWufezsa9rf/3597WxpyUhPfv3u/n1s7GtbWtnJSMe+/nzu/v5/f37/// 987OxtbWzt7e1ufn3r29ta2tpbW1rcbGvZSUjJyclKWlnIyMhHt7c/f35///73Nza4SEe97ezufn 1u/v3mtrY9bWxr29rcbGtc7OvVpaUrW1pWNjWlJSSq2tnJycjJSUhN7extbWvYyMe87OtYSEc3t7 a3NzY6WljOfvzs7Wtd7nxtbexs7WvbW9pa21nKWtlJSchIyUe73GrZyljKWtnISMe2NrWoSUc/f/ 79bezrW9ra21pZScjIyUhHN7a2tzY0pSQpSlhHuMa97n1r3GtZyllHuEc1pjUqW1nGNzWoychHuM c3OEa2t7Y1prUlpzUsbOxs7Wzt7n3rW9ta21rb3GvYyUjJSclHN7c2tza3uEe1JaUlpjWkpSSnuM e2t7azlCOWNzY1prWikxKVJjUkpjStbv3s7n1q3GtZStnIyllHOMe2uEc1JrWr3Wxpy1pXuUhFpz YzlSQrXGvZSlnO//987e1q29taW1rYyclGt7c2Nza63OvWuMe5ytpVprY5y9rXOUhDlaSq3GvYyl nGuEe6W9tYSclGN7c73WzrXOxpy1rZStpXuUjHOMhFpza1JrYzlSSjFKQvf//7W9va21tZScnJyl pYSMjO///1pjY5ytrYycnJSlpYSUlHuMjHOEhGt7e2NzcykxMXuUlHOMjGuEhGN7e1pzc2uMjDFC QiExMRAhIQAQEAAYGGuEjGtze62lrZSMlJyUnHNrc2tja6WUnAAAACwAAAAAZAAkAAAI/wABCBxI sKDBgwgTKlyocNvAbRAjSpw4kaHFixgzGgwHMZxHj71C9vpIMpxIbBpTqlwpcCRJkTBDmoyJDWXB KnfezCEIJ0+lOgezEDySJc2fP4m0ADgCBAyLFlbuKMqDp4uVL1patEhRKM8QRSterNFKloUKQpcq RfJCglGwt3Djyp1b0+bAPeCeYHAySaCkfQqMLDBkheCdMAQLccGSr8ODUFqO9AnT4siPMRwcPCAA JpQqHi1AeIAyysmTKFjSkG2BZEwYJxs8YODR6dnc23OfYatlF8AKJwQnfLFzoSC/gXIORBk4B8oK LCSOHMkgpYYaKFmYXtFqJYUaMxDekP91MUWrFBhqeKjnEeUGFdBaWXCyHUyW/fv4Zd2uWWtgCwQG bfGAQS58IVAhvglkxRQ/rEAFCUuRUIYXXfRQyBE1XPGUVjNQUUMEYGjlAnQtnOECFDrwQEIWVCSB hVY8PDXffczUaOONNt4XzDHH2PUFBwbF4cJBjQBwhxIATCEQISGiluIPZ4ixQmjvZbghEFicwUIK jjylQ5ctTJGCE2+QQIIXTSjhxxpBfKFEC27hKCczvNRZp408HjOQFC8Y5IRQBsVAhBQALAgAGsux EIUBrFDihxNNtKFDFo6owAIXLLhQhyEOQBGCDmxMiQEVLPAwhQspkMoCFjWkIIAFBhj/8EQLmMhy o5245oprngM9oYJBNXhhkBZ8QHEEAC1IYYUjLQDwA2pIaHVEG/1IwA8BbaSAqRSluNCCI6Tww88o KaRgSKlTvECCP2mQ14ILoZBlhRU11KhrrrHkq2+dufTrnyOFEYQGF1UU5EgpDQh0RBlnLLBUDVBQ 4YJ0WdzAXQtmeKEhC6AAEaYLoF3gCKgskJAuCS+YEYMNLSRRgLxHtAAMnbjqqy81OOeM8zU8E7RA JUAomIcDLDiSxrFV9FEABAMdMQoW0mHY4cRWqOGCFWS9AIqGLTDQBgtQJKHiun10yUIfYJDAggSj PJXEIUBoAQQP0mlBs82x6KyzMXwb/zPM3/4doYEBhjhySB+BaDGIH4e08kgejpCgBR106ODPD3Qf wQIffXiBRhor/LBaDRCc4sUaNTjhRR+NCLLDDz/4EwMLLDCRAgk82ACDVjXEaoAET0jXwi283Lx3 38jz/fcwA6nQ5xETYPECElIQAMMCEHiyCRNPuECFCptMcYYVpPQgnQr7hCJKFCqUQVYNUUAxhRTV fxHDFA5I0UQNtPdfsnqriQ93orYFZuQtZ8kzxi0WeItpOHB5A4HBxAQigxosRUkAuEEKBvKCGygM Cl+AQht4gLUWRIFlICAEWVIwBSx0oQU8YAAbzPAC/9nwfwEcYNSitgteILBvDHSgEP8dCI0iRvAF 0gEAFDbIA1MUJgpd4GAZolYDLMTACVPSyhRYlgIZrHAKjujB2FSAiCzc0H+4y6EVdpjEpQAjb0Bc 4BAdCIw6FhEaR4zaDCzIA1E0awVB+AEQftDBqLkgAjdgQQReGCYVbCUKMOQBC7FQArWxoAxj8EIW KvSDG6YxgGtk40CKYAxqKFCOQqyjKusojFYOxAk20GMDjsADKlTGHwEYxQCu0L6YaYESC4gBCVJw CtFNwQtbgcLYJlnDH0BCFDdYBRlKQYAUeBI+MBMlQRYxjVOmcpXAcIY4aUHOV8ZSOjNAguYKURkI MKEFJXvBlAgQigW0YAyHcMQq7tD/ggg4gQc6gIAlmfkERBwgBVLQYLnO+Mls7tAgS+jmN+sozoo6 g5zNeOUC9PgFzX2iMjJQQtQQ2gIywVNWC1iAAXoQBUjWYAosqMKW+rDFGlAhDSw4zxn711AdRg0h VQDGNFZpUXHCAhbNSOorgxA1KajgCFXw4xGg0IMSakEKWonAGkxVKhZg4DsrUFsBykA7O0hhCpZy gR9qIAUh/KAG/IMdGrFZliR0ohuc2AQmktCsoQiVohY9KiyWkdSMCuQJhmiCGLwAQh5oAQt0k0Ib 8ICHO4ChEaIDwRJXUAMtyM0f/AgLCxYwhq5wAQQnpJ0/xACDx/XhDCmQq/+wyQIk/3wDHelwh27d gQ50nOMbSTiWQIwAWHH+4qjLSG5SizEQCrwgCqi4AhawYAgsTIER1lyABj5AhTZQgQ1q8EIKgBAD KBzCEG4QgwoIwIU2tMofD7AmXGFXAxdk4AkOcMATgFAD2dIOdyxIAjnSoY53pCO3u90tOsqxhIFY IZzGRW5yiTGLCjuYBWd4wgQmkAELuGACUhgEWWBAAw+0SgMH2EMKrkAABqQAAynogwpq8IBC+A92 OIarjnfcXzSSgAnuKPCBD5xg3vbWHefARNNg4YzjJje5u9hFhWfhn5XNa15qqIEJHakVJnBhd5G8 Ano2xgKb9vcHCzhzjnnM5jP7j/8J6hDykBGsYHS0ox12VrJAAIEMCS8jylK2hjX8YwNIkgUHHovC C0bMhQ2oR21KUAMbrnDml94hBfOlb5s33WPaJSDO7zDwnIvc2zvf+R6ZGIgmBgvlXUhDGoIetEC0 soJI2GELLcBCosFc0gqYQEX9o4IbwnAKQ3BBDCkwwCHwoAVOO3u+mUJHgUM9Zzob2c6mboc5CLKL Vr8a1oL2j1Ze8ABD6EBMJpyVVpzAhdn1rwaOuEIOYOAAJ3QBrheAAGefzem3egMe06b2kBNc6my3 Ix7cIAiUvw3uZPhnQyWFwgxS0AIZzEo9Ymi3/9bQQkrDNQs60DEVQs7vTSshHQD/D/io62zwc7SD HQR5xZ+/bQtrJAMX/sFCiFrwhSlMIQstUMEKHt0HLJigf2A4xBPaQAMdoweuXaACpkteAyBYXcdN SLnKB87ybJ+DHe3wRdOcQXNb3Bzns77AFQZhB0OMyFskiMAe9HAG9mFBDGLoAymeAAIqjMEMjYgC DLAwCTNYwglstjoIQFCu8QJh8eXSsTm0HmqBW7vgpv56O35BEFu4Whq2iMbZxZ2CCCyxaxtigT4M gIC3egAC/nCAjl8AA9P7MwX+iMAGasB4xTf+98BvPFxnEefiV57rusX8nb/OjnEQxBeutkXocYGL aog7hzCK0U6dbfXHMz744A9+sg3wUXxQW57OvcX28tnBjnIQxBWvDn00qm99Csrg/vjHvw98cIIZ +P//APh/QzAEKIADBniACJiACriA9FAPDmgPEBiBEjiBFGgP83ADIrADOwAK2qALHpgN2VAN9Zd/ JCgD++cDAZiC/jeABbiALviCCLgODviAFViDEygPQpCBO+AIHfiBIGh9I1CCQqh/Z6CCKQiDSKiA pTCD9WCDTmgP9SAOMKACVJgKPQiCIKgMAQEAOw== ------=_NextPart_000_00D9_01C4314E.5CCA2BE0 Content-Type: image/gif Content-Transfer-Encoding: base64 Content-Location: http://0-muse.jhu.edu.opac.sfsu.edu/images/b_muse.gif R0lGODlhMgATANX/AP////T09Orq6t/f39XV1crKysDAwL+/v7e3t7W1taurq6enp6GhoZaWloyM jIeHh4GBgX9/f3d3d29vb2xsbGJiYllZWVhYWFdXV1JSUjc3Ny8vLyUlJR8fHxYWFg8PDwcHBwAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACwAAAAAMgATAEAG/8BIB0QsFj/GY1Jp RC6XngjogKlaqwAFwFHJAh6RLOaRnQAGikCgUhEIEAHCdY4BeQ4WjX7P7/v/gIEcHlN0hoeIiVcW VURUhlldW2EREmcPA1lkBA8IAA1mA5gCFYiOEqipqqusra6vDxOOVYxXAGdVnl+KvIazkAoIA8Jh YGJkChgGtwAEFVrMu4e/vYq11VcgGoYW3d7f4N0Y3uPh5t0T6RMaBwgH7/Dx8vP09fYLGoVz19j9 ixbU5hAgsKDKg4ES/PWaxQ8LAQClBjyMMEHBAwwVLz4oQMBAQowGCCgoZUpfwywEEDj4AiACMgxh FIQZ0CAWhgZbMHiaUJJKQ0IMWVYOI+NSTEwMqBoUyLIgJ6Jav04my1SBzEVPATwlW5ApQDIMDgQA EOAgUcBy4biJQ3tukRWoIDY8mUu3rt0iQQAAOw== ------=_NextPart_000_00D9_01C4314E.5CCA2BE0 Content-Type: image/gif Content-Transfer-Encoding: base64 Content-Location: http://0-muse.jhu.edu.opac.sfsu.edu/images/b_search.gif R0lGODlhPAATANX/AP////T09Orq6t/f39XV1c/Pz8rKysfHx8DAwL+/v7e3t7W1ta+vr6urq6en p6GhoZ+fn5aWloyMjIeHh4GBgX9/f3d3d29vb2xsbGJiYllZWVhYWFdXV1JSUjc3Ny8vLyUlJR8f HxYWFg8PDwcHBwAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACwAAAAAPAATAEAG/8AQaUgsGo2jIymp ZBKdSqKokuBYr9cMAECAXKwZwUARIHAmgEIBEOEQAtsKAaAYAC5oul2C7ZMYGh6Cg4SFhoeIiYoe ICJVVhp9kpOUlZaSkRwkj5MWAAMSFXYVF58TAwIZaxJrDG4AVwIBEgcAFRUArriulCQKFRbBwsPE xcbHyMkTF5uQkhkBAQoKAAGX11dovJfNlhm0cBEMW+S3dnCuc1baWLtnuZXdlRoTExnYmdj6JBf9 kBoAAwqMNLBgQQ4BERocqLBfPwgJIkqcSLGixYsYM0Z04KEAlkwEEYoMSXKkyZIoT37UQOKAJQt2 0ljQd80CgTbXmuXDgkaBFYgHBGZeOECAwT0OEQgUtRKhKQF7DAgUmMAB17Sl8R7tvBIBzhafEQDw ofbFwoVx6QA44FCqygUvuKq461Vl67qpViTkgiAWS61b8NRx8OTzLR54cz9a6WaXgwNydPIKACCA j4XJdcwIHjwnQBt27Hq5vCLQZJ+tIE2LVIxJoTNNH6LInk27tuwgADs= ------=_NextPart_000_00D9_01C4314E.5CCA2BE0 Content-Type: image/gif Content-Transfer-Encoding: base64 Content-Location: http://0-muse.jhu.edu.opac.sfsu.edu/images/b_journals.gif R0lGODlhQwATANX/AP////T09Orq6t/f39XV1c/Pz8rKysfHx8DAwL+/v7e3t7W1ta+vr6urq6en p6GhoZ+fn5aWloyMjIeHh4GBgX9/f3d3d29vb2xsbGJiYllZWVhYWFdXV1JSUjc3Ny8vLyUlJR8f HxYWFg8PDwcHBwAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACwAAAAAQwATAEAG/8AQaUgkjopGZLJ4 VDpJTWd0KKokOFiOJpsFEDiXwIAh5lQADDOaAwgAAOeAYgCQcAgB8kAzQV8AYwIBGVxcJAwaHoqL jI2Oj5CRkpAgIldYW4Wam5ydnp9aWCSXhQdoDgAKHBIACRUDgxaAE3RpXlh9DmoMsgesABx9DGcE EwoAEZwkChUWzs/Q0dLT1NXW0xMXo5ict6DfnMLgHNuetwTAwWhnaexsX+pp4sdtwOIJb16Em+Wb FRPjAnrK5InEhYNcNChcyLChQi0PHUqcSJHhwYMQEmjcyLGjx48gQ4oM6cBDAU0EBapUqZDEgU8E VK0EZ4FAMnDbUhbyZuFATJFCFxgADApQqIICE3j5TAPGZwELu4IVIHAAqrJLOrt8wQcVAjJxudgA gHrmirsMFyoIAHbGwZkBEbJ1ysmNQwR4twoAuGAXAIS28d5hccdO1kl0UZ1F0Ms0S6ZyKcO8GbAv wtoBVo/JWePNXdhjAo5NcOeATp65LxPWhdgQIkqHhTJlDRXbsagPT3Lr3s27N5EgADs= ------=_NextPart_000_00D9_01C4314E.5CCA2BE0 Content-Type: image/gif Content-Transfer-Encoding: base64 Content-Location: http://0-muse.jhu.edu.opac.sfsu.edu/images/b_thisjournal.gif R0lGODlhWgATANX/AP////T09Orq6t/f39XV1c/Pz8rKysfHx8DAwL+/v7e3t7W1ta+vr6urq6en p6GhoZ+fn5aWloyMjIeHh4GBgX9/f3d3d29vb2xsbGJiYllZWVhYWFdXV1JSUjc3NzY2Ni8vLyUl JR8fHxYWFg8PDwcHBwAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACwAAAAAWgATAEAG/0BRaUgsGomko3LJ bDqTzuKokuBYr1gA4QoAFA4ABYcA4IAVBQADe52oORKvIsxhACr1ewUQ0NoFDH0ZGQEDc1V2E2xs JQwaHpCRkpOUlZaXmJmaliEjVVYai6KjpKWmp6hsoRwln6NaXFscsGRjABESAgJYAgASCb4ccw4S AVsQAAnFABN7a3mKdhXIDHZb0qUlChUW3d7f4OHi4+Tl5ufiExetoFgRBGTGBBawWAqyp27PqfxX idmuRNWbJYtWGQt9+EQQ5YygFWnYEjXMgyeRhniw/pFi16+jlQwTLIxa5bEkqwsoQWlYyXKlypYw YbZjyWFVqJgtX8bUiRMnSuyUEBIIHUq0qNGjSJMqXco0qQMPBbCQNEm1Kr+VJQ6IegevqwUCYuzh M/V1odVS70RurDI1Cz4tDggcyMAhwpoMDOA5GDVRQgECezlMYHBBMOELDCwUSDBYMQEJVib8nUsR YLtFAwHscliLzDY8DN8ICGAlzQUHzDigruBGAF3UC/+hjHPtjuW2sXJzLpPBQoVAZa4oEKOPQ4DN wCz8kzYx4h3UezPaXrSKI26HVuoZ5HAhjRa1VuJ0caWgT4FQGcgIAMb6TeVE6bUUCIA39UatV3Bf v3zK5s38NUlFyn6oVAdCFAgmqOCCDA4RBAA7 ------=_NextPart_000_00D9_01C4314E.5CCA2BE0 Content-Type: image/gif Content-Transfer-Encoding: base64 Content-Location: http://0-muse.jhu.edu.opac.sfsu.edu/images/b_contents.gif R0lGODlhRgATANX/AP////T09Orq6t/f39XV1c/Pz8rKysfHx8DAwL+/v7e3t7W1ta+vr6urq6en p6GhoZ+fn5aWloyMjIeHh4GBgX9/f3d3d29vb2xsbGJiYllZWVhYWFdXV1JSUjc3NzY2Ni8vLyUl JR8fHxYWFg8PDwcHBwAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACwAAAAARgATAEAG/0BRaUgsGomko3LJ bC5HlQRnSp1eAAdqxjI9AAiBQYYDGAwEAAcDwK5MyoHAhWxGq9mACuEbn1epJQwaHoSFhoeIiYqL jI0hI1JTGn+UlZaXmJl/kxwlkZUKAAUVEX0WohwOABFkBFNfHHsZGQUAFhYEEq2vrrIXAgQZV1mV JQoVt8nKy8zNzs/Q0RMXnpKUFgFfaAOaVWvdVN/gnZ9/FQAMlKoVvK2TsHuvAQR7rl/vvQBdbAEJ nJTVMGmYMOFPhgp+OEzgopChBXZT3FBZOIUih4dTDha8VOKCR0kaQooMCXKkSZPWRHLgNOnkyJIn PXqEkKCmzZs4c+rcybOnz7IEDjwUqPJvnNGjAjWUIGbpggJ6DpBuHDe1W7WiVMAwrMWKgwQGEcYo vDABLIcLAwBMGHOBgQOx08qyQqt2TAS3CQFGwvom3Z83CryiIxNgFjx9HM5ouBIYQOEMh18JuOUg b5WrlcpQiTDAwhpdkO252hWPjhuKsEgj9qogbYGinAJinRKKny4OEfAQSw1rjVoLaABM3rXL9wQI eIYXY7qS0myk0C21nFIChJPr2LNrLxIEADs= ------=_NextPart_000_00D9_01C4314E.5CCA2BE0 Content-Type: image/gif Content-Transfer-Encoding: base64 Content-Location: http://0-muse.jhu.edu.opac.sfsu.edu/images/b_end.gif R0lGODlhAQATALP/AP///5+fn4eHh1JSUjc3Ny8vLyUlJR8fHwAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAACwAAAAAAQATAEAEC1AQUoopNJxJZxkRADs= ------=_NextPart_000_00D9_01C4314E.5CCA2BE0 Content-Type: image/gif Content-Transfer-Encoding: base64 Content-Location: http://0-muse.jhu.edu.opac.sfsu.edu/images/b_top.gif R0lGODlhJQATANX/AP////T09Orq6t/f39XV1c/Pz8rKysfHx8DAwL+/v7e3t7W1ta+vr6urq6en p6GhoZ+fn5ubm5aWloyMjIKCgoGBgX9/f3d3d29vb2xsbGJiYllZWVhYWFdXV1JSUjc3NzY2Ni8v LyUlJR8fHxYWFg8PDwcHBwAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACwAAAAAJQATAEAG+cCRaUgsFkvGpNJE EiU60KgUQIAqAIoDYNIhBAbXanQTNTE2n7R6zWZTIO106BMSmZ5QsnTP7+/1d35QVFADARMOAAxd AAkTAQJ+JgoWF5aXmJmam5kYgR16UBIEBAABpBeCqh2ffoQWilCljFAMABR9rat9s32hJhjBeRvE esXHx6DFwxvBGBcQCdLT1NXW19UHDiQFUqG7q2TEJgd9o6ToqeCgUoHfU2IdDgQFXB0SEhMEBxqS eO+DqmAA0K0DJEYYOiQAkJCPO1dVLjSCIiAAwg5X1ImD8glgB0IdNBQwpUAWFgAC1DksNyaPoFC9 VJUIsaSmzZpBAAA7 ------=_NextPart_000_00D9_01C4314E.5CCA2BE0 Content-Type: application/octet-stream Content-Transfer-Encoding: quoted-printable Content-Location: http://127.0.0.1:1027/js.cgi?paw&r=6729 var blockedReferrer =3D 'blockedReferrer'; NS_ActualWrite=3Ddocument.write; // Popup Blocker --> RanPostamble=3D0; NS_ActualOpen=3Dwindow.open; orig_setTimeout =3D window.setTimeout; function NS_NullWindow(){this.window;} function nullDoc() { this.open =3D NS_NullWindow; this.write =3D NS_NullWindow; this.close =3D NS_NullWindow; } function NS_NewOpen(url,nam,atr){ if((nam!=3D'' && nam=3D=3Dwindow.name) || nam=3D=3D'_top'){ return(NS_ActualOpen(url,nam,atr));} obj=3Dnew NS_NullWindow(); obj.focus =3D NS_NullWindow; obj.blur =3D NS_NullWindow; obj.opener =3D this.window; obj.document =3D new nullDoc(); return(obj); } function NS_NullWindow2(){this.window;} function NS_NewOpen2(url,nam,atr){ if((nam!=3D'' && nam=3D=3Dwindow.name) || nam=3D=3D'_top'){ return(NS_ActualOpen(url,nam,atr));} return(new NS_NullWindow2()); } function op_stop() { NS_ActualOpen2=3Dwindow.open; = window.open=3DNS_NewOpen2; } function op_start() { window.open=3DNS_ActualOpen2; } function noopen_ST(one,two) { = return(orig_setTimeout("op_stop();"+one+";;op_start();",two)); } function noopen_load() {=20 op_stop(); if(orig_onload) orig_onload(); op_start(); } function noopen_unload() { op_stop(); if(orig_onunload) orig_onunload(); = op_start(); } function postamble() {=0A= =0A= if(!RanPostamble) { RanPostamble=3D1; orig_onload =3D window.onload; orig_onunload =3D window.onunload; window.onunload =3D noopen_unload; window.onload =3D noopen_load; window.open=3DNS_ActualOpen; } } window.setTimeout =3D noopen_ST; window.open=3DNS_NewOpen; ------=_NextPart_000_00D9_01C4314E.5CCA2BE0--