Cantos in a sentence

The Malatesta Cantos appeared in The Criterion in July 1923, and two further cantos were published in The Transatlantic Review in January 1924.

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About a year later, in January 1917, he had the first three trial cantos, distilled to one, as Canto I published in Poetry.

Cantos of Ezra Pound for the Beginning of a Poem of some Length now first made into a Book.

Citing Pound's first seven cantos, Wilson dubbed the writing "unsatisfactory".

During the meeting Pound tried to present Mussolini with a digest of his economic ideas, but Mussolini brushed them aside, though he called the Cantos "divertente" (entertaining).

From this study he began thinking of an idea for a long poem in three parts – of emotion, instruction and contemplation – planting the seeds for The Cantos.

He found The Cantos disjointed and its contents reflecting a too-obvious reliance on the literary works of other authors, and an awkward use of Latin and Chinese translations as a device inserted among reminiscences of Pound's own life.

He saw his work as worthless and The Cantos botched.

His Cantos del trovador (1841), a collection of national legends written in verse, made Zorilla second only to José de Espronceda in popular esteem.

However, Dante admits that the vision of heaven he receives is merely the one his human eyes permit him to see, and thus the vision of heaven found in the Cantos is Dante's personal vision.

However, Pound learned that Imagism did not lend itself well to the writing of an epic, so he turned to the more dynamic structure of Vorticism for The Cantos.

Michael Ingham sees in The Cantos an American tradition of experimental literature writing about it, "These works include everything but the kitchen sink, and then add the kitchen sink".

Moody (2007), 18–25 *He would later apply the form he imagined throughout the writing of the Cantos.

Olga Rudge played for Mussolini and told him about Pound, who had earlier sent him a copy of Cantos XXX.

Pound (1968), 103 Ingham compares the form of The Cantos to a fugue ; without adhering strictly to the traditions of the form, nevertheless multiple themes are explored simultaneously.

Pound wrote over a thousand letters a year during the 1930s and presented his ideas in hundreds of articles, as well as in The Cantos.

Redman (1999), 258 Pound thought writing the cantos meant writing an epic about history and economics, and he wove his economic theories throughout; neither can be understood without the other.

The nature of The Cantos, she says, is to compare and measure among historical periods and cultures and against "a Poundian standard" of modernism.

These cantos had originally been published in fascist magazines, and are characterized by 21st-century literary scholars as no more than war-time propaganda.