title: The Cantos

text: The a poem is of tranquil nature derived from a Chinese picture book that Pound's parents brought with them when they retired to Rapallo. Canto L, which again contains anti-Semitic statements, moves from John Adams to the failure of the Medici bank and more general images of European decay since the time of Napoleon. The final canto in this sequence returns to the usura litany of Canto XLV, followed by detailed instructions on making flies for fishing (man in harmony with nature) and ends with a reference to the anti-Venetian League of Cambrai and the first Chinese written characters to appear in the poem, representing the Rectification of Names from the "Analects" of Confucius (the ideogram representing honesty at the end of Canto XLI was added when "The Cantos" was published as a single volume).


title: The Cantos

text: These eleven cantos are based on the first eleven volumes of the twelve-volume "Histoire generale de la Chine" by Joseph-Anna-Marie de Moyriac de Mailla. De Mailla was a French Jesuit who spent 37 years in Peking and wrote his history there. The work was completed in 1730 but not published until 1777–1783. De Mailla was very much an Enlightenment figure and his view of Chinese history reflects this; he found Confucian political philosophy, with its emphasis on rational order, much to his liking. He also disliked what he saw as the superstitious pseudo-mysticism promulgated by both Buddhists and Taoists, to the detriment of rational politics. Pound, in turn, fitted de Mailla's take on China into his own views on Christianity, the need for strong leadership to address 20th-century fiscal and cultural problems, and his support of Mussolini. In an introductory note to the section, Pound is at pains to point out that the ideograms and other fragments of foreign-language text incorporated in "The Cantos" should not put the reader off, as they serve to underline things that are in the English text.


title: The Cantos

text: Canto LII opens with references to Duke Leopoldo, John Adams and Gertrude Bell, before sliding into a particularly virulent anti-Semitic passage, directed mainly at the Rothschild family. The remainder of the canto is concerned with the classic Chinese text known as the "Li Ki" or "Book of Rites", especially those parts that deal with agriculture and natural increase. The diction is the same as that used in earlier cantos on similar subjects.


title: The Cantos

text: Canto LIII covers the period from the founding of the Xia dynasty to the life of Confucius and up to circa 225 BCE. Special mention is made of emperors that Confucius approved of and the sage's interest in cultural matters is stressed. For example, we are told that he edited the "Book of Odes", cutting it from 3000 to 300 poems. The canto also ascribes the Poundian motto (and title of a 1934 collection of essays) "Make it New" to the emperor Tching Tang. Canto LIV moves the story on to around 805 CE. The line "Some cook, some do not cook, / some things can not be changed" refers to Pound's domestic situation and recurs, in part, in Canto LXXXI.


title: The Cantos

text: Canto LV is mainly concerned with the rise of the Tatars and the Tartar Wars, ending about 1200. There is a lot on money policy in this canto and Pound quotes approvingly the Tartar ruler Oulo who noted that the people "cannot eat jewels". This is echoed in Canto LVI when KinKwa remarks that both gold and jade are inedible. This canto is mainly concerned with Ghengis and Kublai Khan and the rise of their Yeun dynasty. The canto closes with the overthrow of the Yeun and the establishment of the Ming dynasty, bringing us to around 1400.


title: The Cantos

text: Canto LVII opens with the story of the flight of the emperor Kien Ouen Ti in 1402 or 1403 and continues with the history of the Ming up to the middle of the 16th century. Canto LVIII opens with a condensed history of Japan from the legendary first emperor, Emperor Jimmu, who supposedly ruled in the 7th century BCE, to the late 16th-century Toyotomi Hideyoshi (anglicised by Pound as Messier Undertree), who issued edicts against Christianity and raided Korea, thus putting pressure on China's eastern borders. The canto then goes on to outline the concurrent pressure placed on the western borders by activities associated with the great Tartar horse fairs, leading to the rise of the Manchu dynasty.


title: The Cantos

text: The translation of the Confucian classics into Manchu opens the following canto, Canto LIX. The canto is then concerned with the increasing European interest in China, as evidenced by a Sino-Russian border treaty and the founding of the Jesuit mission in 1685 under Jean-François Gerbillon. Canto LX deals with the activities of the Jesuits, who, we are told, introduced astronomy, western music, physics and the use of quinine. The canto ends with limitations being placed on Christians, who had come to be seen as enemies of the state.


title: The Cantos

text: The final canto in the sequence, Canto LXI, covers the reigns of Yong Tching and Kien Long, bringing the story up to the end of de Mailla's account. Yong Tching is shown banning Christianity as "immoral" and "seeking to uproot Kung's laws". He also established just prices for foodstuffs, bringing us back to the ideas of Social Credit. There are also references to the Italian Risorgimento, John Adams, and Dom Metello de Souza, who gained some measure of relief for the Jesuit mission.


title: The Cantos

text: This section of the cantos is, for the most part, made up of fragmentary citations from the writings of John Adams. Pound's intentions appear to be to show Adams as an example of the rational Enlightenment leader, thereby continuing the primary theme of the preceding China Cantos sequence, which these cantos also follow from chronologically. Adams is depicted as a rounded figure; he is a strong leader with interests in political, legal and cultural matters in much the same way that Malatesta and Mussolini are portrayed elsewhere in the poem. The English jurist Sir Edward Coke, who is an important figure in some later cantos, first appears in this section of the poem. Given the fragmentary nature of the citations used, these cantos can be quite difficult to follow for the reader with no knowledge of the history of the United States in the late 18th and early 19th centuries.


title: The Cantos

text: Canto LXII opens with a brief history of the Adams family in America from 1628. The rest of the canto is concerned with events leading up to the revolution, Adams' time in France, and the formation of Washington's administration. Alexander Hamilton reappears, again cast as the villain of the piece. The appearance of the single Greek word "THUMON", meaning heart, returns us to the world of Homer's "Odyssey" and Pound's use of Odysseus as a model for all his heroes, including Adams. The word is used of Odysseus in the fourth line of the "Odyssey": "he suffered woes in his heart on the seas".


title: The Cantos

text: The next canto, Canto LXIII, is concerned with Adams' career as a lawyer and especially his reports of the legal arguments presented by James Otis in the Writ of assistance case and their importance in the build-up to the revolution. The Latin phrase " Eripuit caelo fulmen" ("He snatched the thunderbolt from heaven") is taken from an inscription on a bust of Benjamin Franklin. Cavalcanti's canzone, Pound's touchstone text of clear intellection and precision of language, reappears with the insertion of the lines ""In quella parte / dove sta memoria"" into the text.


title: The Cantos

text: Canto LXIV covers the Stamp act and other resistance to British taxation of the American colonies. It also shows Adams defending the accused in the Boston Massacre and engaging in agricultural experiments to ascertain the suitability of Old-World crops for American conditions. The phrases "Cumis ego oculis meis", "tu theleis", "respondebat illa" and "apothanein" are from the passage (taken from Petronius' "Satyricon") that T.S. Eliot used as epigraph to "The Waste Land" at Pound's suggestion. The passage translates as "For with my own eyes I saw the Sibyl hanging in a jar at Cumae, and when the boys said to her, 'Sibyl, what do you want?' she replied, 'I want to die.'"


title: The Cantos

text: The nomination of Washington as president dominates the opening pages of Canto LXV. The canto shows Adams concerned with the practicalities of waging war, particularly of establishing a navy. Following a passage on the drafting of the Declaration of Independence, the canto returns to Adams' mission to France, focusing on his dealings with the American legation in that country, consisting of Franklin, Silas Deane and Edward Bancroft and with the French foreign minister, the Comte de Vergennes. Intertwined with this is the fight to save the rights of Americans to fish the Atlantic coastline. A passage on Adams' opposition to American involvement in European wars is highlighted, echoing Pound's position on his own times. In Canto LXVI, we see Adams in London serving as minister to the Court of St James's. The body of the canto consists of quotations from Adams' writings on the legal basis for the Revolution, including citations from Magna Carta and Coke and on the importance of trial by jury ("per pares et legem terrae").


title: The Cantos

text: Canto LXVII opens with a passage on the limits on the powers of the British monarch drawn from Adams' writings under the pseudonym Novanglus. The rest of the canto is concerned with the study of government and with the requirements of the franchise. The following canto, LXVIII, begins with a meditation on the tripartite division of society into the one, the few and the many. A parallel is drawn between Adams and Lycurgus, king of Sparta. Then the canto returns to Adams' notes on the practicalities of funding the war and the negotiation of a loan from the Dutch.


title: The Cantos

text: Canto LXIX continues the subject of the Dutch loan and then turns to Adams' fear of the emergence of a native aristocracy in America, as noted in his remark that Jefferson feared rule by "the one" (monarch or dictator), while he, Adams, feared "the few". The remainder of the canto is concerned with Hamilton, James Madison and the affair of the assumption of debt certificates by Congress which resulted in a significant shift of economic power to the federal government from the individual states.


title: The Cantos

text: Canto LXX deals mainly with Adams' time as vice-president and president, focusing on his statement "I am for balance", highlighted in the text by the addition of the ideogram for balance. The section ends with Canto LXXI, which summarises many of the themes of the foregoing cantos and adds material on Adams' relationship with Native Americans and their treatment by the British during the Indian Wars. The canto closes with the opening lines of Epictetus' "Hymn of Cleanthus", which Pound tells us formed part of Adams' "paideuma". These lines invoke Zeus as one "who rules by law", a clear parallel to the Adams presented by Pound.


title: The Cantos

text: These two cantos, written in Italian, were not collected until their posthumous inclusion in the 1987 revision of the complete text of the poem. Pound reverts to the model of Dante’s "Divine Comedy" and casts himself as conversing with ghosts from Italy’s remote and recent past.


title: The Cantos

text: In Canto LXXII, imitative of Dante’s tercets ("terza rima"), Pound meets the recently dead Futurist writer Filippo Tommaso Marinetti, and they discuss the current war and their excessive love of the past (Pound) and of the future (Marinetti). Then the violent ghost of Dante’s Ezzelino III da Romano, brother of Cunizza of Cantos VI and XXIX, explains to Pound that he has been misrepresented as an evil tyrant only because he was against the Pope’s party, and goes on to attack the present Pope Pius XII and "traitors" (like king Victor Emmanuel III) who betrayed Mussolini, and to promise that the Italian troops will eventually "return" to El Alamein.


title: The Cantos

text: Canto LXXIII is subtitled "Cavalcanti – Republican Correspondence" and is written in the style of Cavalcanti's "Donna mi prega" of Canto XXXVI. Guido Cavalcanti appears on horseback to tell Pound about a heroic deed of a girl from Rimini who led a troop of Canadian soldiers to a mined field and died with the "enemy". (This was a propaganda story featured in Italian newspapers in October 1944; Pound was interested in it because of the connection with Sigismondo Malatesta's Rimini.) Both cantos end on a positive and optimistic note, typical of Pound, and are unusually straightforward. Except for a scathing reference (by Cavalcanti's ghost) to "Roosevelt, Churchill and Eden / bastards and small Jews", and for a denial (by Ezzelino) that "the world was created by a Jew", they are notably free of anti-Semitic content, although it must be said that there are several positive references to Italian fascism and some racist expressions (e.g., "pieno di marocchini ed altra immondizia"—"full of Moroccans and other crap", Canto LXXII). Italian scholars have been intrigued by Pound's idiosyncratic recreation of the poetry of Dante and Cavalcanti.


title: The Cantos

text: With the outbreak of war in 1939, Pound was in Italy, where he remained, despite a request for repatriation he made after Pearl Harbor. During this period, his main source of income was a series of radio broadcasts he made on Rome Radio. He used these broadcasts to express his full range of opinions on culture, politics and economics, including his opposition to American involvement in a European war and his anti-Semitism. In 1943, he was indicted for treason in his absence, and wrote a letter to the indicting judge in which he claimed the right to freedom of speech in his defence.


title: The Cantos

text: Pound was arrested by Italian partisans in April 1945 and was eventually transferred to the American Disciplinary Training Center (DTC) on May 22. Here he was held in a specially reinforced cage, initially sleeping on the ground in the open air. After three weeks, he had a breakdown that resulted in his being given a cot and pup tent in the medical compound. Here, he gained access to a typewriter. For reading matter, he had a regulation-issue Bible along with three books he was allowed to bring in as his own "religious" texts: a Chinese text of Confucius, James Legge's translation of the same, and a Chinese dictionary. He later found a copy of the "Pocket Book of Verse", edited by Morris Edmund Speare, in the latrine. The only other thing he brought with him was a eucalyptus pip. Throughout the Pisan sequence, Pound repeatedly likens the camp to Francesco del Cossa's "March" fresco depicting men working at a grape arbour.


title: The Cantos

text: With his political certainties collapsing around him and his library inaccessible, Pound turned inward for his materials and much of the Pisan sequence is concerned with memory, especially of his years in London and Paris and of the writers and artists he knew in those cities. There is also a deepening of the ecological concerns of the poem. The awarding of the Bollingen Prize to the book caused considerable controversy, with many people objecting to the honouring of someone they saw as a madman and/or traitor. However, "The Pisan Cantos" is generally the most admired and read section of the work. It is also among the most influential, having affected poets as different as H.D. and Gary Snyder.


title: The Cantos

text: Canto LXXIV immediately introduces the reader to the method used in the Pisan Cantos, which is one of interweaving themes somewhat in the manner of a fugue. These themes pick up on many of the concerns of the earlier cantos and frequently run across sections of the Pisan sequence. This canto begins with Pound looking out of the DTC at peasants working in the fields nearby and reflecting on the news of the death of Mussolini, "hung by the heels".


title: The Cantos

text: In the first thread, the figure of Pound/Odysseus reappears in the guise of "OY TIS", or no man, the name the hero uses in the Cyclops episode of the "Odyssey". This figure blends into the Australia rain god Wanjina, who had his mouth closed up by his father (was deprived of freedom of speech) because he "created too many things". He, in turn, becomes the Chinese "Ouan Jin", or man with an education. This theme recurs in the line "a man on whom the sun has gone down", a reference to the "nekuia" from Canto I, which is then explicitly referred to. This recalls "The Seafarer", and Pound quotes a line from his translation, "Lordly men are to earth o'ergiven", lamenting the loss of the exiled poet's companions. This is then applied to a number of Pound's dead friends from the London/Paris years, including W. B. Yeats, Joyce, Ford Madox Ford, Victor Plarr and Henry James. Finally, Pound/Odysseus is seen "on a raft blown by the wind".


title: The Cantos

text: Another major theme running through this canto is that of the vision of a goddess in the poet's tent. This starts from the identification of a nearby mountain with the Chinese holy mountain Taishan and the naming of the moon as "sorella la luna" (sister moon). This thread then runs through the appearance of Kuanon, the Buddhist goddess of mercy, the moon spirit from "Hagaromo" (a Noh play translated by Pound some 40 years earlier), Sigismondo's lover Ixotta (linked in the text with Aphrodite via a reference to the goddess' birthplace Cythera), a girl painted by Édouard Manet and finally Aphrodite herself, rising from the sea on her shell and rescuing Pound/Odysseus from his raft. The two threads are further linked by the placement of the Greek word "brododactylos" ("rosy-fingered") applied by Homer to the dawn but given here in the dialect of Sappho and used by her in a poem of unrequited love. These images are often intimately associated with the poet's close observation of the natural world as it imposes itself on the camp; birds, a lizard, clouds, the weather and other images of nature run through the canto.


title: The Cantos

text: Images of light and brightness associated with these goddesses come to focus in the phrase "all things that are, are lights" quoted from John Scotus Eriugena. He, in turn, brings us back to the Albigensian Crusade and the troubadour world of Bernard de Ventadorn. Another theme sees Ecbatana, the seven-walled "city of Dioce", blend with the city of Wagadu, from the tale of "Gassire's Lute" that Pound learned from Frobenius. This city, four times rebuilt, with its four walls, four gates and four towers at the corners is a symbol for spiritual endurance. It, in turn, blends with the DTC in which the poet is imprisoned.


title: The Cantos

text: The question of banking and money also recurs, with an anti-Semitic passage aimed at the banker Meyer Anselm. Pound brings in biblical injunctions on usury and a reference to the issuing of a stamp script currency in the Austrian town of Wörgl. The canto then moves on to a longish passage of memories of the moribund literary scene Pound encountered in London when he first arrived, with the phrase "beauty is difficult", quoted from Aubrey Beardsley, acting as a refrain. After more memories of America and Venice, the canto ends in a passage that brings together Dante's celestial rose, the rose formed by the effect of a magnet on iron filings, an image from Paul Verlaine of the human soul as a fountain and a reference to a poem by Ben Jonson in a composite image of hope for "those who have passed over Lethe".


title: The Cantos

text: Canto LXXV is mainly a facsimile of the German pianist Gerhart Münch's violin setting of the 16th-century Italian Francesco Da Milano's transcription for lute of French composer Clément Janequin's choral work "Le Chant des oiseaux", an ancient song recalled to Pound's mind by the singing of birds on the fence of the DTC, and a symbol for him of an indestructible form preserved and transmitted through many versions, times, nations and artists. (Compare the "nekuia" of canto I.) Münch was a friend and collaborator of Pound in Rapallo, and the short prose section at the beginning of the canto celebrates his work on other early music figures.


title: The Cantos

text: Canto LXXVI opens with a vision of a group of goddesses in Pound's room on the Rapallo hillside and then moves, via Mont Segur, to memories of Paris and Jean Cocteau. There follows a passage in which the poet recognises the Jewish authorship of the prohibition on usury found in Leviticus. Conversations in the camp are then cross-cut into memories of Provence and Venice, details of the American Revolution and further visions. These memories lead to a consideration of what has or may have been destroyed in the war. Pound remembers the moment in Venice when he decided not to destroy his first book of verse, "A Lume Spento", an affirmation of his decision to become a poet and a decision that ultimately led to his incarceration in the DTC. The canto ends with the goddess, in the form of a butterfly, leaving the poet's tent amid further references to Sappho and Homer.


title: The Cantos

text: The main focus of Canto LXXVII is accurate use of language, and at its centre is the moment when Pound hears that the war is over. Pound draws on examples of language use from Confucius, the Japanese dancer Michio Itô, who worked with Pound and Yeats in London, a Dublin cab driver, Aristotle, Basil Bunting, Yeats, Joyce and the vocabulary of the U.S. Army. The goddess in her various guises appears again, as does Awoi's "hennia", the spirit of jealousy from "AOI NO UE", a Noh play translated by Pound. The canto closes with an invocation of Dionysus ("Zagreus").


title: The Cantos

text: After opening with a glimpse of Mount Ida, an important locus for the history of the Trojan War, Canto LXXVIII moves through much that is familiar from the earlier cantos in the sequence: del Cossa, the economic basis of war, Pound's writer and artist friends in London, "virtuous" rulers (Lorenzo de' Medici, the emperors Justinian, Titus and Antoninus, Mussolini), usury and stamp scripts culminating in the Nausicaa episode from the "Odyssey" and a reference to the Confucian classic "Annals of Spring and Autumn" in which "there are no righteous wars".


title: The Cantos

text: The moon and clouds appear at the opening of Canto LXXIX, which then moves on through a passage in which birds on the wire fence recall musical notation and the sounds of the camp and thoughts of Mozart, del Cossa and Marshal Pétain meld to form musical counterpoint. After references to politics, economics, and the nobility of the world of the Noh and the ritual dance of the moon-nymph in Hagaromo that dispels mortal doubt, the canto closes with an extended fertility hymn to Dionysus in the guise of his sacred lynx.


title: The Cantos

text: Canto LXXX opens in the camp in the shadow of death and soon turns to memories of London, Paris and Spain, including a recollection of Walter Rummel, who worked with Pound on troubadour music before World War I and of Eliot, Lewis, Laurence Binyon and others. The canto is concerned with the aftermath of war, drawing on Yeats' experiences after the Irish Civil War as well as the contemporary situation. Hagoromo appears again before the poem returns to Beardsley, also in the shadow of death, declaring the difficulty of beauty with a phrase from Symons and Sappho/Homer's rosy-fingered dawn woven through the passage.


title: The Cantos

text: Pound writes of the decline of the sense of the spirit in painting from a high-point in Sandro Botticelli to the fleshiness of Rubens and its recovery in the 20th century as evidenced in the works of Marie Laurencin and others. This is set between two further references to Mont Segur. Pound/Odysseus is then saved from his sinking raft by Walt Whitman and Richard Lovelace as discovered in the anthology of poetry found in the camp toilet and the other prisoners are compared with Odysseus' crew, "men of no fortune". The canto then closes with two passages, one a pastiche of Browning, the other of Edward Fitzgerald's "Rubaiyat of Omar Khayyam", lamenting the lost London of Pound's youth and an image of nature as designer.


title: The Cantos

text: Canto LXXXI opens with a complex image that illustrates Pound's technical approach well. The opening line, "Zeus lies in Ceres bosom", merges the conception of Demeter, passages in previous cantos on ritual copulation as a means of ensuring fertility, and the direct experience of the sun (Zeus) still hidden at dawn by two hills resembling breasts in the Pisan landscape. This is followed by an image of the other mountain that reminded the poet of Taishan surrounded by vapors and surmounted by the planet Venus ("Taishan is attended of loves / under Cythera, before sunrise").


title: The Cantos

text: The canto then moves through memories of Spain, a story told by Basil Bunting, and anecdotes of a number of familiar personages and of George Santayana. At the core of this passage is the line "(to break the pentameter, that was the first heave)", Pound's comment on the "revolution of the word" that led to the emergence of Modernist poetry in the early years of the century.


title: The Cantos

text: The goddess of love then returns after a lyric passage situating Pound's work in the great tradition of English lyric, in the sense of words intended to be sung. This heralds perhaps the most widely quoted passages in "The Cantos", in which Pound expresses his realisation that "What thou lovest well remains, / the rest is dross" and an acceptance of the need for human humility in the face of the natural world that prefigures some of the ideas associated with the deep ecology movement.


title: The Cantos

text: The opening of Canto LXXXII marks a return to the camp and its inmates. This is followed by a passage that draws on Pound's London memories and his reading of the "Pocket Book of Verse". Pound laments his failure to recognise the Greek qualities of Swinburne's work and celebrates Wilfrid Scawen Blunt, Rudyard Kipling, Ford, Whitman, Yeats and others. After an expanded clarification of the "Annals of Spring and Autumn" / "there are no righteous wars" passage from Canto LXXVIII, this canto culminates in images of the poet drowning in earth and a recurrence of the Greek word for weeping, ending with more bird-notes seen as a periplum.


title: The Cantos

text: After a number of cantos in which the elements of earth and air feature so strongly, Canto LXXXIII opens with images of water and light, drawn from Pindar, George Gemistos Plethon, John Scotus Eriugena, the mermaid carvings of Pietro Lombardo and Heraclitus' phrase "panta rei" ("everything flows"). A passage addressed to a Dryad speaks out against the death sentence and cages for wild animals and is followed by lines on equity in government and natural processes based on the writings of Mencius. The tone of placid acceptance is underscored by three Chinese characters that translate as "don't help to grow that which will grow of itself" followed by another appearance of the Greek word for weeping in the context of remembered places.


title: The Cantos

text: Close observation of a wasp building a mud nest returns the canto to earth and to the figure of Tiresias, last encountered in Cantos I and XLVII. The canto moves on through a long passage remembering Pound's time as Yeats' secretary in 1914 and a shorter meditation on the decline in standards in public life deriving from a remembered visit to the senate in the company of Pound's mother while that house was in session. The closing lines, "Down derry-down / Oh let an old man rest", return the poem from the world of memory to the poet's present plight.


title: The Cantos

text: Canto LXXXIV opens with the delivery of Dorothy Pound's first letter to the DTC on October 8. This letter contained news of the death in the war of J.P. Angold, a young English poet whom Pound admired. This news is woven through phrases from a lament by the troubadour Bertran de Born (which Pound had once translated as "Planh for the Young English King") and a double occurrence of the Greek word "tethneke" ("is dead") remembered from the story of the death of Pan in Canto XXIII.


title: The Cantos

text: This death, reviving memories of the poet's dead friends from World War I, is followed by a passage on Pound's 1939 visit to Washington, D.C. to try to avert American involvement in the forthcoming European war. Much of the rest of the canto is concerned with the economic basis of war and the general lack of interest in this subject on the part of historians and politicians; John Adams is again held up as an ideal. The canto also contains a reproduction, in Italian, of a conversation between the poet and a "swineherd's sister" through the DTC fence. He asks her if the American troops behave well and she replies OK. He then asks how they compare to the Germans and she replies that they are the same.


title: The Cantos

text: The moon/goddess reappears at the core of the canto as "pin-up" and "chronometer" close to the line "out of all this beauty something must come". The closing lines of the canto, and of the sequence, "If the hoar frost grip thy tent / Thou wilt give thanks when night is spent", sound a final note of acceptance and resignation, despite the return to the sphere of action, prompted by the death of Angold, that marks most of the canto.


title: The Cantos

text: Pound was flown from Pisa to Washington to face trial on a charge of treason in 1946. Found unfit to stand trial because of the state of his mental health, he was incarcerated in St. Elizabeths Hospital, where he was to remain until 1958. Here he began to entertain writers and academics with an interest in his work and to write, working on translations of the Confucian "Book of Odes" and of Sophocles' play "Women of Trachis" and two new sections of the cantos; the first of these was "Rock Drill".


title: The Cantos

text: The two main written sources for the "Rock Drill" cantos are the Confucian "Book of Documents", in an edition by the French Jesuit Séraphin Couvreur, which contained the Chinese text and translations into Latin and French under the title "Chou King" (which Pound uses in the poem), and Senator Thomas Hart Benton's "Thirty Years View: Or A History of the American Government for Thirty Years From 1820–1850", which covers the period of the bank wars. In an interview given in 1962, and reprinted by J. P. Sullivan, Pound said that the title "Rock Drill" "was intended to imply the necessary resistance in getting a main thesis across — hammering."


title: The Cantos

text: The first canto in the sequence, Canto LXXXV, contains 104 Chinese characters from the "Chou King", in addition to a number of Latin phrases, mostly taken from Couvreur's translation. There are also a small number of Greek words. The overall effect for the English-speaking reader is one of unreadability, and the canto is hard to elucidate unless read alongside a copy of Couvreur's text.


title: The Cantos

text: The core meaning is summed up in Pound's footnote to the effect that the History Classic contains the essentials of the Confucian view of good government. In the canto, these are summed up in the line "Our dynasty came in because of a great sensibility", where sensibility translates the key character Ling, and in the reference to the four Tuan, or foundations, benevolence, rectitude, manners and knowledge. Rulers who Pound viewed as embodying some or all of these characteristics are adduced: Queen Elizabeth I, Cleopatra, Alexander the Great, as are Napoleon III, Franklin D. Roosevelt and Harry Dexter White, who stand for everything Pound opposes in government and finance.


title: The Cantos

text: The world of nature, Pound's source of wealth and spiritual nourishment, also features strongly; images of roots, grass and surviving traces of fertility rites in Catholic Italy cluster around the sacred tree Yggdrasil. The natural world and the world of government are related to "tekhne" or art. Richard of Saint Victor, with his emphasis on modes of thinking, makes an appearance, in close company with Eriugena, the philosopher of light.


title: The Cantos

text: Canto LXXXVI opens with a passage on the Congress of Vienna and continues to hold up examples of good and bad rulers as defined by the poet with Latin and Chinese phrases from Couvreur woven through them. The word "Sagetrieb", meaning something like the transmission of tradition, apparently coined by Pound, is repeated after its first use in the previous canto, underlining Pound's belief that he is transmitting a tradition of political ethics that unites China, Revolutionary America and his own beliefs.


title: The Cantos

text: Canto LXXXVII opens on usury and moves through a number of references to "good" and "bad" leaders and lawgivers interwoven with neo-platonist philosophers and images of the power of natural process. This culminates in a passage bringing together Binyon's dictum "slowness is beauty|golden ratio]], a room in the church of St. Hilaire, Poitiers built to that rule where one can stand without throwing a shadow, Mencius on natural phenomena, the 17th-century English mystic John Heydon (who Pound remembered from his days working with Yeats) and other images relating to the worship of light including "'MontSegur, sacred to Helios". The canto then closes with more on economics.


title: The Cantos

text: The following canto, Canto LXXXVIII, is almost entirely derived from Benton's book and focuses mainly on John Randolph of Roanoke and the campaign against the establishment of the Bank of the United States. Pound viewed the setting up of this bank as a selling out of the principles of economic equity on which the U.S. Constitution was based. At the centre of the canto there is a passage on monopolies that draws on the lives and writings of Thales of Miletus, the emperor Antoninus Pius and St. Ambrose, amongst others.


title: The Cantos

text: Canto LXXXIX continues with Benton and also draws on Alexander del Mar's "A History of Money Systems". The same examples of good rule are drawn on, with the addition of the Emperor Aurelian. Possibly in defence of his focus on so much "unpoetical" material, Pound quotes Rodolphus Agricola to the effect that one writes "to move, to teach or to delight" ("ut moveat, ut doceat, ut delectet"), with the implication that the present cantos are designed to teach. The naturalists Alexander von Humboldt and Louis Agassiz are mentioned in passing.


title: The Cantos

text: Apart from a passing reference to Randolph of Roanoke, Canto XC moves to the world of myth and love, both divine and sexual. The canto opens with an epigraph in Latin to the effect that while the human spirit is not love, it delights in the love that proceeds from it. The Latin is paraphrased in English as the final lines of the canto. Following a reference to signatures in nature and Yggdrasil, the poet introduces Baucis and Philemon, an aged couple who, in a story from Ovid's "Metamorphoses", offer hospitality to the gods in their humble house and are rewarded. In this context, they may be intended to represent the poet and his wife.


title: The Cantos

text: This canto then moves to the fountain of Castalia on Parnassus. This fountain was sacred to the Muses and its water was said to inspire poetry in those who drank it. The next line, "Templum aedificans not yet marble", refers to a period when the gods were worshiped in natural settings prior to the rigid codification of religion as represented by the erection of marble temples. The "fount in the hills fold" and the erect temple ("Templum aedificans") also serve as images of sexual love.


title: The Cantos

text: Pound then invokes Amphion, the mythical founder of music, before recalling the San Ku/St Hilaire/Jacques de Molay/Eriugena/Sagetrieb cluster from Canto LXXXVII. Then the goddess appears in a number of guises: the moon, Mother Earth (in the Randolph reference), the Sibyl (last encountered in the context of the American Revolution in Canto LXIV), Isis and Kuanon. In a litany, she is thanked for raising Pound up ("m'elevasti", a reference to Dante's praise of his beloved Beatrice in the "Paradiso") out of hell (Erebus).


title: The Cantos

text: The canto closes with a number of instances of sexual love between gods and humans set in a paradisiacal vision of the natural world. The invocation of the goddess and the vision of paradise are sandwiched between two citations of Richard of St. Victor's statement "ubi amor, ibi oculuc est" ("where love is, there the eye is"), binding together the concepts of love, light and vision in a single image.


title: The Cantos

text: Canto XCI continues the paradisiacal theme, opening with a snatch of the "clear song" of Provençe. The central images are the invented figure Ra-Set, a composite sun/moon deity whose boat floats on a river of crystal. The crystal image, which is to remain important until the end of "The Cantos", is a composite of frozen light, the emphasis on inorganic form found in the writings of the mystic Heydon, the air in Dante's "Paradiso", and the mirror of crystal in the "Chou King" amongst other sources. Apollonius of Tyana appears, as do Helen of Tyre, partner of Simon Magus and Justinian and his consort Theodora. These couples can be seen as variants on Ra-Set.


title: The Cantos

text: Much of the rest of the canto consists of references to mystic doctrines of light, vision and intellection. There is an extract from a hymn to Diana from Layamon's 12th-century poem "Brut". An italicised section, claiming that the 1913 foundation of the Federal Reserve Bank, which took power over interest rates away from Congress, and the teaching of Karl Marx and Sigmund Freud in American universities ("beaneries") are examples of what Julien Benda termed "La trahison des clercs", contains anti-Semitic language. Towards the close of the canto, the reader is returned to the world of Odysseus; a line from Book Five of the "Odyssey" tells of the winds breaking up the hero's boat and is followed shortly by Leucothea, "Kadamon thugater" or Cadmon's daughter) offering him her veil to carry him to shore ("my bikini is worth yr raft").


title: The Cantos

text: An image of the distribution of seeds from the sacred mountain opens Canto XCII, continuing the concern with the relationship between natural process and the divine. The kernel of this canto is the idea that the Roman Empire's preference for Christianity over Apollonius and its lack respect for its currency resulted in the almost total loss of the "true" religious tradition for a thousand years. A number of neoplatonic philosophers, familiar from earlier cantos but with the addition of Avicenna, are listed as representing a fine thread of light in these Dark Ages.


title: The Cantos

text: Canto XCIII opens with a quote, "A man's paradise is his good nature", taken from "The Maxims of King Kati to His Son Merikara". The canto then proceeds to look at examples of benevolent action by public figures that, for Pound, illustrate this maxim. These include Apollonius making his peace with animals, Saint Augustine on the need to feed people before attempting to convert them, and Dante and Shakespeare writing on distributive justice, an aspect of their work that the poet points out is generally overlooked. Central to this aspect is a fragment from Dante, "non fosse cive", taken from a passage in "Paradiso", Canto VIII, in which Dante is asked "would it be worse for man on earth if he were not a citizen?" and unhesitatingly answers in the affirmative.


title: The Cantos

text: Towards the end of the canto, the "Make it new" ideograms from Canto LIII reappear as the poem moves back towards the world of myth, closing with another phrase from the "Divine Comedy", this time from "Purgatorio", Canto XXVIII. The phrase "tu mi fai rimembrar" translates as "you remind me" and comes from a passage in which Dante addresses Matilda, the presiding spirit of the Garden of Eden. What she reminds him of is Persephone at the moment that she is abducted by Hades and the spring flowers fell from her lap. This blending of a pagan sense of the divine into a Christian context stands for much of what appealed to Pound in medieval mysticism.


title: The Cantos

text: We return to the world of books in Canto XCIV. The canto opens with the name of Hendrik van Brederode, a lost leader of the Dutch Revolution, forgotten while William I, Prince of Orange is remembered. This name is lifted from correspondence between John Adams and Benjamin Rush which was finally published in 1898 by Alexander Biddle, a descendant of Pound's "villain" Nicholas. The rest of the canto consists mainly of paraphrases and quotations from Philostratus' "Life of Apollonius". At its conclusion, the poem returns to the world of light via Ra-Set and Ocellus.


title: The Cantos

text: Canto XLV opens with the word "LOVE" in block capitals and recaps many of the "Rock Drill" examples of the relationship between love, light and politics. A passage deriving "polis" from a Greek root word for ploughing also returns us to Pound's belief that society and economic activity are based on natural productivity. The canto, and sequence, then closes with an extended treatment of the passage from the fifth book of the "Odyssey" in which a drowning Odysseus/Pound is rescued by Leucothea.


title: The Cantos

text: "Thrones" was the second volume of cantos written while Pound was incarcerated in St. Elizabeth's. In the same 1962 interview, Pound said of this section of the poem: "The thrones in Dante's "Paradiso" are for the spirits of the people who have been responsible for good government. The thrones in "The Cantos" are an attempt to move out from egoism and to establish some definition of an order possible or at any rate conceivable on earth … "Thrones" concerns the states of mind of people responsible for something more than their personal conduct."


title: The Cantos

text: The opening canto of the sequence, Canto XCVI, begins with a fragmentary synopsis of the decline of the Roman Empire and the rise of the Byzantine Empire in the east and of the Carolingian Empire, Germanic kingdoms and the Lombards in Western Europe. This culminates in a detailed passage on the "Book of the Prefect" (or Eparch; in Greek the "Eparchikon Biblion"), a 9th-century edict of the Emperor Leo VI the Wise. This document, which was based on Roman law, lays out the rules that governed the Byzantine Guild system, including the setting of just prices and so on. The original Greek is quoted extensively and an aside claiming the right to write for a specialist audience is included. The close attention paid to the actual words prefigures the closer focus on philology in this section of the poem. This focus on words ties in closely with what Pound referred to as the method of "luminous detail", in which fragments of language intended to form the most compressed expression of an image or idea act as tesserae in the making of these late cantos.


title: The Cantos

text: Canto XCVII draws heavily on Alexander del Mar's "History of Monetary Systems" in a survey ranging from Abd al Melik, the first Caliph to strike distinctly Islamic coinage, through Athelstan, who helped introduce the guild system into England, to the American Revolution. The canto closes with a passage that sees the return of the goddess as moon and Fortuna together with Greek forms of solar worship and the Flamen Dialis that is intended to integrate gold and silver as attributes of coin and the divine.


title: The Cantos

text: After an opening passage that draws together many of the main themes of the poem through images of Ra-Set, Ocellus on light (echoing Eriugena), the tale of "Gassire's Lute", Leucothoe's rescue of Odysseus, Helen of Troy, Gemisto, Demeter, and Plotinus, Canto XCVIII turns to the "Sacred Edict" of the emperor K'ang Hsi. This is a 17th-century set of maxims on good government written in a high literary style, but later simplified for a broader audience. Pound draws on one such popular version, by Wang the Commissioner of the Imperial Salt Works in a translation by F.W. Baller. Comparison is drawn between this Chinese text and the "Book of the Prefect", and the canto closes with images of light as divine creation drawn from Dante's "Paradiso".


title: The Cantos

text: K'ang Hsi's son Iong Cheng published commentaries on his father's maxims and these form the basis for Canto XCIX. The main theme of this canto is one of harmony between human society and the natural order, and a number of passing references are made to related items from earlier cantos: Confucius, Kati, Dante on citizenship, the "Book of the Prefect" and Plotinus amongst them. Canto C covers a range of examples of European and American statesman who Pound sees as exemplifying the maxims of the "Sacred Edict" to a greater or lesser extent. At the core of this canto, the motif of Luecothoe's veil ("kredemnon") resurfaces; this time, the hero has reached the safety of the shore and returns the magic garment to the goddess.


title: The Cantos

text: The focus of Canto CI is around the Greek phrase "kalon kagathon" ("the beautiful and good"), which calls to mind Plotinus' attitude to the world of things and the more general Greek belief in the moral aspect of beauty. This canto introduces the figure of St. Anselm of Canterbury, who is to feature over the rest of this section of the long poem. Canto CII returns to the island of Calypso and Odysseus' voyage to Hades from Book Ten of the "Odyssey". There are a number of references to vegetation cults and sacrifices, and the canto closes by returning to the world of Byzantium and the decline of the Western Empire.


title: The Cantos

text: Cantos CIII and CIV range over a number of examples of the relationships between war, money and government drawn from American and European history, mostly familiar from earlier sections of the work. The latter canto is notable for Pound's suggestion that both Honoré Mirabeau in his imprisonment and Ovid in his exile "had it worse" than Pound in his incarceration.


title: The Cantos

text: At the core of Canto CV are a number of citations and quotations from the writings of St. Anselm. This 11th-century philosopher and inventor of the ontological argument for the existence of God who wrote poems in rhymed prose appealed to Pound because of his emphasis on the role of reason in religion and his envisioning of the divine essence as light. In the 1962 interview already quoted, Pound points to Anselm's clash with William Rufus over his investiture as part of the history of the struggle for individual rights. Pound also claims in this canto that Anselm's writings influenced Cavalcanti and François Villon.


title: The Cantos

text: Canto CVI turns to visions of the goddess as fertility symbol via Demeter and Persephone, in her lunar, love aspect as Selena, Helen and Aphrodite Euploia ("of safe voyages") and as hunter Athene (Proneia: "of forethought," the form in which she is worshiped at Delphi) and Diana (through quotes from Layamon). The sun as Zeus/Helios also features. These vision fragments are cross-cut with an invocation of the Taoist "Kuan Tzu" ("Book of Master Kuan"). This work argues that the mind should rule the body as the basis of good living and good governance.


title: The Cantos

text: Another such figure, Sir Edward Coke, dominates the final three cantos of this section. These cantos, CVII, CVIII, CIX, consist mainly of "luminous details" lifted from Coke's "Institutes", a comprehensive study of English law up to his own time. In Canto CVII, Coke is placed in a "river of light" tradition that also includes Confucius, Ocellus and Agassiz. This canto also refers to Dante's vision of philosophers that reveal themselves as light in the "Paradiso". In Canto CVIII, Pound highlights Coke's view that minting coin "Pertain(s) to the King onely" and has passages on sources of state revenue. He also draws a comparison between Coke and Iong Cheng. A similar parallel between Coke and the author of the "Book of the Eparch" is highlighted in Canto CIX.


title: The Cantos

text: The canto and section end with a reference to the following lines from the second canto of the "Paradiso"—


title: The Cantos

text: —which read, in the translation by Charles Eliot Norton, "O ye, who are in a little bark, desirous to listen, following behind my craft which singing passes on, turn to see again Your shores; put not out upon the deep; for haply losing me, ye would remain astray." This reference signalled Pound's intent to close the poem with a final volume based on his own paradisiacal vision.


title: The Cantos

text: In 1958, Pound was declared incurably insane and permanently incapable of standing trial. Consequent on this, he was released from St Elizabeth's on condition that he return to Europe, which he promptly did. At first, he lived with his daughter Mary in the Tyrol, but soon returned to Rapallo. In November 1959, Pound wrote to his publisher James Laughlin (speaking in the third person) that he "has forgotten what or which politics he ever had. Certainly has none now". His crisis of belief, together with the effects of aging, meant that the proposed paradise cantos were slow in coming and turned out to be radically different from anything the poet had envisaged.


title: The Cantos

text: Pound was reluctant to publish these late cantos, but the appearance in 1967 of a pirate edition of "Cantos 110–116" forced his hand. Laughlin pushed Pound to publish an authorised edition, and the poet responded by supplying the more-or-less abandoned drafts and fragments he had, plus two fragments dating from 1941. The resulting book, therefore, can hardly be described as representing Pound's definitive planned ending to the poem. This situation has been further complicated by the addition of more fragments in editions of the complete poem published after the poet's death. One of these was labelled "Canto CXX" at one point, on no particular authority. This title was later removed.


title: The Cantos

text: Although some of Pound's intention to "write a paradise" survives in the text as we have it, especially in images of light and of the natural world, other themes also intrude. These include the poet's coming to terms with a sense of artistic failure, and jealousies and hatreds that must be faced and expiated.


title: The Cantos

text: Canto CX opens with a pun on the word "wake", conflating the wake of the little boat from the end of the previous canto and an image of Pound waking in his daughter's house in the Tyrol, both from sleep and, by extension, from the nightmare of his prolonged incarceration. The goddess appears as Kuanon, Artemis and Hebe (through her characteristic epithet "Kallistragalos", "of fair ankles"), the goddess of youth. The Buddhist painter Toba Sojo represents directness of artistic handling.


title: The Cantos

text: The Noh figure of Awoi (from "AOI NO UE"), ravaged by jealousy, reappears together with the poet Ono no Komachi, the central character in two more Noh plays translated by Pound. She represents a life spent meditating on beauty which resulted in vanity and ended in loss and solitude. The canto draws to a close with the phrase "Lux enim" ("light indeed") and an image of the oval moon.


title: The Cantos

text: Pound's "nice, quiet paradise" is seen, in the notes for Canto CXI, to be based on serenity, pity, intelligence and individual acceptance of responsibility as illustrated by the French diplomat Talleyrand. This theme is continued in the short extract titled from Canto CXII, which also draws on the work of the anthropologist and explorer Joseph F. Rock in recording legends and religious rituals from China and Tibet. Again, this section of the poem closes with an image of the moon.


title: The Cantos

text: Canto CXIII opens with an image of the sun moving through the zodiac, the first of a number of cycle images that occur through the canto, recalling a line from Pound's version of "AOI NO UE": "Man's life is a wheel on the axle, there is no turn whereby to escape". A reference to Marcella Spann, a young woman whose presence in the Tyrol further complicated the already strained relationships between the poet, his wife Dorothy and his lover Olga Rudge, casts further light on the recurrent jealousy theme. The phrase "Syrian onyx" lifted from his 1919 "Homage to Sextus Propertius", where it occurs in a section that paraphrases Propertius' instructions to his lover on how to behave after his death, reflects the elderly Pound's sense of his own mortality.


title: The Cantos

text: The theme of hatred is addressed directly at the opening of Canto CXIV, where Voltaire is quoted to the effect that he hates nobody, not even his archenemy Elie Fréron. The remainder of this canto is primarily concerned with recognising indebtedness to the poet's genetic and cultural ancestors. The short extract from Canto CXV is a reworking from an earlier version first published in the Belfast-based magazine "Threshold" in 1962 and centres around two main ideas. The first of these is the hostilities that existed amongst Pound's modernist friends and the negative impact that it had on all their works. The second is the image of the poet as a "blown husk", again a borrowing from the Noh, this time the play "Kakitsubata".


title: The Cantos

text: Canto CXVI was the last canto completed by Pound. It opens with a passage in which we see the Odysseus/Pound figure, homecoming achieved, reconciled with the sea-god. However, the home achieved is not the place intended when the poem was begun but is the "terzo cielo" ("third heaven") of human love. The canto contains the following well-known lines:


title: The Cantos

text: This passage has often been taken as an admission of failure on Pound's part, but the reality may be more complex. The crystal image relates back to the "Sacred Edict" on self-knowledge and the demigod/cohere lines relate directly to Pound's translation of the "Women of Trachis". In this, the demigod Herakles cries out "WHAT SPLENDOUR / IT ALL COHERES" as he is dying. These lines, read in conjunction with the later "i.e. it coheres all right / even if my notes do not cohere", point toward the conclusion that towards the end of his effort, Pound was coming to accept not only his own "errors" and "madness" but the conclusion that it was beyond him, and possibly beyond poetry, to do justice to the coherence of the universe. Images of light saturate this canto, culminating in the closing lines: "A little light, like a rushlight / to lead back to splendour". These lines again echo the Noh of "Kakitsubata", the "light that does not lead on to darkness" in Pound's version.


title: The Cantos

text: This final complete canto is followed by the two fragments of the 1940s. The first of these, "Addendum for C", is a rant against usury that moves a bit away from the usual anti-Semitism in the line "the defiler, beyond race and against race". The second is an untitled fragment that prefigures the Pisan sequence in its nature imagery and its reference to Jannequin.


title: The Cantos

text: Notes for Canto CXVII "et seq." originally consisted of three fragments, with a fourth, sometimes titled Canto CXX, added after Pound's death. The first of these has the poet raising an altar to Bacchus (Zagreus) and his mother Semele, whose death was as a result of jealousy. The second centres on the lines "that I lost my center / fighting the world", which were intended as an admission of mistakes made as a younger man. The third fragment is the one that is also known as Canto CXX. It is, in fact, some rescued lines from the earlier version of Canto CXV, and has Pound asking forgiveness for his actions from both the gods and those he loves. The final fragment returns to beginnings with the name of François Bernonad, the French printer of "A Draft of XVI Cantos". After quoting two phrases from Bernart de Ventadorn's "Can vei la lauzeta mover", a poem in which the speaker determines to abandon love because he has been rejected, the fragment closes with the line "To be men, not destroyers." This stood as the close of "The Cantos" until later editions appended the two Italian cantos LXXII and LXXIII and a brief dedicatory fragment addressed to Olga Rudge.


title: The Cantos

text: "The Cantos" has always been controversial; initially so because of the experimental nature of the writing. The controversy has intensified since 1940 when Pound's public approval for Mussolini's fascism became widely known. Much critical discussion of the poem has focused on the relationship between, on the one hand, the economic thesis on "usura", Pound's anti-Semitism, his adulation of Confucian ideals of government and his attitude towards fascism, and, on the other, passages of lyrical poetry and the historical scene-setting that he performed with his "ideographic" technique. At one extreme, George P. Elliot has drawn a parallel between Pound and Adolf Eichmann based on their anti-Semitism while at the other Marjorie Perloff places Pound's anti-Semitism in a wider context by relating it to the political attitudes of many of his contemporaries, and says, "We have to try to understand why and not say let's get rid of Ezra Pound, who also happens to be one of the greatest poets of the 20th C." In another exercise in contextualisation, Wendy Stallard Flory (1939) made a close study of the poem and concluded that it contains, in all, seven passages of anti-Semitic sentiment in the 803 pages of the edition she used.


title: The Cantos

text: Pound has always had serious if select defenders and disciples. Louis Zukofsky was both of these, and also Jewish; according to Cookson he defended Pound on the basis of personal knowledge from anti-Semitism on the level of human exchange, even though, as reported by Basil Bunting, their correspondence contained some of Pound's "offensive" views. What is more, Zukofsky's similarly formidable but distinctive long poem ""A"" follows in its ambitious scope the model of "The Cantos".


title: The Cantos

text: Despite all the controversy surrounding both poem and poet, "The Cantos" has been influential in the development of English-language long poems since the appearance of the early sections during the 1920s. Amongst poets of Pound's own generation, both H.D. and William Carlos Williams wrote long poems that show this influence. Almost all of H.D.'s poetry from 1940 onwards takes the form of long sequences, and her "Helen in Egypt", written during the 1950s, covers much of the same Homeric ground as "The Cantos" (but from a feminist perspective), and the three sequences that make up "Hermetic Definition" (1972) include direct quotations from Pound's poem. In the case of Williams, his "Paterson" (1963) follows Pound in using incidents and documents from the early history of the United States as part of its material. As with Pound, Williams includes Alexander Hamilton as the villain of the piece.


title: The Cantos

text: Pound was a major influence on the Objectivist poets, and the effect of "The Cantos" on Zukofsky's ""A"" has already been noted. The other major long work by an Objectivist, Charles Reznikoff's "Testimony" (1934–1978), follows Pound in the direct use of primary source documents as its raw material. In the next generation of American poets, Charles Olson also drew on Pound's example in writing his own unfinished Modernist epic, "The Maximus Poems".


title: The Cantos

text: Pound was also an important figure for the poets of the Beat Generation, especially Snyder and Allen Ginsberg. Snyder's interest in things Chinese and Japanese stemmed from his early reading of Pound's writings. and his long poem "Mountains and Rivers Without End" (1965–1996) reflects his reading of "The Cantos" in many of the formal devices used. In Ginsberg's development, reading Pound was influential in his move away from the long, Whitmanesque lines of his early poetry, and towards the more varied metric and inclusive approach to a variety of subjects in the single poem that is to be found especially in his book-length sequences "Planet News" (1968) and "" (1973). More generally, "The Cantos", with its wide range of references and inclusion of primary sources, including prose texts, can be seen as prefiguring found poetry. Pound's tacit insistence that this material becomes poetry because of his action in including it in a text he chose to call a poem also prefigures the attitudes and practices that underlie 20th-century Conceptual art.


title: The Cantos

text: The poetic response to "The Cantos" is summed up in Bunting's poem, "On the Fly-Leaf of Pound's Cantos":


title: Quality circle

text: A quality circle or quality control circle is a group of workers who do the same or similar work, who meet regularly to identify, analyze and solve work-related problems. It consists of minimum three and maximum twelve members in number. Normally small in size, the group is usually led by a supervisor or manager and presents its solutions to management; where possible, workers implement the solutions themselves in order to improve the performance of the organization and motivate employees. Quality circles were at their most popular during the 1980s, but continue to exist in the form of Kaizen groups and similar worker participation schemes.


title: Quality circle

text: Typical topics for the attention of quality circles are improving occupational safety and health, improving product design, and improvement in the workplace and manufacturing processes. The term "quality circles" was most accessibly defined by Professor Kaoru Ishikawa in his 1985 handbook, "What is Total Quality Control? The Japanese Way" and circulated throughout Japanese industry by the Union of Japanese Scientists and Engineers in 1960. The first company in Japan to introduce Quality Circles was the Nippon Wireless and Telegraph Company in 1962. By the end of that year there were 36 companies registered with JUSE by 1978 the movement had grown to an estimated 1 million Circles involving some 10 million Japanese workers. The movement built on work by Dr. W. Edwards Deming during the Allied Occupation of Japan, for which the Deming Prize was established in 1950, as well as work by Joseph M. Juran in 1954.


title: Quality circle

text: Quality circles are typically more formal groups. They meet regularly on company time and are trained by competent persons (usually designated as facilitators) who may be personnel and industrial relations specialists trained in human factors and the basic skills of problem identification, information gathering and analysis, basic statistics, and solution generation. Quality circles are generally free to select any topic they wish (other than those related to salary and terms and conditions of work, as there are other channels through which these issues are usually considered).


title: Quality circle

text: Quality circles have the advantage of continuity; the circle remains intact from project to project. (For a comparison to Quality Improvement Teams, see Juran's "Quality by Design.").


title: Quality circle

text: Quality circles were originally described by W. Edwards Deming in the 1950s, Deming praised Toyota as an example of the practice. The idea was later formalized across Japan in 1962 and expanded by others such as Kaoru Ishikawa. The Japanese Union of Scientists and Engineers (JUSE) coordinated the movement in Japan. The first circles started at the Nippon Wireless and Telegraph Company; the idea then spread to more than 35 other companies in the first year. By 1978 it was claimed by JUSE in their publication Gemba to QC Circles, that there were more than one million quality circles involving some 10 million Japanese workers. they operate in most East Asian countries; it was recently claimed by the President of the Chinese Quality Circles Society at the ICSQCC Conference in Beijing 30 August 1997 that there were more than 20 million quality circles in China.


title: Quality circle

text: Quality circles have been implemented even in educational sectors in India, and QCFI (Quality Circle Forum of India) is promoting such activities. However this was not successful in the United States, as the idea was not properly understood and implementation turned into a fault-finding exercise – although some circles do still exist. Don Dewar together with Wayne Ryker and Jeff Beardsley established quality circles in 1972 at the Lockheed Space Missile factory in California.


title: Quality circle

text: In a structures-fabrication and assembly plant in the south-eastern US, some quality circles (QCs) were established by the management (management-initiated); whereas others were formed based on requests of employees (self-initiated). Based on 47 QCs over a three-year period, research showed that management-initiated QCs have fewer members, solve more work-related QC problems, and solve their problems much faster than self-initiated QCS. However, the effect of QC initiation (management- vs. self-initiated) on problem-solving performance disappears after controlling QC size. A high attendance of QC meetings is related to lower number of projects completed and slow speed of performance in management-initiated QCS QCs with high upper-management support (high attendance of QC meetings) solve significantly more problems than those without. Active QCs had lower rate of problem-solving failure, higher attendance rate at QC meetings, and higher net savings of QC projects than inactive QCs. QC membership tends to decrease over the three-year period. Larger QCs have a better chance of survival than smaller QCs. A significant drop in QC membership is a precursor of QC failure. The sudden decline in QC membership represents the final and irreversible stage of the QC's demise. Attributions of quality circles' problem-solving failure vary across participants of QCs: Management, supporting staff, and QC members.


title: Quality circle

text: Student quality circles work on the original philosophy of total quality management. The idea of SQCs was presented by City Montessori School (CMS) Lucknow India at a conference in Hong Kong in October 1994. It was developed and mentored by two engineers of Indian Railways PC, Bihari and Swami Das, in association with Principal Dr. Kamran of CMS Lucknow India. They were inspired and facilitated by Jagdish Gandhi, who founded CMS after his visit to Japan, where he learned about Kaizen. CMS has continued to conduct international conventions on student quality circles every two years. After seeing its utility, educators from many countries started such circles. The World Council for Total Quality & Excellence in Education was established in 1999 with its Corporate Office in Lucknow and head office in Singapore. It monitors and facilitates student quality circle activities in its member countries, which number more than a dozen. SQC's are considered to be a co-curricular activity. They have been established in India, Bangladesh, Pakistan, Nepal, Sri Lanka, Turkey, Mauritius, Iran, UK (Kingston University and started in University of Leicester), and USA. In Nepal, Prof. Dinesh P. Chapagain has been promoting the approach through QUEST-Nepal since 1999. He has written a book entitled "A Guide Book on Students' Quality Circle: An Approach to prepare Total Quality People", which is considered a standard guide to promote SQC's in academia for students' personality development.


title: Jared Sullinger

text: Jared Sullinger Sr. (born March 4, 1992) is an American professional basketball player for the Shenzhen Leopards of the Chinese Basketball Association (CBA). He played college basketball for Ohio State University before being drafted 21st overall by the Boston Celtics in the 2012 NBA draft.


title: Jared Sullinger

text: Sullinger was rated as the #2 player in the class of 2010 in the ESPNU 100 the #4 player by Scout.com, and the #5 player by Rivals.com. In his senior year, Sullinger led Northland High School to a 21–0 season and a #1 national ranking. He averaged 24.5 points and 11.7 rebounds for the season. Sullinger played in the 4th annual Boost Mobile Elite 24 Hoops Classic.


title: Jared Sullinger

text: Sullinger was selected to play in the 2010 McDonald's All-American Game in Columbus, Ohio, where he was named co-MVP with Harrison Barnes. He was also selected to play in the 2010 Nike Hoop Summit at the Rose Garden in Portland, Oregon and the 2010 Jordan Brand Classic at Madison Square Garden in New York.


title: Jared Sullinger

text: On March 10, 2010, Sullinger won the James A. Naismith Award, which goes to the boys' basketball player of the year. Sullinger said he credits his longtime teammate and best friend Max Caubo for the skills he honed in order for him to be the recipient of this award.


title: Jared Sullinger

text: Sullinger's brother, J.J. Sullinger, also attended Ohio State and played for coach Thad Matta. For the 2010–11 season Jared Sullinger averaged 17.2 points, 10.2 rebounds and 1.2 assists in 31.7 minutes per game for the Buckeyes. Ohio State finished the regular season at 32–2 and was selected as the 2011 NCAA tournament's number one overall seed. The Buckeyes made it to the "Sweet Sixteen" where they lost to Kentucky 62–60. Sullinger was named a First Team All-American by Fox Sports.


title: Jared Sullinger

text: In what would be his final year at Ohio State, Sullinger led the Buckeyes to a 31–8 overall record (13–5 Big Ten). He averaged 17.5 points and 9.3 rebounds per game during the 2011–12 season. The Buckeyes advanced to the 'Final Four' of the 2012 NCAA tournament, where the team lost to the Kansas Jayhawks. Sullinger had 13 points in the game and was 5-of-19 shooting with 11 rebounds in the loss. Five days after the loss, the two-time AP All-American declared he was entering the 2012 draft, where he was widely expected to be a lottery pick, until he was reportedly flagged by several teams after the Chicago pre-draft camp due to back issues.


title: Jared Sullinger

text: On June 29, 2012, Sullinger was selected with the 21st overall pick in the 2012 NBA draft by the Boston Celtics. On July 3, he signed his rookie scale contract with the Celtics. On November 17, he recorded his first double-double with 12 points and 11 rebounds in a 107–89 win over the Toronto Raptors. The following night, he scored a season-high 16 points in a loss to the Detroit Pistons. He tied that mark on December 25, recording 16 points and 7 rebounds in a 93–76 win over the Brooklyn Nets.


title: Jared Sullinger

text: On February 1, 2013, Sullinger underwent successful lumbar disk surgery and was subsequently ruled out for the rest of the season.


title: Jared Sullinger

text: On January 15, 2014, in a win over the Toronto Raptors, Sullinger recorded 25 points and a career-high 20 rebounds. Sullinger's 20-20 was the first by a Celtics player since Kevin Garnett did so in 2007. On February 7, he scored a career-high 31 points in a 99–89 win over the Sacramento Kings.


title: Jared Sullinger

text: After averaging 14.4 points and 8.1 rebounds per game up until the 2015 NBA All-Star Weekend, Sullinger was ruled out indefinitely after X-rays on February 19 revealed a stress reaction in his left foot. Three days later, he was ruled out for the rest of the season after further medical evaluation determined that Sullinger had sustained a left metatarsal stress fracture. However, in a surprising move, Sullinger returned to action on April 3 against the Milwaukee Bucks. He entered the game four minutes into the third quarter, missed both his shots and didn't return as part of a gradual effort to improve his stamina.


title: Jared Sullinger

text: Sullinger began the 2015–16 season coming off the bench for the first three games. He started his first game of the season on November 4 against the Indiana Pacers, replacing Tyler Zeller as the starting center. On December 7, 2015, Sullinger scored 11 points and tied a career high with 20 rebounds in a 111–93 win over the New Orleans Pelicans. On February 7, 2016, he tied his season high with 21 points in a 128–119 win over the Sacramento Kings.


title: Jared Sullinger

text: On June 29, 2016, the Celtics tendered a qualifying offer to make Sullinger a restricted free agent. The Celtics later withdrew their qualifying offer on July 8, making him an unrestricted free agent.


title: Jared Sullinger

text: On July 14, 2016, Sullinger signed a one-year, $6 million contract with the Toronto Raptors. On October 24, 2016, he had a screw inserted into the fifth metatarsal in his left foot. As a result, he missed the first half of the 2016–17 season. After missing half the season, Sullinger made his debut for the Raptors on January 18, 2017, scoring eight points in just under 14 minutes off the bench in a 94–89 loss to the Philadelphia 76ers. On January 28, 2017, he was assigned to Toronto's D-League affiliate, Raptors 905, on a rehab assignment. He was recalled by Toronto the next day. Three days later, he had a season-best game with 13 points and six rebounds in a 109–104 loss to the Boston Celtics. He was reassigned to Raptors 905 on February 10, and was recalled on February 12.


title: Jared Sullinger

text: On February 23, 2017, Sullinger was traded, along with cash considerations and Toronto's second-round draft picks in 2017 and 2018, to the Phoenix Suns in exchange for P. J. Tucker. However, he was waived by the Suns the following day.


title: Jared Sullinger

text: On September 12, 2017, Sullinger signed a one-year deal with the Shenzhen Aviators of the Chinese Basketball Association. He re-signed with the team on August 6, 2018. On January 16, 2018, Sullinger became one of the few players in the CBA to record 40 points and 30 rebounds in a single game as he posted 40 points and 31 rebounds in a 129–103 victory over the Shandong Golden Stars.


title: Jared Sullinger

text: In February 2021, Sullinger joined Anyang KGC of the Korean league and helped the team capture the league championship. He averaged 27.1 points, 12.3 rebounds, 3.2 assists, and 1.4 steals per game.


title: Jared Sullinger

text: On December 26, 2021, Sullinger returned to the Shenzhen Aviators of the Chinese Basketball Association.


title: Jared Sullinger

text: On September 3, 2013, Sullinger turned himself in to police after an alleged domestic assault on his girlfriend. He was charged with assault and battery, intimidation of a witness, and destruction of property. He pleaded not guilty to the charges, which were later dropped.


title: Submission (novel)

text: Submission () is a novel by French writer Michel Houellebecq. The French edition of the book was published on 7 January 2015 by Flammarion, with German ("Unterwerfung") and Italian ("Sottomissione") translations also published in January. The book instantly became a bestseller in France, Germany and Italy. The English edition of the book, translated by Lorin Stein, was published on 10 September 2015.


title: Submission (novel)

text: The novel imagines a situation in which a Muslim party upholding Islamist and patriarchal values is able to win the 2022 presidential election in France with the support of the Socialist Party. The book drew an unusual amount of attention because, by coincidence, it was released on the day of the "Charlie Hebdo" shooting.


title: Submission (novel)

text: The novel mixes fiction with real people: Marine Le Pen, François Hollande, François Bayrou, Manuel Valls, and Jean-François Copé, among others, fleetingly appear as characters in the book.


title: Submission (novel)

text: In 2022, François, a middle-aged literature professor at and specialist in Huysmans, feels he is at the end of his sentimental and sexual lives – composed largely of year-long liaisons with his students. It has been years since he did any valuable university work. France is in the grip of political crisis – in order to stave off a National Front victory, the Socialists ally with the newly formed Muslim Brotherhood Party, with additional support from the Union for a Popular Movement, formerly the main right-wing party. They propose the charming Islamic candidate Mohammed Ben-Abbes for the presidency against the National Front leader Marine Le Pen. In despair at the emerging political situation, and the inevitability of antisemitism becoming a major force in French politics, the parents of François's young and attractive Jewish girlfriend, Myriam, emigrate to Israel taking her along with them. His mother and father die. He fears that he is heading towards suicide, and takes refuge at an abbey situated in the town of Ligugé; it is also where his literary hero, Huysmans, became a lay member.


title: Submission (novel)

text: Ben-Abbes wins the election, and becomes President of France. He pacifies the country and enacts sweeping changes to French laws, privatizing the Sorbonne, thereby making François redundant with full pension as only Muslims are now allowed to teach there. He also ends gender equality, allowing polygamy. Several of François's intellectually-inferior colleagues, having converted to Islam, get good jobs and make arranged marriages with attractive young wives. The new president campaigns to enlarge the European Union to include the North Africa, the Muslim Levant and Turkey with the aim of making it a new Roman Empire, with the now-Islamicized France at its lead. In this new, different society, with the support of the powerful politician Robert Rediger, the novel ends with François poised to convert to Islam and the prospect of a second, better life, with a prestigious job, and wives chosen for him.


title: Submission (novel)

text: The book generated controversy and criticism for its portrayal of Islam. In advance of the novel's publication, French Prime Minister Manuel Valls declared, "France is not Michel Houellebecq . . . it's not intolerance, hatred, fear." Lydia Kiesling, writing for "Slate", stated, "There is a way in which "Submission" is not, strictly speaking, Islamophobic. But it does Aylan Kurdi no favors." "The New York Times" likewise argued "Submission" "plays on French fears of terrorism, immigration and changing demographics."


title: Submission (novel)

text: Rob Doyle of "The Irish Times" found the themes of the book favourable to Islam, stating Houellebecq "suggests that yielding to the rule of Islam, with its reassuring social and sexual hierarchies, might be a good option for an otherwise terminal Europe." Steven Poole, writing for "The Guardian", noted that the book was "arguably, not primarily about politics at all. The real target of Houellebecq's satire — as in his previous novels — is the predictably manipulable venality and lustfulness of the modern metropolitan man, intellectual or otherwise." Adam Shatz, writing for the "London Review of Books", states that it "is the work of a nihilist not a hater – the jeu d’esprit of a man without convictions".


title: Submission (novel)

text: Some critics also suggested the novel promoted misogynistic views. Erik Martiny's review in "The London Magazine" highlighted that "gender hierarchy is presented in the novel as the essential backbone to a healthy, stable society." Heller McAlpin's review for the NPR concluded with the line, "I'm hoping that women, at least, won't take this insulting scenario lying down," while Lydia Kiesling contextualized the book's depiction of women by stating "Submission" contains an "Evo-Psych 101 correlation of women's worth with their sexual viability" prevalent in both Houellebecq's work and his personal comments.


title: Submission (novel)

text: On 5 January 2015, French president François Hollande announced in an interview for France Inter radio that he "would read the book, because it's sparking a debate."


title: Submission (novel)

text: The author appeared in a caricature on the front page of the satirical magazine "Charlie Hebdo" on 7 January 2015, the day when the offices of the newspaper were attacked by masked gunmen who killed eight "Charlie Hebdo" employees. The title on the cover was: ""Les prédictions du mage Houellebecq : en 2015, je perds mes dents, en 2022, je fais ramadan."" (English: ""The predictions of the sorcerer Houellebecq: In 2015, I lose my teeth. In 2022, I observe Ramadan."")


title: Submission (novel)

text: On the day of the publishing of the book and hours before the attack on "Charlie Hebdo", Houellebecq said in an interview for France Inter radio:


title: Submission (novel)

text: The Italian language translation ("Sottomissione") by V. Vega was published on 15 January 2015 by Bompiani.


title: Submission (novel)

text: The German translation ("Unterwerfung") by Norma Cassau and Bernd Wilczek was published on 16 January 2015 by . Lorin Stein translated the book into English.


title: Submission (novel)

text: Several critics, including Bruno de Cessole of "Valeurs Actuelles" and Jérôme Dupuis of "L'Express", compared the novel to Jean Raspail's 1973 novel "The Camp of the Saints", a novel about the political impotence of Europe during a massive wave of immigration from India. Grégoire Leménager of "Le Nouvel Observateur" downplayed the similarities to "The Camp of the Saints", as "Submission" does not deal with ethnicity, and instead placed Houellebecq's novel within a trend of recent French novels about immigration and Islam, together with "La Mémoire de Clara" by Patrick Besson, "" by and "Les Événements" by Jean Rolin, speculating that the concept of the "Great Replacement" ("Grand Remplacement"), as formulated by Renaud Camus, was becoming fashionable as a literary device. The book has also been seen as inspired by Bat Ye'or's Eurabia thesis.


title: Submission (novel)

text: Marine Le Pen commented in an interview with France Info radio that the novel is "a fiction that could one day become reality."


title: Submission (novel)

text: Mark Lilla, in "The New York Review of Books", stated similarly that "Europe in 2022 has to find another way to escape the present, and 'Islam' just happens to be the name of the next clone."


title: Submission (novel)

text: A monologue stage performance with Edgar Selge as François toured Germany in early 2016 with dates in Hamburg, Dresden and Berlin. According to "Die Zeit", interest in the story was piqued by the New Year's Eve sexual assaults in Germany. A German film adaptation, based both on the novel and the stage performance, was produced by the television channel Rundfunk Berlin-Brandenburg as "Unterwerfung". The film stars Selge who reprises his role from the stage version. The film premiered on German public broadcaster ARD on 6 June 2018, followed by a roundtable, which resulted in "a broad internet discussion," in calls for all German political talkshows to be suspended for one year, and in an apology from ARD presenter Sandra Maischberger.


title: Sam Hill (euphemism)

text: Sam Hill is an American English slang phrase, a euphemism or minced oath for "the devil" or "hell" personified (as in, "What in the Sam Hill is that?"). Etymologist Michael Quinion and others date the expression back to the late 1830s; they and others consider the expression to have been a simple bowdlerization, with, according to the "Oxford English Dictionary", an unknown origin.


title: Sam Hill (euphemism)

text: Candidate referents for the use date back to at least the 19th century. The following are possibilities of the term's origin.


title: Palindromes (film)

text: Palindromes is a 2004 American comedy-drama film written and directed by Todd Solondz. Referencing Solondz's previous "Welcome to the Dollhouse", it was nominated for the Golden Lion award at the 61st Venice International Film Festival.


title: Palindromes (film)

text: The protagonist, a 13-year-old girl named Aviva, is played by eight different actors of different ages, races, and genders during the course of the film, which features an array of secondary characters. The names of the characters Aviva, Bob, and Otto are all palindromes.


title: Palindromes (film)

text: The film opens with a funeral for Dawn Wiener (the protagonist from Solondz's "Welcome to the Dollhouse"), who went to college, gained a lot of weight and acne, and committed suicide at age 20 after she became pregnant from date rape. Her older brother Mark (Matthew Faber, reprising his role) reads the eulogy while Dawn's tearful parents (Angela Pietropinto and Bill Buell, also reprising their roles) sit in the audience and seem to finally show remorse over the way they mistreated her as a child. Dawn's younger sister whom she was estranged from, Missy, does not attend the funeral. One of the attendees is Aviva, Dawn's cousin.


title: Palindromes (film)

text: A few years later, Aviva desires to have a child. She has sex with Judah (Robert Agri), a family friend, and becomes pregnant. Aviva's parents are horrified and demand that she get an abortion. While the abortion is technically successful, it is implied via a fractured, emotional conversation with the doctor (Stephen Singer) that Aviva can no longer have children. Not fully conscious, Aviva is unaware of this, and her parents, already fragile, lead her to believe all is well when she awakens, afraid to upset Aviva.


title: Palindromes (film)

text: Aviva runs away from home. She befriends a trucker (Stephen Adly Guirgis) and has sex with him; however, the trucker abandons her at a motel. She is eventually found by the Sunshine Family, a Christian fundamentalist foster home that cares for disordered orphans and runaways. She tells them her name is Henrietta — the name she picked for the baby she was persuaded to abort. While at the Sunshine Family home, she discovers a dark side to the foster father; he assassinates abortion providers. His next target is the doctor who performed Aviva's abortion. The hitman whom the foster father uses is the same trucker Aviva previously befriended and had sex with.


title: Palindromes (film)

text: Convinced she is in love with the truck driver, Aviva flees the Sunshine Family to join him on his assignment. The murder does not go as planned as, in addition to the doctor himself, the trucker (whose name is revealed to be Bob) ends up accidentally shooting the doctor's young daughter when she steps in front of the first shot. The police find Bob and Aviva both in a motel room, and a guilt-ridden Bob commits suicide by cop.


title: Palindromes (film)

text: The film then skips ahead several months later to Aviva back home with her parents, planning her next birthday party. During the party, she talks to her cousin, Mark, who has recently been arrested and accused of molesting his sister Missy's baby (although he denies having done it and it is loosely implied that Missy might have made it up for attention). Mark tells Aviva that there is no such thing as free will; people are what they were genetically “programmed” to be, and can never truly change. The film skips ahead to Aviva's meeting Judah, who now calls himself Otto, and they have sex again. Afterward, Aviva happily exclaims that she has a feeling that, this time, she is going to be a mother.


title: Palindromes (film)

text: "Palindromes" is most notable for having eight different actors of different ages, races, and genders play a 13-year-old girl named Aviva. Although Solondz's film premiered in official competition at the Venice Film Festival in 2004, it received little other laudatory notice and remains his most polarizing with critics. With regard to Solondz's employment of multiple performers to play a single character, film critic Roger Ebert wrote in his positive review, "If the movie is a moral labyrinth, it is paradoxically straightforward and powerful in the moment; each individual story has an authenticity and impact of its own. Consider the pathos brought to Aviva by the actress Sharon Wilkins, who is a plus-size adult black woman playing a little girl, and who creates perhaps the most convincing little girl of them all. Or Jennifer Jason Leigh, three times as old as Aviva but barely seeming her age. These individual segments are so effective that at the end of each one we know how we feel, and why. It's just that the next segment invalidates our conclusions." Contrarily, "New York Times" film critic A. O. Scott concluded in his negative review, "[...] Aviva's appearance changes -- from black to white, from fat to thin, from brunette to redhead, and at one point, to Jennifer Jason Leigh. The effect of this switching is to keep you off balance and at a remove from the story. That is not such a bad thing, because you will want to be as far away as possible."


title: Palindromes (film)

text: "Palindromes" holds a 43% rotten rating on Rotten Tomatoes based on 120 reviews with an average rating of 5.31/10. The site's critical consensus states: "Unique but cold". The film grossed $553,368 in the domestic box office and $707,269 worldwide after almost 23 weeks in theatrical release. The DVD was released on September 13, 2005.


title: Tahsan Rahman Khan

text: Tahsan Rahman Khan (Bengali:তাহসান রহমান খান; born 18 October 1979), known mononymously as Tahsan Khan or Tahsan, is a Bangladeshi musician and actor. He is the lead singer of his own rock band Tahsan and the Band.


title: Tahsan Rahman Khan

text: Born and raised in Dhaka, Tahsan first started his musical career with the alternative rock band Black. He later left the band and started his solo music career, his first solo album is "Kothopokothon" released in the year 2004. He also started his television acting career in 2004 with the famous drama “Offbeat” and has subsequently performed in more than 100 dramas in television and OTT platform combined. Tahsan has been appointed as the Goodwill Ambassador of UNHCR in January 2021. In addition to the music and acting career, Tahsan is also an university teacher. He started his teaching career from 2006 and taught in few different universities of Dhaka. He was the Senior Lecturer of BRAC University.


title: Tahsan Rahman Khan

text: He learned singing at Shishu Academy and Chhayanaut. He attended A. G. Church School, St. Joseph High School (Dhaka) and Notre Dame College, Dhaka. He obtained a BBA in marketing and an MBA in finance from the Institute of Business Administration, University of Dhaka. He completed a second MBA at the University of Minnesota on a Fulbright scholarship.


title: Tahsan Rahman Khan

text: Tahsan Khan met Rafiath Rashid Mithila in 2004 when they were students at the University of Dhaka. They married in 2006. The couple announced their divorce in 2017. Their daughter, Ayra Tehrim Khan, was four years old at the time.


title: Waldorf, Maryland

text: Waldorf is an unincorporated community and census-designated place (CDP) in Charles County, Maryland, United States. Located south-southeast of Washington, D.C., Waldorf is part of the Southern Maryland region. It is an urban area, with a population (excluding the CDP of St. Charles) measured by the 2020 census at 81,410 within an area of 36.5 square miles. Waldorf has experienced dramatic growth, increasing its population 16 fold from fewer than 5,000 residents in 1980 to its current population. It is now the largest commercial and residential area in Southern Maryland as well as being a major suburb of Washington D.C.


title: Waldorf, Maryland

text: What is now the Waldorf area was originally part of the territory of the Piscataway Indian Nation, along with all of Southern Maryland, including Charles County. Close to the current western Waldorf area, the presence of villages, Indian grave sites (holding remains of over 1,000 people) and hunting encampments of Native American / Indian peoples have been confirmed, by archeological study of evidence dating from 1690 back to 6,000 years ago.


title: Waldorf, Maryland

text: Europeans and African Americans first settled in the area in the 1600s. The town of Waldorf's original name was Beantown at least as far back as the American Civil War. During his flight after assassinating Abraham Lincoln, John Wilkes Booth told a road sentry he was headed to his home in Charles County near Beantown and was allowed to proceed. In 1880, the General Assembly of Maryland by an act changed the name to "Waldorf" in honor of William Waldorf Astor (1848–1919), the great-grandson of John Jacob Astor (1763–1848), who was born in Walldorf, Palatinate, Germany. On July 29, 1908, the city of Plumb Valley in Waseca County, Minnesota, changed its name to Waldorf after Waldorf, Maryland.


title: Waldorf, Maryland

text: Once a tobacco market village, Waldorf came to prominence in the 1950s as a gambling destination after slot machines were legalized in Charles County in 1949. The boom lasted until 1968, when gambling was once again outlawed. Its subsequent substantial growth as a residential community began with a 1970 loan package from the Department of Housing and Urban Development which fueled the giant planned community of St. Charles, south of Waldorf.


title: Waldorf, Maryland

text: According to the United States Census Bureau, the CDP has a total area of , of which is land and , or 0.7%, is water.


title: Waldorf, Maryland

text: The soils of Waldorf are known to contain various amounts of Marlboro Clay, a type that is only found in Southern Maryland. It can be either red or grey in color.


title: Waldorf, Maryland

text: The climate in this area is characterized by hot, humid summers and generally cool to cold winters. The area gets yearly snowfall, but only gets major blizzards every few years. According to the Köppen Climate Classification system, Waldorf has a humid subtropical climate, abbreviated "Cfa" on climate maps. The area has a tropical storm / hurricane season (late August through September). It gets frequent thunderstorms in the summer, some severe, and the area on rare occasion gets serious tornadoes.


title: Waldorf, Maryland

text: "Note: the US Census treats Hispanic/Latino as an ethnic category. This table excludes Latinos from the racial categories and assigns them to a separate category. Hispanics/Latinos can be of any race."


title: Waldorf, Maryland

text: As of the census of 2000, there were 22,312 people, 7,603 households, and 5,991 families residing in the CDP. In the CDP, the population density was 1,746.0 people per square mile (674.1/km). There were 7,827 housing units at an average density of 612.5 per square mile (236.5/km). The racial makeup of the CDP was 61.11% White, 31.98% African American, 0.54% Native American, 2.59% Asian, 0.02% Pacific Islander, 0.88% from other races, and 2.88% from two or more races. Hispanic or Latino of any race were 2.91% of the population.


title: Waldorf, Maryland

text: There were 7,603 households, out of which 45.5% had children under the age of 18 living with them, 58.6% were married couples living together, 15.5% had a female householder with no husband present, and 21.2% were non-families. 14.8% of all households were made up of individuals, and 2.2% had someone living alone who was 65 years of age or older. The average household size was 2.93 and the average family size was 3.24.


title: Waldorf, Maryland

text: In the CDP the population was spread out, with 30.6% under the age of 18, 7.5% from 18 to 24, 36.4% from 25 to 44, 20.7% from 45 to 64, and 4.8% who were 65 years of age or older. The median age was 33 years. For every 100 females, there were 94.4 males. For every 100 females age 18 and over, there were 90.8 males.


title: Waldorf, Maryland

text: The median income for a household in the CDP was $68,869, and the median income for a family was $71,439 (these figures had risen to $86,901 and $94,432 respectively as of a 2007 estimate). Males had a median income of $45,293 versus $35,386 for females. The per capita income for the CDP was $24,728. About 2.7% of families and 4.4% of the population were below the poverty line, including 6.4% of those under age 18 and 2.2% of those age 65 or over.


title: Waldorf, Maryland

text: Waldorf is predominantly a bedroom community for many residents who commute to work at other points in the Washington metropolitan area. Commuters work primarily in federal, professional services, and healthcare industries. Waldorf's local jobs are primarily in the service and sales industry, with healthcare and construction industries having a strong presence as well. St. Charles Towne Center, a two-story shopping mall, opened in 1988.


title: Waldorf, Maryland

text: U.S. Route 301, the main highway through the city, boasts the "Waldorf Motor Mile," with car dealerships located primarily along the northbound side. In 2005, Waldorf opened its third public high school (North Point High School), which has advanced science/technology programs; the Capital Clubhouse 24-hour indoor sports complex and ice rink also opened that year. A fourth public high school opened in 2014 called St. Charles High School.


title: Waldorf, Maryland

text: An office park with mid-rise office buildings was started; the Residence Inn opened there in 2010, and another new hotel opened across the road. In October 2017, Krispy Kreme opened a location in Waldorf.


title: Waldorf, Maryland

text: Two branches of the Charles County Public Library are located in Waldorf: the P.D. Brown Memorial Branch, and the Waldorf West Branch.


title: Waldorf, Maryland

text: The Piscataway Indian Nation operates a museum, a community center, and the Maryland Indian Cultural Center in Waldorf.


title: Waldorf, Maryland

text: Regency Furniture Stadium is a 4,200 seat baseball park, soccer park and music concert center in Waldorf.


title: Waldorf, Maryland

text: The Southern Maryland Blue Crabs, established in 2006, complete in the Atlantic League of Professional Baseball, playing at Regency Furniture Stadium.


title: Waldorf, Maryland

text: The Capital Clubhouse Is a 90,000 square foot sports complex, including an ice skating rink and multi-sports center; a recreational ice rink, a Hockey center and training facility, rock wall climbing gym, and numerous other sports and fitness gyms / fields in Waldorf.


title: Waldorf, Maryland

text: Westlake High School (Maryland), St. Charles High School (Maryland), North Point High School, and Thomas Stone High School are public high schools in Waldorf.


title: Waldorf, Maryland

text: St. Peter's School is a Catholic kindergarten through 8th grade school in Waldorf. Children of all faiths may attend.