Publisher's Synopsis
This study investigates both the medieval Provencal troubadours particularly studied by Pound (after Dante), with reference both to their canons, the medieval biographies, and the 19th- and early-20th century use of these. These elucidate Pound's own use of Provencal materials in his poetry.;Pound's transition to the ideogrammic method of "The Cantos" is demonstrated by a detailed reading of the first seven cantos. Finally, a discussion of The Pisan Cantos shows how Pound's early studies of Provencal techniques, and of its cult of emotions which linked it to pagan rites of renaissance, led to his recreation of the troubadour ethos of Amor as Poesis.
