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In 'Patria mia', for example, he had spoken of 'the type of man who can hold on to the profits of subsequent industry .. a close person, acquisitive, rapacious, tenacious'r'? l'" It was perhapa, not surprising that when Pound read Econom ic Democracy he should construe Douglas's ideas about distribution as an endorsement of this sense of 'play' as productive commerce. More important, the fundamental opposition of a 'free ' monetary order to one characterised by 'retention' ('the obsession of wealth defined in terms of money') reproduced at another level his own distinction between the mobile, constantly evolving thought of the avant-garde, and the mental fixity of the literary establishment.

25) Similar problems arise with Hugh Selwyn Mauberley, the poem written in the 'gap' between the Cantos of 1919 and 1922. Although Pound tried here to exorcise the aestheticism which plagued the opening of his long poem, the terms of his criticism still moved within the discourse he was striving to reject. If Mauberley is not wholly satisfactory it is because the epigrammatic 'hardness' of the writing, its wit and precision of rhyme, are inadequate means with which to expose the contradictions of its main theme.

Since the most serene Doge can scarce stand upright in his bedroom ... vadit pars, two gross lire stone stair, 1415, for pulchritude of the palace 254 da parte de non 23 4 non sincere Which is to say: they built out over the arches and the palace hangs there in the dawn, the mist, in that dimness, or as one rows in from past the murazzi the barge slow after moon-rise and the voice sounding under the sail. Mist gone. And Sulpicia green shoot now, and the wood white under new cortex. . (xxv , p.

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