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This article reveals Ezra Pound’s deep, early engagements with the works of Lope de Vega. A young Pound studied Lope de Vega in graduate school and began a doctoral thesis on the gracioso figure in his plays, under the direction of famed lopista Hugo Rennert. But Pound abandoned his dissertation and, instead, translated small parts of Lope de Vega’s works (including a poem from Los pastores de Belén) and, more important, used scenes and quotations from Las almenas de Toro to structure the early parts of what would become The Cantos. My focus is on the ways in which these translations and quotations helped Pound discover his governing themes for what are called his «Ur-Cantos» —the first three poems of his Cantos that he published in 1917, before he would revise them heavily and republish them in his first book, A Draft of XVI. Cantos (1925). To understand this, I analyze his chapter on Lope de Vega in his textbook of translations and scholarly commentaries, The Spirit of Romance (1910). Pound ultimately rejects Lope de Vega’s Baroque style, I argue, and stages his rejection across The Cantos, where he dismisses the Baroque as too heavily «ornamental» and not sufficiently suspended across literary time, and thus not the style he will use in developing The Cantos across the remainder of his life. Este artículo pone de manifiesto el temprano y profundo interés de Ezra Pound en la obra de Lope de Vega. El joven Pound estudió a Lope en la universidad e inició una tesis doctoral sobre la figura del gracioso, bajo la dirección del afamado lopista Hugo Rennert. Aunque Pound abandonó su proyecto de tesis, tradujo pequeños fragmentos de las obras de Lope de Vega (incluido un poema de Los pastores de Belén) y, lo que es más importante, utilizó escenas y citas de Las almenas de Toro para estructurar las primeras partes de lo que terminaría convirtiéndose en The Cantos. Me centro en los diversos modos en que esas traducciones y citas ayudaron a Pound a definir los temas fundamentales de sus llamados «Ur-Cantos» —los tres primeros poemas de los Cantos que publicó en 1917, antes de revisarlos a conciencia y republicarlos en su primer libro, A Draft of. XVI Cantos (1925)—. Para entender este proceso, analizo el capítulo sobre Lope de Vega en su ensayo The Spirit of Romance (1910). Propongo que, en última instancia, Pound rechaza el estilo barroco de Lope de Vega y escenifica ese rechazo a lo largo de Los Cantos, donde descarta lo barroco como excesivamente «ornamental» y poco perdurable a lo largo de la evolución literaria; de ahí que no fuera ese el estilo que Pound adoptará en el desarrollo de The Cantos durante el resto de su vida.

Most of these letters are 'finds,' never previously published and serving to deepen and to give order to our awareness of Ford's literary activities and involvements. Professor Ludwig, with lucidity, exactness and wisdom, has provided us with a coherent personal documentation. Originally published in 1965. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Ezra Pound’s final section of the Cantos—known as Drafts and Fragments—is difficult to interpret given that Pound, probably intentionally, did not offer clear directions on the arrangement and order of the poems before his death. Much of the critical discussion of these last pages has focused on their textual history and the extent to which the poems culminate in a reflective, even confessional, reassessment of the author’s life and political views. While the final cantos are open to various interpretations, a close examination of Pound’s source material suggests that his vision of paradise may have had ideological and political dimensions and in some ways represent a working through or re-articulation of his fascist views. Such an interpretation, however, is both supported and complicated by Pound’s engagement with ethnographic research on Southwest China, and in particular the writings of Joseph Rock, which reveals a sense of reflexivity and a complex engagement with problems of representation and authenticity in ethnographic discourse.

Lyric poetry has long been regarded as the intensely private, emotional expression of individuals, powerful precisely because it draws readers into personal worlds. But who, exactly, is the \"I\" in a lyric poem, and how is it created? InLyric Poetry, Mutlu Blasing argues that the individual in a lyric is only a virtual entity and that lyric poetry takes its power from the public, emotional power of language itself. In the first major new theory of the lyric to be put forward in decades, Blasing proposes that lyric poetry is a public discourse deeply rooted in the mother tongue. She looks to poetic, linguistic, and psychoanalytic theory to help unravel the intricate historical processes that generate speaking subjects, and concludes that lyric forms convey both personal and communal emotional histories in language. Focusing on the work of such diverse twentieth-century American poets as T. S. Eliot, Ezra Pound, Wallace Stevens, and Anne Sexton, Blasing demonstrates the ways that the lyric \"I\" speaks, from first to last, as a creation of poetic language.

There is some confusion evident in biographies concerning Ezra Pound's movements at the time of his eightieth birthday, on 30 October 1965. A little-known source from Greece establishes the dates of the week that Pound and Olga Rudge spent in Athens, and fills in some of the details as to whom he met and which sites he was shown. The recollections of Zissimos Lorenzatos (1915–2004) are themselves not always accurate, nor entirely without their own purposes, especially with regard to the role played by George Seferis. Sorting the chronology, the essay considers what it might have meant for Pound to visit Greece for the first time; Lorenzatos's memories are used to assess the weight of the words spoken by Pound in Greece, words that resonate in Canto CXVI.

Purpose of Review Clonal hematopoiesis (CH) is a prevalent condition that results from the acquisition of somatic mutations in hematopoietic stem cells. When these mutations occur in “driver” genes, they can potentially confer fitness advantages to the cell, leading to a clonal expansion. While most clonal expansions of mutant cells are generally considered to be asymptomatic since they do not impact overall blood cell numbers, CH carriers display long-term risks of all-cause mortality and age-associated diseases including cardiovascular disease (CVD). This review summarizes recent findings in CH related to aging, atherosclerotic CVD, and inflammation, emphasizing epidemiological and mechanistic studies, and potential therapeutic options to treat CVDs that are promoted by CH. Recent Findings Epidemiological studies have revealed associations between CH and CVDs. Experimental studies with CH models employing the Tet2 - and Jak2 -mutant mouse lines display inflammasome activation and a chronic inflammatory state that leads to accelerated atherosclerotic lesion growth. Summary A body of evidence suggests that CH represents a new causal risk factor for CVD. Studies also indicate that understanding an individual’s CH status could provide guidance for personalized approaches to treat atherosclerosis and other CVDs with anti-inflammatory drugs.

Researchers studying the evolution of animal communication often ask what generates and maintains signal complexity, but they define and measure complexity in different ways. If different metrics are not concordant, then studies using them are probably not comparable. In this study, we asked whether 7 metrics of bird song complexity vary in tandem among individuals of a single species, the Rock Wren (Salpinctes obsoletus). The included metrics were chosen because they are regularly used by researchers in the field to test hypotheses within the literature. Results indicated that none of the metrics positively correlated with any others, suggesting that bird songs are not under general selective pressures favoring increased complexity across multiple features. If metrics of signal complexity are not correlated, then care should be taken when designing analyses and comparing results. Researchers should always clearly define the “complexity” under investigation and verify that it has significance to the study species. Contradictory outcomes among existing research into signal “complexity” may result from the fact that this single word is used to represent multiple independent traits.

In the eleventh act, Pármeno fears that the first encounter with Melibea will lead to danger, for which he compares her to a siren. His words turn out to be prophetic, especially since he is not the only one who dies. In the end, the maiden proves to be as fascinating, dangerous and lethal as the sirens with which she is compared.

Despite the failure of Mutabilitie's appeal against Jove, she remains for some recent critics an admirable figure, and the Cantos remain unresolved. But in the light of Calvin's treatment of civil government the Mutabilitie Cantos cohere as a poetic adumbration of what Calvin prescribed as obedience to the \"powers that be\"; powers, however wicked, requiring the obedience due to God. Spenser echoes the vocabulary of Calvin's biblical sources, while insisting on the principle of delegation which links mortal magistrates to God. God is figured as Nature; Creation is designed to inspire faith.

Although the nature of Ezra Pound's Fascism has generated substantial critical study, the mechanics of his actual engagement in the cultural projects of the Mussolini regime has received less attention. Using as its starting point lines from Pound's controversial \"Italian Canto\" 72 - explicit in its praise of the Fascist regime - the essay examines Pound's correspondence with Italian cultural figures in the 1930s. Focusing on his relationship with the academic librarian Manlio Torquato Dazzi and the celebrated Futurist F.T. Marinetti, the essay demonstrates the blurred distinctions between aesthetic and political spheres in Pound's engagements with Italian culture in the 1930s. The essay further argues that Pound's avant-garde aesthetics and neo-platonic philosophy colored the way he engaged with the cultural projects of the regime, making his Fascism a mixture of spirituality, modernism and totalitarianism.