The world of the troubadours of medieval Provence--of Bertran de
Born, Arnaut de Mareuil, and Peire Bremon lo Tort--always
fascinated Ezra Pound and, as Stuart McDougal shows, provided both
themes and techniques for his early poetry. Pound's first
translations of Provencal poetry were a way of penetrating an alien
sensibility and culture and making it his own; they were also
important technical exercises. Confronted with the problem of
finding a suitable form and language for the Provencal experience,
he condensed, deleted, expanded--the results were highly original
works. Among Pound's early experiments were the studies of
individual Provencal poets, each representing one of the qualities
of Provencal culture that attracted him--Bertran is the man of
action and Vidal is an example of the close connection between man
and the "vital universe." Implicit in Pound's treatment of the past
is his belief in the contemporaneity of these medieval values. This
belief remains constant in The Cantos, although as the work
developed it became clear that no single cultural framework could
encompass it. Nevertheless, the medieval world remained the
cornerstone of Pound's paradise--a brilliantly unified, vibrant
world against which he could contrast the chaos and sterility of
contemporary civilization. Originally published in 1973. 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.
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