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. 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. 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. 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. 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