in turn, blends with the DTC in which the poet is imprisoned. The question of banking and money also recurs, with an anti-Semitic passage aimed at the banker Meyer Anselm. Pound brings in biblical injunctions on usury and a reference to the issuing of a stamp script currency in the Austrian town of Wörgl. The canto then moves on to a longish passage of memories of the moribund literary scene Pound encountered in London when he first arrived, with the phrase "beauty is difficult", quoted from Aubrey Beardsley, acting as a refrain. After more memories of America and Venice, the canto ends in a passage that brings together Dante's celestial rose, the rose formed by the effect of a magnet on iron filings, an image from Paul Verlaine of the human soul as a fountain and a reference to a poem by Ben Jonson in a composite image of hope for "those who have passed over Lethe". Canto LXXV is mainly a facsimile of the German pianist Gerhart Münch's violin setting of the 16th-century Italian Francesco Da Milano's transcription for lute of French composer Clément Janequin's choral work Le Chant des oiseaux, an ancient song recalled to Pound's mind by the singing of birds on the fence of the DTC, and a symbol for him of an indestructible form preserved and transmitted through many versions, times, nations and artists. (Compare the nekuia of canto I.) Münch was a friend and collaborator of Pound in Rapallo, and the short prose section at the beginning of the canto celebrates his work on other early music figures. Canto LXXVI opens with a vision of a group of goddesses in Pound's room on the Rapallo hillside and then moves, via Mont Segur, to memories of Paris and Jean Cocteau. There follows a passage in which the poet recognises the Jewish authorship of the prohibition on usury found in Leviticus. Conversations in the camp are then cross-cut into memories of Provence and Venice, details of the American Revolution and further visions. These memories lead to a consideration of what has or may have been destroyed in the war. Pound remembers the moment in Venice when he decided not to destroy his first book of verse, A Lume Spento, an affirmation of his decision to become a poet and a decision that ultimately led to his incarceration in the DTC. The canto ends with the goddess,