passage. Pound writes of the decline of the sense of the spirit in painting from a high-point in Sandro Botticelli to the fleshiness of Rubens and its recovery in the 20th century as evidenced in the works of Marie Laurencin and others. This is set between two further references to Mont Segur. Pound/Odysseus is then saved from his sinking raft by Walt Whitman and Richard Lovelace as discovered in the anthology of poetry found in the camp toilet and the other prisoners are compared with Odysseus' crew, "men of no fortune". The canto then closes with two passages, one a pastiche of Browning, the other of Edward Fitzgerald's Rubaiyat of Omar Khayyam, lamenting the lost London of Pound's youth and an image of nature as designer. Canto LXXXI opens with a complex image that illustrates Pound's technical approach well. The opening line, "Zeus lies in Ceres bosom", merges the conception of Demeter, passages in previous cantos on ritual copulation as a means of ensuring fertility, and the direct experience of the sun (Zeus) still hidden at dawn by two hills resembling breasts in the Pisan landscape. This is followed by an image of the other mountain that reminded the poet of Taishan surrounded by vapors and surmounted by the planet Venus ("Taishan is attended of loves / under Cythera, before sunrise"). The canto then moves through memories of Spain, a story told by Basil Bunting, and anecdotes of a number of familiar personages and of George Santayana. At the core of this passage is the line "(to break the pentameter, that was the first heave)", Pound's comment on the "revolution of the word" that led to the emergence of Modernist poetry in the early years of the century. The goddess of love then returns after a lyric passage situating Pound's work in the great tradition of English lyric, in the sense of words intended to be sung. This heralds perhaps the most widely quoted passages in The Cantos, in which Pound expresses his realisation that "What thou lovest well remains, / the rest is dross" and an acceptance of the need for human humility in the face of the natural world that prefigures some of the ideas associated with the deep ecology movement. The opening of Canto LXXXII marks a return to the camp and its inmates. This is followed by a passage that draws on Pound's London memories and