the canto consists of quotations from Adams' writings on the legal basis for the Revolution, including citations from Magna Carta and Coke and on the importance of trial by jury (per pares et legem terrae). Canto LXVII opens with a passage on the limits on the powers of the British monarch drawn from Adams' writings under the pseudonym Novanglus. The rest of the canto is concerned with the study of government and with the requirements of the franchise. The following canto, LXVIII, begins with a meditation on the tripartite division of society into the one, the few and the many. A parallel is drawn between Adams and Lycurgus, king of Sparta. Then the canto returns to Adams' notes on the practicalities of funding the war and the negotiation of a loan from the Dutch. Canto LXIX continues the subject of the Dutch loan and then turns to Adams' fear of the emergence of a native aristocracy in America, as noted in his remark that Jefferson feared rule by "the one" (monarch or dictator), while he, Adams, feared "the few". The remainder of the canto is concerned with Hamilton, James Madison and the affair of the assumption of debt certificates by Congress which resulted in a significant shift of economic power to the federal government from the individual states. Canto LXX deals mainly with Adams' time as vice-president and president, focusing on his statement "I am for balance", highlighted in the text by the addition of the ideogram for balance. The section ends with Canto LXXI, which summarises many of the themes of the foregoing cantos and adds material on Adams' relationship with Native Americans and their treatment by the British during the Indian Wars. The canto closes with the opening lines of Epictetus' Hymn of Cleanthus, which Pound tells us formed part of Adams' paideuma. These lines invoke Zeus as one "who rules by law", a clear parallel to the Adams presented by Pound. LXXII–LXXIII (The Italian Cantos) Written between 1944 and 1945. These two cantos, written in Italian, were not collected until their posthumous inclusion in the 1987 revision of the complete text of the poem. Pound reverts to the model of Dante’s Divine Comedy and casts himself as conversing with ghosts from Italy’s remote and recent past. In Canto LXXII, imitative of Dante’s tercets (terza rima), Pound meets the recently dead Futurist writer Filippo Tommaso Marinetti, and they