jealousy theme. The phrase "Syrian onyx" lifted from his 1919 Homage to Sextus Propertius, where it occurs in a section that paraphrases Propertius' instructions to his lover on how to behave after his death, reflects the elderly Pound's sense of his own mortality. The theme of hatred is addressed directly at the opening of Canto CXIV, where Voltaire is quoted to the effect that he hates nobody, not even his archenemy Elie Fréron. The remainder of this canto is primarily concerned with recognising indebtedness to the poet's genetic and cultural ancestors. The short extract from Canto CXV is a reworking from an earlier version first published in the Belfast-based magazine Threshold in 1962 and centres around two main ideas. The first of these is the hostilities that existed amongst Pound's modernist friends and the negative impact that it had on all their works. The second is the image of the poet as a "blown husk", again a borrowing from the Noh, this time the play Kakitsubata. Canto CXVI was the last canto completed by Pound. It opens with a passage in which we see the Odysseus/Pound figure, homecoming achieved, reconciled with the sea-god. However, the home achieved is not the place intended when the poem was begun but is the terzo cielo ("third heaven") of human love. The canto contains the following well-known lines: I have brought the great ball of crystal; Who can lift it? Can you enter the great acorn of light? But the beauty is not the madness Tho' my errors and wrecks lie about me. And I am not a demigod, I cannot make it cohere. This passage has often been taken as an admission of failure on Pound's part, but the reality may be more complex. The crystal image relates back to the Sacred Edict on self-knowledge and the demigod/cohere lines relate directly to Pound's translation of the Women of Trachis. In this, the demigod Herakles cries out "WHAT SPLENDOUR / IT ALL COHERES" as he is dying. These lines, read in conjunction with the later "i.e. it coheres all right / even if my notes do not cohere", point toward the conclusion that towards the end of his effort, Pound was coming to accept not only his own "errors" and "madness" but the conclusion that it was beyond him, and possibly beyond poetry, to do justice to the coherence of the universe. Images of