in the form of a butterfly, leaving the poet's tent amid further references to Sappho and Homer. The main focus of Canto LXXVII is accurate use of language, and at its centre is the moment when Pound hears that the war is over. Pound draws on examples of language use from Confucius, the Japanese dancer Michio Itô, who worked with Pound and Yeats in London, a Dublin cab driver, Aristotle, Basil Bunting, Yeats, Joyce and the vocabulary of the U.S. Army. The goddess in her various guises appears again, as does Awoi's hennia, the spirit of jealousy from "AOI NO UE", a Noh play translated by Pound. The canto closes with an invocation of Dionysus (Zagreus). After opening with a glimpse of Mount Ida, an important locus for the history of the Trojan War, Canto LXXVIII moves through much that is familiar from the earlier cantos in the sequence: del Cossa, the economic basis of war, Pound's writer and artist friends in London, "virtuous" rulers (Lorenzo de' Medici, the emperors Justinian, Titus and Antoninus, Mussolini), usury and stamp scripts culminating in the Nausicaa episode from the Odyssey and a reference to the Confucian classic Annals of Spring and Autumn in which "there are no righteous wars". The moon and clouds appear at the opening of Canto LXXIX, which then moves on through a passage in which birds on the wire fence recall musical notation and the sounds of the camp and thoughts of Mozart, del Cossa and Marshal Pétain meld to form musical counterpoint. After references to politics, economics, and the nobility of the world of the Noh and the ritual dance of the moon-nymph in Hagaromo that dispels mortal doubt, the canto closes with an extended fertility hymn to Dionysus in the guise of his sacred lynx. Canto LXXX opens in the camp in the shadow of death and soon turns to memories of London, Paris and Spain, including a recollection of Walter Rummel, who worked with Pound on troubadour music before World War I and of Eliot, Lewis, Laurence Binyon and others. The canto is concerned with the aftermath of war, drawing on Yeats' experiences after the Irish Civil War as well as the contemporary situation. Hagoromo appears again before the poem returns to Beardsley, also in the shadow of death, declaring the difficulty of beauty with a phrase from Symons and Sappho/Homer's rosy-fingered dawn woven through the