in editions of the complete poem published after the poet's death. One of these was labelled "Canto CXX" at one point, on no particular authority. This title was later removed. Although some of Pound's intention to "write a paradise" survives in the text as we have it, especially in images of light and of the natural world, other themes also intrude. These include the poet's coming to terms with a sense of artistic failure, and jealousies and hatreds that must be faced and expiated. Canto CX opens with a pun on the word wake, conflating the wake of the little boat from the end of the previous canto and an image of Pound waking in his daughter's house in the Tyrol, both from sleep and, by extension, from the nightmare of his prolonged incarceration. The goddess appears as Kuanon, Artemis and Hebe (through her characteristic epithet Kallistragalos, "of fair ankles"), the goddess of youth. The Buddhist painter Toba Sojo represents directness of artistic handling. The Noh figure of Awoi (from AOI NO UE), ravaged by jealousy, reappears together with the poet Ono no Komachi, the central character in two more Noh plays translated by Pound. She represents a life spent meditating on beauty which resulted in vanity and ended in loss and solitude. The canto draws to a close with the phrase Lux enim ("light indeed") and an image of the oval moon. Pound's "nice, quiet paradise" is seen, in the notes for Canto CXI, to be based on serenity, pity, intelligence and individual acceptance of responsibility as illustrated by the French diplomat Talleyrand. This theme is continued in the short extract titled from Canto CXII, which also draws on the work of the anthropologist and explorer Joseph F. Rock in recording legends and religious rituals from China and Tibet. Again, this section of the poem closes with an image of the moon. Canto CXIII opens with an image of the sun moving through the zodiac, the first of a number of cycle images that occur through the canto, recalling a line from Pound's version of AOI NO UE: "Man's life is a wheel on the axle, there is no turn whereby to escape". A reference to Marcella Spann, a young woman whose presence in the Tyrol further complicated the already strained relationships between the poet, his wife Dorothy and his lover Olga Rudge, casts further light on the recurrent