light saturate this canto, culminating in the closing lines: "A little light, like a rushlight / to lead back to splendour". These lines again echo the Noh of Kakitsubata, the "light that does not lead on to darkness" in Pound's version. This final complete canto is followed by the two fragments of the 1940s. The first of these, "Addendum for C", is a rant against usury that moves a bit away from the usual anti-Semitism in the line "the defiler, beyond race and against race". The second is an untitled fragment that prefigures the Pisan sequence in its nature imagery and its reference to Jannequin. Notes for Canto CXVII et seq. originally consisted of three fragments, with a fourth, sometimes titled Canto CXX, added after Pound's death. The first of these has the poet raising an altar to Bacchus (Zagreus) and his mother Semele, whose death was as a result of jealousy. The second centres on the lines "that I lost my center / fighting the world", which were intended as an admission of mistakes made as a younger man. The third fragment is the one that is also known as Canto CXX. It is, in fact, some rescued lines from the earlier version of Canto CXV, and has Pound asking forgiveness for his actions from both the gods and those he loves. The final fragment returns to beginnings with the name of François Bernonad, the French printer of A Draft of XVI Cantos. After quoting two phrases from Bernart de Ventadorn's Can vei la lauzeta mover, a poem in which the speaker determines to abandon love because he has been rejected, the fragment closes with the line "To be men, not destroyers." This stood as the close of The Cantos until later editions appended the two Italian cantos LXXII and LXXIII and a brief dedicatory fragment addressed to Olga Rudge. ControversyThe Cantos has always been controversial; initially so because of the experimental nature of the writing. The controversy has intensified since 1940 when Pound's public approval for Mussolini's fascism became widely known. Much critical discussion of the poem has focused on the relationship between, on the one hand, the economic thesis on usura, Pound's anti-Semitism, his adulation of Confucian ideals of government and his attitude towards fascism, and, on the other, passages of lyrical poetry and the historical scene-setting that he performed with his "ideographic" technique. At one extreme,