draw on the Book of the Council Major in Venice and Pound's personal memories of the city. Anecdotes on Titian and Mozart deal with the relationship between artist and patron. Canto XXVII returns to the Russian Revolution, which is seen as being destructive, not constructive, and echoes the ruin of Eblis from Canto VI. XXVIII returns to the contemporary scene, with a passage on transatlantic flight. The last two cantos in the series return to the world of "clear song". In Canto XXIX, a story from their visit to the Provençal site at Excideuil contrasts Pound and Eliot on the subject of Christianity, with Pound implicitly rejecting that religion. Finally, the series closes with a glimpse of the printer Hieronymus Soncinus of Fano preparing to print the works of Petrarch. XXXI–XLI (XI New Cantos) Published as Eleven New Cantos XXXI–XLI. New York: Farrar & Rinehart Inc., 1934. The first four cantos of this volume (Cantos XXXI–XXXVI) quote extensively from the letters and other writings of Jefferson, John Adams, John Quincy Adams, Andrew Jackson, Martin Van Buren and others to deal with the emergence of the fledgling United States and, particularly, the American banking system. Canto XXXI opens with the Malatesta family motto Tempus loquendi, tempus tacendi ("a time to speak, a time to be silent") to link again Jefferson and Sigismondo as individuals and the Italian and American "rebirths" as historical movements. Canto XXXV contrasts the dynamism of Revolutionary America with the "general indefinite wobble" of the decaying aristocratic society of Mitteleuropa. This canto contains some distinctly unpleasant expressions of anti-Semitic opinions. Canto XXXVI opens with a translation of Cavalcanti's canzone Donna mi pregha ("A lady asks me"). This poem, a lyric meditation of the nature and philosophy of love, was a touchstone text for Pound. He saw it as an example of the post-Montsegur survival of the Provençal tradition of "clear song", precision of thought and language, and nonconformity of belief. The canto then closes with the figure of the 9th-century Irish philosopher and poet John Scotus Eriugena, who was an influence on the Cathars and whose writings were condemned as heretical in both the 11th and 13th centuries. Canto XXXVII then turns to Jackson, Van Buren, Nicholas Biddle, Alexander Hamilton and the Bank War and also contains a reference to the Peggy Eaton affair. Canto XXXVIII opens with a quotation from Dante in which he accuses Albert of