canto also refers to Dante's vision of philosophers that reveal themselves as light in the Paradiso. In Canto CVIII, Pound highlights Coke's view that minting coin "Pertain(s) to the King onely" and has passages on sources of state revenue. He also draws a comparison between Coke and Iong Cheng. A similar parallel between Coke and the author of the Book of the Eparch is highlighted in Canto CIX. The canto and section end with a reference to the following lines from the second canto of the Paradiso— O voi che siete in piccioletta barca, desiderosi d’ascoltar, seguiti dietro al mio legno che cantando varca, tornate a riveder li vostri liti: non vi mettete in pelago, ché forse, perdendo me, rimarreste smarriti. —which read, in the translation by Charles Eliot Norton, "O ye, who are in a little bark, desirous to listen, following behind my craft which singing passes on, turn to see again Your shores; put not out upon the deep; for haply losing me, ye would remain astray." This reference signalled Pound's intent to close the poem with a final volume based on his own paradisiacal vision. Drafts and fragments of Cantos CX–CXVII First published as Drafts and Fragments of Cantos CX–CXVII. New York: New Directions, 1969. In 1958, Pound was declared incurably insane and permanently incapable of standing trial. Consequent on this, he was released from St Elizabeth's on condition that he return to Europe, which he promptly did. At first, he lived with his daughter Mary in the Tyrol, but soon returned to Rapallo. In November 1959, Pound wrote to his publisher James Laughlin (speaking in the third person) that he "has forgotten what or which politics he ever had. Certainly has none now". His crisis of belief, together with the effects of aging, meant that the proposed paradise cantos were slow in coming and turned out to be radically different from anything the poet had envisaged. Pound was reluctant to publish these late cantos, but the appearance in 1967 of a pirate edition of Cantos 110–116 forced his hand. Laughlin pushed Pound to publish an authorised edition, and the poet responded by supplying the more-or-less abandoned drafts and fragments he had, plus two fragments dating from 1941. The resulting book, therefore, can hardly be described as representing Pound's definitive planned ending to the poem. This situation has been further complicated by the addition of more fragments