Poem Analysis - Canto 45

Initial Impression and Tone

Ezra Pound's "Canto 45" is a powerful and impassioned critique of usury, the practice of lending money at exorbitant interest rates. The poem's tone is accusatory and urgent, with a sense of moral outrage permeating every line. The mood shifts from a lament for the artistic and cultural losses caused by usury to a stark condemnation of its destructive effects on society. The repetition of the word "usura" (the Italian word for usury) drives home the central theme and creates a rhythmic, almost incantatory effect.

Historical and Social Context

Ezra Pound, an American expatriate poet, wrote this canto during his time in Italy, where he was deeply influenced by the country's rich artistic and cultural heritage. The poem reflects his belief that usury stifles creativity and economic productivity, leading to cultural and social decay. Pound's economic views, which were controversial and later led to his downfall, are evident in his condemnation of usury as a force that corrupts and destroys.

The Destructive Power of Usury

One of the main themes of "Canto 45" is the destructive power of usury. Pound uses vivid imagery to illustrate how usury corrupts and destroys various aspects of society. He describes how usury prevents the creation of beautiful and enduring art, as seen in the lines "no picture is made to endure nor to live with but it is made to sell and sell quickly." This theme is reinforced by the mention of famous artists who did not rely on usury, such as Duccio, Piero della Francesca, and Giovanni Bellini. The repetition of "came not by usura" emphasizes the idea that true art cannot flourish under the influence of usury.

The Corruption of Nature and Society

Another key theme is the corruption of nature and society by usury. Pound uses the phrase "sin against nature" to highlight the unnatural and destructive effects of usury. He describes how usury leads to the degradation of basic necessities, such as bread, and prevents the development of skills and crafts. The lines "Usura rusteth the chisel It rusteth the craft and the craftsman It gnaweth the thread in the loom" illustrate how usury corrodes both the tools and the skills of artisans. This theme is further developed in the final section of the poem, where Pound condemns usury for bringing "whores for Eleusis" and setting "corpses to banquet," suggesting a perversion of sacred rituals and a desecration of life.

The Symbolism of Craft and Art

A recurring symbol in the poem is the craft and art of various trades, such as stonecutting, weaving, and painting. These symbols represent the creative and productive potential of society, which is stifled by usury. The mention of specific artists and their works, such as "La Calunnia" by Sandro Botticelli and the church of Saint Trophime, serves as a reminder of the cultural achievements that could be lost or never realized due to the corrupting influence of usury. The vivid image of the "needle in the maid's hand" and the "spinner's cunning" highlights the delicate and intricate nature of these crafts, which are threatened by the blunt and destructive force of usury.

Conclusion

"Canto 45" is a scathing indictment of usury and its destructive effects on society. Through vivid imagery and powerful symbolism, Pound illustrates how usury corrupts and destroys the creative and productive potential of individuals and communities. The poem serves as a call to recognize and resist the harmful influence of usury, in order to preserve and nurture the cultural and artistic heritage of society. The final lines of the poem, with their stark and disturbing imagery, underscore the urgent need for this resistance, as usury threatens to bring "whores for Eleusis" and set "corpses to banquet," perverting the sacred and desecrating the living.