Although readers may disagree as to the kinds of groupings one can find in The Cantos, almost everyone will recognize that cantos VIII through XI form a distinct unit, unified by their preoccupation with the deeds and exploits of Sigismondo Malatesta, an Italian prince of the Renaissance, Lord of Rimini during the middle years of the 15th Century. By almost all accounts Sigismondo (or Sigismundo, as Pound spelled the name) was a much detested figure, although his infamous reputation can be traced to Pope Pius II's description of his exploits in Pius' Commentaries which Pound cites. Posterity has taken Pius' cue; he has been almost universally denounced by historians. (p. 107)
Pound's evocation of Sigismondo's world is different. He wants us to feel Sigismondo in our bones, see what he saw, participate vicariously in what he did. This means seeing the man through his words, through his works, through the "stuff" he has left for posterity. As Hugh Kenner shows us [in The Pound Era], there are two dominating symbols in the Malatesta Cantos: the "post-bag" which contains correspondence to and from Sigismondo and his peers, and the Tempio, that strange, unfinished monument to his ego that he built at Rimini. The former represents Sigismondo's present, the intrigues, squabbles, jealousies, love-affairs, battles, etc. that occupied his life. The latter is "what remains" of the man for us to see today: the Tempio Malatestiano in Rimini, half church, half personal monument, "which yet survives." Like Shelley's statue of Ozymandias whose shattered hulk conjures a world for us in the desert, the carved stone of the Tempio embodies Sigismondo's world for our present.
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