How does Ezra Pound use imagery in The Cantos?

Pounds use of imagery is not conveyed as coherent narratives, but rather, as details linked together imagistically. Canto 3, for instance, begins in Venice, where Pound "sat on the Dogana's steps / For the gondolas cost too much, that year." He muses on the appearance of Venice in 1908, talking about such specifics as the Buccentoro rowing club and the citizens "howling 'Stretti,'" a line from a popular song, but quickly moves to the baths at Baden, Switzerland, and from there to Burgos, Spain. These details are linked by images and concepts: the air and colors of Venice make Pound think of Tuscany, which makes him think of the ancient gods and nymphs. From that fleshy, earthly image he jumps to a Roman text about the baths where young women bathe nude. For Pound, the image was the basis of all poetry, and communicated not just a picture in the mind but "presents an intellectual and emotional complex in an instant of time," in his words of 1912.