rge and that poetry exists as proof. Pound insists that poetry itself is the bridge between the abstract and the concrete.
Canto LXXX begins conversationally, as many of the Cantos do. The voice speaking, ambiguously identified as "Mr. A. Little or perhaps Mr. Nelson, or Washington" (Pound, Canto LXXX 507) is one of Pound's fellow inmates of the D.T.C. mulling over why he is incarcerated (Terrell 429). However, the reader might also detect Pound's sympathies underneath. The colloquial tone, combined with Pound's intellect and the gravity of the treason charge against Pound create an ironic context around the statement that it's "jes a slaight misdemeanor" (Pound 57). The reader has an introductio
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