“Ideograms thus have a kind of double focus, pointing to both the world of human activity and to the unchanging patterns of natural energy and fruition. Because POUND was convinced that signs granted by nature itself are infinitely richer than any conventional notation – “and from nature the sign:” (CII:730) – the ideogram assumed a privileged, almost sacred, value in his eyes. By its joining of cosmic order and human observation, the ideogram, like a religious icon, can induce calmness and meditation. It forces the read “to stop and reflect,” but it also compels the poet to go slowly, to draw each character with a care and patience that makes anger and bitterness impossible. The ideogram is a tangible sign of order in the cosmos, and its tracing is possible only when the hand holding the brush moves, for a few moments, in unbroken sympathy with that larger harmony. – Michael Bernstein, Page 158, the Language of the Tribe, The Tale of the Tribe (Ezra Pound and the Modern Verse Epic)
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