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The Spirit of Romance (1910) embodied Ezra Pound's reaction against a current of Romance philology prevailing in his day—a positivistic discipline that used texts as artifacts in the ultimate service of newly constructed national ideologies and literary canons. Throughout the rise of nationalism in the late nineteenth and early twentieth centuries, European countries began defining their modern histories. They consolidated a cultural identity, defined in part through national texts purported to reflect essential and transcendent qualities of the nation, and created rivalries both among their own inhabitants and with neighboring nations. Pound tried to free philology from this type of divisive service by defining himself not as a direct descendent of British or American philologies, but of Dante's philology instead—a discipline based on the intrinsic value of the literary work regardless of temporal constraint or national affiliation.
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