The reader of the hypertext poem follows this conceptual accumulation in a series of referential flashes. This is the animation of the vortex. This is not to say that this way of understanding the poem is not available to text readers, but simply that hypertext serves to underscore the simultaneity of the moments when time, space, and culture are united, through its swift and flashing exploration of implicit meaning in the poem. He certainly made little effort to index or footnote the Cantos. This was probably due to his belief, inspired by Ernest Fenollosa and Allen Upward, that words themselves carry a primitive power.
All truth has to be expressed in sentences because all truth is the transference of power .
Pound was trying to refer to holistic concepts through the primitive power of the words and names themselves. It must be recognized that the failure of the Cantos is largely connected with the failure of this notion of the primitive power of words, and that Pound's attempt to illuminate his poetry by tapping into this power had rather the opposite effect of making the Cantos rather inscrutable. Though this hypertext version of Canto IV is regrettably limited to a sort of flashy footnoting, a hypertext that was true to the promise of the format would not be so. It would be part of a huge hypertext network of information. The importance is not only in the availability of a wide range reference, but the fact that these citations are leapt to within their entire texts.