While synchrony in Chinese is something inherent, the elimination of diachrony in The Cantos represents a human wrestling in the true sense. Complicated times, locations, characters and multiple foreign languages represent a required effort rather than a trick of showing off his profound learning. The only prominent feature is that no distinctions exist. The synchronic poetic sense is not merely a metaphysical game. What it touches on is exactly the absolute predicament of human existence.
Synchronic fate adds weight to diachronic experiences.
The synchronic has nowhere to go, which has been verified by the samsara of historical evolution. To sum up, the two dimensions act together to define a person. Contemporary Chinese poetry's leaping images, free sentence patterns, swift movements of poetic thought, rich layers of meaning and especially its creation of a spatial structure to take the place of linear description result not only from the influence of one or more modern literary trends from the West but also from the spatial-synchronic essence of the Chinese language. The best contemporary Chinese poets can directly confront the human condition of having no place to hide. The publication of the Chinese version of the Pisan Cantos in the 1990s was a major event for Chinese poets and for Pound.