tis
willingness
to struggle with the bureaucracy [GK, 229, 249].
A-Companion-to-the-Cantos-of-Ezra-Pound-II
Ecbatan: [4:32].
City of "Dioce whose terraces are the color of stars" [74:8].
It was built on a hill and surrounded by 7 walls, each one higher than the other; the 6th wall was silver and the 7th, which con- tained the palace of the king, was gold.
21. Anubis: The Egyptian jackal god-his home was. the cosmic mountain-who guarded the "tent of the ? ritual resurrection known as Osirification" [B de R, Approaches, 178]. Pound evoked Anubis in an early poem, "Before Sleep" [P, 147]. The "cel- lula" corresponds to the sanctum sanctorum of temples [Miyake, Pai, 7-1 & 2, 110].
22. Mont Segur: P, "Secure Mountain" [23:25; 80:316].
23. Sanctus: L, "Consecrated. "
24. no blood: ~~To what purpose is the mul- titude of your sacrifices unto me? saith the Lord. . . . I delight not in the blood of bul- locks [Isaiah 1. 11] .
25. ex aquis nata: L, "born out of water. " Ref. to Aphrodite.
26. 7(; . . . 'YE"O/lE"CI. : H, "the birth out of the waters. "
27. "in . . . appresso": I, "in this
by" [Par. IX, 112-113]. Taken from lines that read, "you would like to know who is in this light that nearby me here sparkles like the sun's ray in clear water. " The speaker is Rehab [Joshua 2. 1-24], the redeemed pros- titute who was the Israelite spy [JW].
28. Folquet: Folco of Marseille, 1150-1232, a writer of troubadour love songs who later
became bishop of Toulouse. He was reviled in the Chanson de la croisade for persecuting heretics. Dante placed him in his third heav- en [Par. IX, 80-142] because he was a poet
[JW].
29. nel terzo cielo: I, "in the third heaven. "
30. "And if . . . thought": Repeat of Venta- darn lines [20:3].
31. Coeli Regina: I, "Queen of Heaven. " The name of several churches and numerous paintings dedicated to the Virgin.
32. four altars: Perhaps the Santa Maria in Aracoeli in Rome is that place, but a number of places might qualify.
33. farfalla in tempesta: I, "butterfly in storm. " Recall of lines [Pur. X, 125] where the soul on the way to the beatific vision is likened in difficulty to a worm seeking the form of an "angelic butterfly" [74:68; 90:49; Frags. 38, 39].
certain
ambi-
. . .
the sentinel? Or did I not cover the sen- tinel ? "
10. "Gran dispitto": I, "Great contempt" [In! X, 36]. Said by Farinata degli Uberti [91: 75] . Here indicating the tone of voice of the questions in Italian.
11. "A chi stima . . . ronore assai": I, "to rum who esteem . . . honor enough. " From postscript by Guicciardini to Pound's Confu- cius: "Nothing is impossible to him who holds honor in sufficient esteem" [CON,
188].
12. Guicciardini: Francesco G. , 1483- 1540, the scion of one of the greatest Flor- entine families. Although trained in the law, he started his lifelong work as a writer with The History o f Florence and The History o f Italy. But he was a man of action too: he was ambassador to Spain, governor of Mod- ena and Reggio, president of Romagna, lieu- tenant general of the papal forces in the League of Cognac, and governor of Bologna. A contemporary of Machiavelli, he was a supporter of the Medici power in Florence and instrumental in selecting Cosino de' Medici to succeed Alessandro after his assas- sination [5:33,43,45].
9. Signori
sentinella:
I, "Sirs,
did I cover
34. Nymphalidae: butterflies.
A family
o f
handsome
35. basilarch. _. erynnis: Each of the names is a genus of the family of Nymphalidae. Since the natural object is the adequate sym- bol, Pound wants to convey the qualities of different souls aspiring to reach paradise.
36. il tremolar . . . : I, "the trembling of the sea" [Pur. I, 116-/17]. The end of a line that starts: "from afar [di lontans] I heard. " From the dawn scene marking the first sight
light near-
? 558
92/620-621
92/621-622
of light after the pilgrim's ascent from Hell [JW].
37. chh . . . ch'u: Onomatopoetic sounds of the sea.
38. "fui . . . refulgo": I, "I was called and here I glow" [Par. IX, 32]. Cunizza da Ro? mana [29: 14; 76: 16] is speaking in the third heaven of Venus.
39. Le Paradis . . . : F, "Paradise is not ficti- tious," meaning that it is real and around us always [Neault,Pai, 4? 1, 35].
40. Hilary: Hilary of Poiliers [95:72]. Pound lists "The church of St. Hilaire in Poitiers" first in a list of art works that manifest degrees of light in "black festering darkness" [SP,265].
41. improvisatore: I, "improviser,"
42. Omniformis: L, "every shape" [23:1].
43. Pontifex: Pontifex Maximus, the high priest of the Pontifical College in ancient Rome [89:79].
44. Margarethe: Queen Margherita of Savoy [86:5].
45. Uncle Carlo: Carlo De1croix [cf. 49 below].
46. Rimini bas? reliefs: [8:43; HK, Era, 253]. Sigismundo's "clean? up" of the pre? vailing art modes by his work at the Tempio seems implied.
47. Semele: Mother of Bacchus (Dionysus) by Jupiter. By the trickery' of Juno, she was led to exact a promise from Jupiter that he would come to her in all his splendor. Since he swore by the river Styx, he had to so appear. The immortal radiance reduced her to ashes.
SO. un ministro: I, "a minister. "
51. les soc / anonymes: F, "anonymous so- cieties": massive impersonal corporations.
52. Bottai: Guiseppi B. , secretary of the ministry of corporations, 1927? 1932. He helped draft the Carta del Lavoro that de? fined working norms for the state. From 1936 to the collapse of the government, he was minister of education. He is cited here for his quick phone call to Turin to help Pound get the Vivaldi manuscripts [JW] .
53. instanter: L, "sudden. "
54. Torino: Count di T.
55. Vivaldi: Antonio V. , ca. 1675? 1743. Pound and Olga Rudge helped to popularize his concerti and, even more, assisted in re- trieving drafts of his compositions from Dresden before their destruction by WWII bombs.
56. ministri: I, "ministers. "
57. Marinetti: Filippo Tommaso M. , 1876? 1944. He fought in Russia during WWI and was a political activist as well as a primary figure in the futurist movement. Pound men- tioned him among the avant-garde in art
during the 30s [SP, 396, 456, 459].
58. Hans Sachs: German meistersinger (1494? 1576) and leading poet of the Nurem? berg schoo! . Although a shoemaker by trade, he educated himself, became master of his guild, and wrote 6000 songs, fables, and tales as well as 208 plays.
59. Schnitz Brandt: Hermann Carl George B. , a professor at Hamilton nick- named "Schnitz" ("Slice") by students.
64. Y ang tse: The Y ellow River, which to flood seasonally [53: 116].
used
48. "10 porto blindness. "
. . .
la
cecita:
1,
"I
carry
the
49. Delcroix: Carlo D. [88:46]. He was blinded in the Fascist struggle. His work for war veterans was made difficult by the "Two evils": usury and theft. His will to act is indicated by !
tis willingness to struggle with the bureaucracy [GK, 229, 249].
60. "war ein . . . dazu": G, "was a maker and a poet as wei! . " Pound liked poets who were good and careful craftsmen.
61. the armada: Return to Drake and sea battles [91:21].
62. 300 years: Reina [91:4,5].
63. Nein! . . . Wolken: G, "No! but in clouds. "
Boris de Rachewiltz [B de R], Massime degli antichi Egiziani, Milan, 1954, and II Libra Egizio degli Inferi, Rome, 1959; Ber? nart de Ventadorn, "Tant a1 rno cor pIe de joya," no. 44, Appel, 1915,260? 263: Dante,Inf. XX, XXVII, Par. III, V, Pur. XXVII, Convivio [Conv. ]; EP, LUstra, 196.
Background
EP, SP, 452-457, 28, 25, 47? 52; SR, 80. Boris de Rachewlltz [B de R], "Pagan and Magic Elements," in EH, Approaches, 174? 197; E. A. Wallis Budge, A History of Egypt, Vo! . III, Netherlands, 1968; Eustace Mullins, This Difficult Individual, Ezra Pound [EM, Difficult]; M de R. Discretions, 151; Allan Wade, ed. , The Letters of W. B. Yeats, New York, 1955.
Exegeses
JW, Pai, 2? 2, 183? 187; J. Neault, Pai, 4? 1,7,28; M de R, Discre?
tions, 113? 114; NS, Reading, 96? 102; HK, Era, 364; BK, Pai, 5? 1, 214; EH, Pai, 2? 1, 143; CE, Ideas 157? 158; CB? R, ZBC, 32, 140? 143; HK, Era, 338? 339, 530? 531; MB, Trace, 310? 324; Timothy Materer, "Ez to WynDAMN," in Helix, 13/14 (this double issue is devoted to Ezra Pound).
shoe-
65. 25 hundred: Figure seems to derive from Anters time [93:4]. And the "2 thou? sand years" from the time of Christ.
66. Apollonius: [91 :9; 94:42].
67. Erigena: One of the most important light? p! tilosophers [74:90], as are the others listed here.
68.
69. Richardus: [85:52].
Avicenna:
[93 :48].
70. Hilary: [Cf. 40 above].
71. brown . . . sweat: Reference Raphaelite painting, with its blurred lines and shadows.
72. cannon . . . opium: The British purpor- tedly trained the Chinese to use opium and developed a lucrative trade in it during their 19th? century occupation of China.
73. Portagoose: Portuguese [89:238].
74. Ari: Aristotle [87:26]. The "common custom" is the formation of monopolies.
CANTO XCIII
Sources
to post-
559
? 560
93/623
93/623-625
561
1. "A man's . . . ": Trans. of the Egyptian hieroglyphics provided to Pound by his son? in-law, Boris de Rachewiltz. Pound was much elated to discover such secular wisdom recorded so early in history [B de R, in EH, Approaches, 178] .
2. Kati: King Khati, an Egyptian ruler Pound encountered in a book by his son- in? law [ibid. ].
3. "pauis angelicus": L, "angel-bread. " From Dante's Convivio 1. 1, 50? 102 [cf. 60 below1,where the writer promises to distrib- ute the never-diminishing bread of angels among his readers, in keeping with the NeD- platonic tenet that the good always increases [JW]. Also, common phrase for the com? munion wafer.
4. Antef: A minister "in the reign of Sesas- tris I (12th dynasty, ca. 1970? 1936 B. C. )," who purportedly said, "Give bread to the hungry, beer to the thirsty" [cf. RO, Pai, 6? 2,181].
5. two 1/2s of a seal: [77:56]. The first half is the "panis angelicus" and the second is Anters compassion for the destitute.
6. his own mind: A musical figure evoking Tiresias [80:30] and Odysseus, whose mind was such that the gods said "he must be one of us" [L, 270].
7. K&6f. wv . . . : H, "daughter of Cadmus" [91 :88].
8. Apollonius: [94:42].
9. arcivescovo: I, "archbishop. " Archbishop Pisani [97:200]. Pound and his daughter Mary visited him at Rome before WWIl. The next several lines concern his kind act of giving the child a roll of chocolates [M de R, Discretions, 113? 114].
10. "La Tour": F, "The ToweL" A picture of a painting by Georges de la Tour on a box of Gianduja chocolates the archbishop gave to Mary. The box and the painting together suggest a cornucopia.
11. Augustine: St. Augustine [16:6]. It seems that the two lines are a detail from a story the archbishop told as the three walked from St. Peter's toward their car? rozza.
12. The Pope: Augustine's conversion took place in 387. In 391 he moved to Hippo and in 395 became auxiliary bishop there. Since his most significant works, The Confessions (ca. 400) and The City of God (later than 412), were done after 395, the pope with whom he had such a dialog would most likely be St. Siricius (384? 399), Anastasius (399A01), or Innocent I (40IA17).
13. St Peter's: M de R wrote: "The [jrst visit was to St. Peter's. "
14. carrozza: I, "carraige. " Wrote Mary: "It was a short walk to the carrozza. " After- wards, she received the gift.
15. internal horrors: Prob. referring to churches with interior design and art of the ersatz variety.
16. Santa Sabina: I, "Saint Sabine," a church in Rome: one of the best examples of good architecture.
17. San Domenico: I, "Saint Dominic" [44:9]. A church Pound was fond of at Siena. Wrote M de R: "His favorite walk was to Fontebranda and then up to San Dome?
nico" [ibid. , 133].
18. Hyksos: Asiatic invaders of Egypt around 2100 B. C. The Egyptologist Budge wrote: "The Hyksos destroyed much, but what they left undestroyed the native Egyp? tians neglected; through these causes the condition of the country was lamentable"
[Egypt, III, 190; Neault, Pai, 4? 1, 28]. A later ruler, Amasis I, started to restore the temples of the gods and to this end "had the quarries of Tura reopened, in order that 'good stone' might be hewed therein for the buildings" [ibid. ].
19. butchers . . . : [87/573].
22. "The waves . . .
tion of a Japanese haiku which he used in 1937 to illustrate the third element that is always suggested by two present. The haiku concerned a war hero. Here the waves and moonlight evoke a "you" that refers to the "Ondine" [SP,453].
23. Old GrinelI: Prob. a Pound acquaintance of his London years, when he was first inter- ested in Japanese verse forms.
24. Olibanum: [2:20]. Frankincense, sacred to Dionysus [cf. 35 below].
25. "non fosse cive": I, "were not a citizen" [Par. VIII, 116]. In this scene Charles Martel asks Dante: "But tell me-would it be worse for man on earth, if he wasn't a citizen?
21. Anubis: The Egyptian jackal god-his home was. the cosmic mountain-who guarded the "tent of the ? ritual resurrection known as Osirification" [B de R, Approaches, 178]. Pound evoked Anubis in an early poem, "Before Sleep" [P, 147]. The "cel- lula" corresponds to the sanctum sanctorum of temples [Miyake, Pai, 7-1 & 2, 110].
22. Mont Segur: P, "Secure Mountain" [23:25; 80:316].
23. Sanctus: L, "Consecrated. "
24. no blood: ~~To what purpose is the mul- titude of your sacrifices unto me? saith the Lord. . . . I delight not in the blood of bul- locks [Isaiah 1. 11] .
25. ex aquis nata: L, "born out of water. " Ref. to Aphrodite.
26. 7(; . . . 'YE"O/lE"CI. : H, "the birth out of the waters. "
27. "in . . . appresso": I, "in this
by" [Par. IX, 112-113]. Taken from lines that read, "you would like to know who is in this light that nearby me here sparkles like the sun's ray in clear water. " The speaker is Rehab [Joshua 2. 1-24], the redeemed pros- titute who was the Israelite spy [JW].
28. Folquet: Folco of Marseille, 1150-1232, a writer of troubadour love songs who later
became bishop of Toulouse. He was reviled in the Chanson de la croisade for persecuting heretics. Dante placed him in his third heav- en [Par. IX, 80-142] because he was a poet
[JW].
29. nel terzo cielo: I, "in the third heaven. "
30. "And if . . . thought": Repeat of Venta- darn lines [20:3].
31. Coeli Regina: I, "Queen of Heaven. " The name of several churches and numerous paintings dedicated to the Virgin.
32. four altars: Perhaps the Santa Maria in Aracoeli in Rome is that place, but a number of places might qualify.
33. farfalla in tempesta: I, "butterfly in storm. " Recall of lines [Pur. X, 125] where the soul on the way to the beatific vision is likened in difficulty to a worm seeking the form of an "angelic butterfly" [74:68; 90:49; Frags. 38, 39].
certain
ambi-
. . .
the sentinel? Or did I not cover the sen- tinel ? "
10. "Gran dispitto": I, "Great contempt" [In! X, 36]. Said by Farinata degli Uberti [91: 75] . Here indicating the tone of voice of the questions in Italian.
11. "A chi stima . . . ronore assai": I, "to rum who esteem . . . honor enough. " From postscript by Guicciardini to Pound's Confu- cius: "Nothing is impossible to him who holds honor in sufficient esteem" [CON,
188].
12. Guicciardini: Francesco G. , 1483- 1540, the scion of one of the greatest Flor- entine families. Although trained in the law, he started his lifelong work as a writer with The History o f Florence and The History o f Italy. But he was a man of action too: he was ambassador to Spain, governor of Mod- ena and Reggio, president of Romagna, lieu- tenant general of the papal forces in the League of Cognac, and governor of Bologna. A contemporary of Machiavelli, he was a supporter of the Medici power in Florence and instrumental in selecting Cosino de' Medici to succeed Alessandro after his assas- sination [5:33,43,45].
9. Signori
sentinella:
I, "Sirs,
did I cover
34. Nymphalidae: butterflies.
A family
o f
handsome
35. basilarch. _. erynnis: Each of the names is a genus of the family of Nymphalidae. Since the natural object is the adequate sym- bol, Pound wants to convey the qualities of different souls aspiring to reach paradise.
36. il tremolar . . . : I, "the trembling of the sea" [Pur. I, 116-/17]. The end of a line that starts: "from afar [di lontans] I heard. " From the dawn scene marking the first sight
light near-
? 558
92/620-621
92/621-622
of light after the pilgrim's ascent from Hell [JW].
37. chh . . . ch'u: Onomatopoetic sounds of the sea.
38. "fui . . . refulgo": I, "I was called and here I glow" [Par. IX, 32]. Cunizza da Ro? mana [29: 14; 76: 16] is speaking in the third heaven of Venus.
39. Le Paradis . . . : F, "Paradise is not ficti- tious," meaning that it is real and around us always [Neault,Pai, 4? 1, 35].
40. Hilary: Hilary of Poiliers [95:72]. Pound lists "The church of St. Hilaire in Poitiers" first in a list of art works that manifest degrees of light in "black festering darkness" [SP,265].
41. improvisatore: I, "improviser,"
42. Omniformis: L, "every shape" [23:1].
43. Pontifex: Pontifex Maximus, the high priest of the Pontifical College in ancient Rome [89:79].
44. Margarethe: Queen Margherita of Savoy [86:5].
45. Uncle Carlo: Carlo De1croix [cf. 49 below].
46. Rimini bas? reliefs: [8:43; HK, Era, 253]. Sigismundo's "clean? up" of the pre? vailing art modes by his work at the Tempio seems implied.
47. Semele: Mother of Bacchus (Dionysus) by Jupiter. By the trickery' of Juno, she was led to exact a promise from Jupiter that he would come to her in all his splendor. Since he swore by the river Styx, he had to so appear. The immortal radiance reduced her to ashes.
SO. un ministro: I, "a minister. "
51. les soc / anonymes: F, "anonymous so- cieties": massive impersonal corporations.
52. Bottai: Guiseppi B. , secretary of the ministry of corporations, 1927? 1932. He helped draft the Carta del Lavoro that de? fined working norms for the state. From 1936 to the collapse of the government, he was minister of education. He is cited here for his quick phone call to Turin to help Pound get the Vivaldi manuscripts [JW] .
53. instanter: L, "sudden. "
54. Torino: Count di T.
55. Vivaldi: Antonio V. , ca. 1675? 1743. Pound and Olga Rudge helped to popularize his concerti and, even more, assisted in re- trieving drafts of his compositions from Dresden before their destruction by WWII bombs.
56. ministri: I, "ministers. "
57. Marinetti: Filippo Tommaso M. , 1876? 1944. He fought in Russia during WWI and was a political activist as well as a primary figure in the futurist movement. Pound men- tioned him among the avant-garde in art
during the 30s [SP, 396, 456, 459].
58. Hans Sachs: German meistersinger (1494? 1576) and leading poet of the Nurem? berg schoo! . Although a shoemaker by trade, he educated himself, became master of his guild, and wrote 6000 songs, fables, and tales as well as 208 plays.
59. Schnitz Brandt: Hermann Carl George B. , a professor at Hamilton nick- named "Schnitz" ("Slice") by students.
64. Y ang tse: The Y ellow River, which to flood seasonally [53: 116].
used
48. "10 porto blindness. "
. . .
la
cecita:
1,
"I
carry
the
49. Delcroix: Carlo D. [88:46]. He was blinded in the Fascist struggle. His work for war veterans was made difficult by the "Two evils": usury and theft. His will to act is indicated by !
tis willingness to struggle with the bureaucracy [GK, 229, 249].
60. "war ein . . . dazu": G, "was a maker and a poet as wei! . " Pound liked poets who were good and careful craftsmen.
61. the armada: Return to Drake and sea battles [91:21].
62. 300 years: Reina [91:4,5].
63. Nein! . . . Wolken: G, "No! but in clouds. "
Boris de Rachewiltz [B de R], Massime degli antichi Egiziani, Milan, 1954, and II Libra Egizio degli Inferi, Rome, 1959; Ber? nart de Ventadorn, "Tant a1 rno cor pIe de joya," no. 44, Appel, 1915,260? 263: Dante,Inf. XX, XXVII, Par. III, V, Pur. XXVII, Convivio [Conv. ]; EP, LUstra, 196.
Background
EP, SP, 452-457, 28, 25, 47? 52; SR, 80. Boris de Rachewlltz [B de R], "Pagan and Magic Elements," in EH, Approaches, 174? 197; E. A. Wallis Budge, A History of Egypt, Vo! . III, Netherlands, 1968; Eustace Mullins, This Difficult Individual, Ezra Pound [EM, Difficult]; M de R. Discretions, 151; Allan Wade, ed. , The Letters of W. B. Yeats, New York, 1955.
Exegeses
JW, Pai, 2? 2, 183? 187; J. Neault, Pai, 4? 1,7,28; M de R, Discre?
tions, 113? 114; NS, Reading, 96? 102; HK, Era, 364; BK, Pai, 5? 1, 214; EH, Pai, 2? 1, 143; CE, Ideas 157? 158; CB? R, ZBC, 32, 140? 143; HK, Era, 338? 339, 530? 531; MB, Trace, 310? 324; Timothy Materer, "Ez to WynDAMN," in Helix, 13/14 (this double issue is devoted to Ezra Pound).
shoe-
65. 25 hundred: Figure seems to derive from Anters time [93:4]. And the "2 thou? sand years" from the time of Christ.
66. Apollonius: [91 :9; 94:42].
67. Erigena: One of the most important light? p! tilosophers [74:90], as are the others listed here.
68.
69. Richardus: [85:52].
Avicenna:
[93 :48].
70. Hilary: [Cf. 40 above].
71. brown . . . sweat: Reference Raphaelite painting, with its blurred lines and shadows.
72. cannon . . . opium: The British purpor- tedly trained the Chinese to use opium and developed a lucrative trade in it during their 19th? century occupation of China.
73. Portagoose: Portuguese [89:238].
74. Ari: Aristotle [87:26]. The "common custom" is the formation of monopolies.
CANTO XCIII
Sources
to post-
559
? 560
93/623
93/623-625
561
1. "A man's . . . ": Trans. of the Egyptian hieroglyphics provided to Pound by his son? in-law, Boris de Rachewiltz. Pound was much elated to discover such secular wisdom recorded so early in history [B de R, in EH, Approaches, 178] .
2. Kati: King Khati, an Egyptian ruler Pound encountered in a book by his son- in? law [ibid. ].
3. "pauis angelicus": L, "angel-bread. " From Dante's Convivio 1. 1, 50? 102 [cf. 60 below1,where the writer promises to distrib- ute the never-diminishing bread of angels among his readers, in keeping with the NeD- platonic tenet that the good always increases [JW]. Also, common phrase for the com? munion wafer.
4. Antef: A minister "in the reign of Sesas- tris I (12th dynasty, ca. 1970? 1936 B. C. )," who purportedly said, "Give bread to the hungry, beer to the thirsty" [cf. RO, Pai, 6? 2,181].
5. two 1/2s of a seal: [77:56]. The first half is the "panis angelicus" and the second is Anters compassion for the destitute.
6. his own mind: A musical figure evoking Tiresias [80:30] and Odysseus, whose mind was such that the gods said "he must be one of us" [L, 270].
7. K&6f. wv . . . : H, "daughter of Cadmus" [91 :88].
8. Apollonius: [94:42].
9. arcivescovo: I, "archbishop. " Archbishop Pisani [97:200]. Pound and his daughter Mary visited him at Rome before WWIl. The next several lines concern his kind act of giving the child a roll of chocolates [M de R, Discretions, 113? 114].
10. "La Tour": F, "The ToweL" A picture of a painting by Georges de la Tour on a box of Gianduja chocolates the archbishop gave to Mary. The box and the painting together suggest a cornucopia.
11. Augustine: St. Augustine [16:6]. It seems that the two lines are a detail from a story the archbishop told as the three walked from St. Peter's toward their car? rozza.
12. The Pope: Augustine's conversion took place in 387. In 391 he moved to Hippo and in 395 became auxiliary bishop there. Since his most significant works, The Confessions (ca. 400) and The City of God (later than 412), were done after 395, the pope with whom he had such a dialog would most likely be St. Siricius (384? 399), Anastasius (399A01), or Innocent I (40IA17).
13. St Peter's: M de R wrote: "The [jrst visit was to St. Peter's. "
14. carrozza: I, "carraige. " Wrote Mary: "It was a short walk to the carrozza. " After- wards, she received the gift.
15. internal horrors: Prob. referring to churches with interior design and art of the ersatz variety.
16. Santa Sabina: I, "Saint Sabine," a church in Rome: one of the best examples of good architecture.
17. San Domenico: I, "Saint Dominic" [44:9]. A church Pound was fond of at Siena. Wrote M de R: "His favorite walk was to Fontebranda and then up to San Dome?
nico" [ibid. , 133].
18. Hyksos: Asiatic invaders of Egypt around 2100 B. C. The Egyptologist Budge wrote: "The Hyksos destroyed much, but what they left undestroyed the native Egyp? tians neglected; through these causes the condition of the country was lamentable"
[Egypt, III, 190; Neault, Pai, 4? 1, 28]. A later ruler, Amasis I, started to restore the temples of the gods and to this end "had the quarries of Tura reopened, in order that 'good stone' might be hewed therein for the buildings" [ibid. ].
19. butchers . . . : [87/573].
22. "The waves . . .
tion of a Japanese haiku which he used in 1937 to illustrate the third element that is always suggested by two present. The haiku concerned a war hero. Here the waves and moonlight evoke a "you" that refers to the "Ondine" [SP,453].
23. Old GrinelI: Prob. a Pound acquaintance of his London years, when he was first inter- ested in Japanese verse forms.
24. Olibanum: [2:20]. Frankincense, sacred to Dionysus [cf. 35 below].
25. "non fosse cive": I, "were not a citizen" [Par. VIII, 116]. In this scene Charles Martel asks Dante: "But tell me-would it be worse for man on earth, if he wasn't a citizen?
