" Schluter in his preface speaks of Erigena's "piety and cheer- fulness" (hilan'tas) and discerns at its root a "sublime joy of wonder and
intellectual
love.
A-Companion-to-the-Cantos-of-Ezra-Pound-II
Old Neptune: [80:257J.
28.
Flaubert: [80:28J.
29. Miss Tomczyk:
Everard Fielding), a Polish medium who could "produce telekinetic movements to order, in the laboratory" [H. Price, Fifty Years ofPsychical Research, 28J. One of the many occultists from Madam Blavatsky on
whom Yeats became involved with.
. . .
31. 18 Woburn Buildings: The London resi? dence of W. B. Yeats. In 1896 Yeats moved from Fountain Court to 18 Woburn Build? ings (now no. 5, Woburn Walk), where he lived when in London for ? 24 years. Not to be confused with Woburn Place, also in the British Museum area off Russell Square.
32. Mr. Tancred: Francis W. T. , one of the imagist poets published in the first vol. of Poetry. Pound makes a mental connection with Tancred, the Norman king of Sicily, who died in 1194 leaving the kingdom to his four? year-old son Frederick, later to become famous for his book on falcons [25:14; 98/689]. Early drafts of Canto 6 quote let? ters between another Tancred (who became famous in the first . crusade) and King Rich? ard. This Tancred reached Jerusalem [Dial,
(Mrs.
30. society
ence to the Society of Psychical Research founded in 1882.
Stanislawa T.
glad poor beaste . . . : Prob.
40. Be
On rhythm of Burns's lines from "To a Mouse" [Speare, 94? 96].
variation
? ? 458
82/526-527
83/528-529
459
ler, 1881? 1942(? ), instructor in German at the University of Pennsylvania, 1905? 1907; author of Walt Whitman and the Gennans, 1906.
46. Tdaenmarck: Presumably the sound of a German saying "Denmark" and "even the peasants know him," but this instructor ap- pears to have a bad cold.
47. Whitman: [80:51].
48. Camden: [80:275]. In 1906, Whitman lived about 10 miles from Philadelphia at 328 Mickle Street, in Camden.
49. "0 troubled . . . ": Quotes from "Out of the Cradle Endlessly Rocking" [Speare, 249? 256].
50. 0 GEA TERRA: H, "Earth"; L, "Earth. " These 10 lines are an intense lyrical evocation of the Dionysian-Ceres I Isis-Osiris metamorphosis theme of death and regenera- tion, with paradisal overtones indicated by the herbs and reinforced by the chthonic choral a few lines later [Knox, Pai, 3. 1, 77-78].
51. Ferrara: [8:30].
52. fu Nicolo . . . Po: I, "was Niccolo [d'Este] / and here beyond the Po" [24:22, 70].
53. 'Ellav T(W i:ivopC/: [81:33].
54. Kipling: Rudyard K. , 1865. 1936, En? glish poet and novelist. What he suspected is not known.
55. two halves . . . tally: [77:56].
56. connubium . . . mysterium: L, "the mar- riage of the earth . . . mystery. "
57. e'rpc/Ta . . . fIlO,: H, "she said my hus? band" [Agamemnon, 1404;LE, 269. 270; cf. II above].
58. XeONIO~: H, "earth? born" (adjective, masc. nom. sing. ).
59. XeONO~: H, "of the earth" (noun, gen. sing. ).
60. 'IX[1P: H, "Ichor," the fluid that flows in the veins of the gods.
61. 8r. x. l<. pvwv: H, "weeping" or "of tears. " 62. EVTEV8EV: H, "thereupon. "
Exegeses
Achilles Fang, "Materials for the Study of Pound's Cantos,"
Ph. D. dissertation, Harvard University, 1958, Vol. II; NS, Life, 3; G. Ivaneich, Ezra Pound in Italy, Rizzoli, 1978 [Ivancich]; Li? bera, Pai, 2? 3, 374; Schuldiner, Pai, 4. 1, 78? 79; CFT, Pai, 2. 3, 451-454; Flory, Pai, 5? 1,52.
Glossary
CANTO LXXXIII Sources
16. they dug up his bones: Because Eri? gena's Neoplatonic ideas bordered on pan- theism and his theories were exploited by the Albigensian heretics, he was condemned as a heretic by Pope Honorius III in 1225. It was not Erigena but Amalric who was dug up [74: 104].
17. De Montfort: Simon IV de Montfort l'Amaury [23:26].
18. Le Paradis . . . : [74:292].
19. Uncle William: W. B. Yeats
20. Notre Dame: The cathedral in Paris.
21. Notre Dame: F, "Our lady. " A statue of the Virgin over the door of the cathedral.
22. St Etienne: The basilica of SI. Etienne, a 12th? century church in perigueux.
23. Dei Miracoli: Santa Maria Dei M. in Rome [74: 129; 76: 170].
Dante, Pur, XXVI; James Legge, The Four Books, Shanghai, 1923 [Legge] ; Horace, Odes III; EP, CON, 217, 247.
Background
EP, L, 25; GK, 267; Erigena, De Divisione naturae, ed. C. B. Schluter; Robert Grosseteste, "De Luce seu de inchoatione for- marum," in L. Baur, Die Philosophischen Werke des Robert Gros? setesta, Munster, 1912;Poetry, May 1914; Letters o f w. B. Yeats, New York, Macmillan, 1955,590.
1. iJowp: H, "water. "
2. et Pax: L, "and peace. "
3. Gemisto: [8:31]. In his philosophical studies he made Neptune (Poseidon) the greatest of the gods, from whom all flows. In the Neoplatonic sense, that means especially mind or intelligence (vous).
4. Rimini: Sigismundo had Gemisto's ashes removed to Rimini [8:31]. The bas reliefs that feature the muses and signs of the zo~ diac are the subject of Adrian Stokes in Stones o f Rimini. The figures in the carvings "have the appearance of marble limbs seen in water" [Libera, Pai, 2. 3, 374].
5. Mr Yeats: [74:166]. His opinion given here is reflected in a similar one of Erigena below. It was Erigena's "hilarity and the things which he said so cleverly and wittily
[which] pleased the king" [ibid. ].
6. lux . . . aceidens: L, "for light/ is an attribute of fire. "
7. prete: L, ~~priest. " The priest is C. B. Schluter, who edited Erigena's, De Divisione Naturae,1818.
8. Scotus: Johannes S. Erigena [36:9; 74:90].
9. hilaritas: L, "joyousness.
" Schluter in his preface speaks of Erigena's "piety and cheer- fulness" (hilan'tas) and discerns at its root a "sublime joy of wonder and intellectual love. " However, this intellectual love "will often appear to the outside observer as little less than hilarious" [Shuldiner, Pai, 4? 1, 78].
10, King Carolus: Charles the Bald
[74: 103]. He is the king who was pleased by Erigena's hilarity [cf. 5 above].
11. the queen: Ermentrude, d. 869, first wife of Charles the Bald. She was noted for her ornamental needlework. Erigena com~ pared her with Athena.
12. "toujours Pari": F, "always Paris. "
13. Charles Ie Chauve: Charles the Bald, King Carolus above.
14. pyx: A casket or box made of precious metal in which the Host is preserved.
15. Omnia . . . sunt: L, "Every exists is light" [74:89].
thing that
? ? 460
83/529-53 I
83/531-532
461
24. Mennaids, that carving: The sirenes carved by Tullio in Santa Maria Dei MaraeaU in Venice [76: 168].
25. Zoagli: [46:4]. A town near Rapallo.
26. pax vowp . . :'T""P: [see 1,2 above].
27. The sage . . . : Analects VI, 21: "He said: the wise delight in water, the human delight in the hills. The knowing are active; the humane, tranquil; the knowing get the pleasure, and the humane get long life"
[CON, 217].
28. Uncle William: Yeats wrote in "Down
by the Sally Gardens": "She bid me take life easy, as the grass grows on the weirs; / But I was young and foolish, and now am full of tears. "
29. consiros: P, "with grief" or "longing. " Arnaut Daniel uses the word to describe his condition [Pur. XXVI, 144].
30. St What's his name: San Giorgio, a ca- thedral in Pantaneto, Siena. The traditional procession which carries the wax offerings to the Madonna takes place the day before the August Palio [Ivancich].
31. Cane e Gatto: I, "Dog and Cat. " The name of the place where two streets meet near San Giorgio.
32. solI . . . sein: G, "is to be your love. "
33. Patio: Semiannual horserace held in Siena: July 2, Festival of Our Lady's Visita- tion and August 15, Festival of Our Lady's Assumption [80:60].
34. level the windows: The Palazzo Capo- quadri Salimbene has windows that overlook the procession: "the first floor windows from which Pound watched are about level with the church roof" [Ivancich].
35. Olim de . . . : L, "Formerly of the Malatestas. "
36. Maria's face: The face in a panel paint? ing over one of the doors of the large hall at Palazzo Capoquadri Salim bene reminded Pound of his daughter's face [Ivancich repro- duces the picture] .
37. Montino: "The same 'child's face' is al? luded to in Canto LXXIV [74/446] as is 'Montino's,' the young son of Prince di San Faustino, whose resemblance to one of his family, in a painting, 'the family group 1820,' brought to Pound's mind Hardy's
poem 'The family face' " [Ivancich].
38. Hardy: Thomas H. , 1840-1928, English poet and novelist much admired by Pound. There is a lushness about the multifigured fresco which is indeed not wholly Hardy's material.
39. n&vra 'pet: H, "'Everything flows" [80:357; 96: 168].
40. below the altars: Analects XII, 21 [78:92; CON, 247].
which Mencius says it is difficult to describe what he means by his "vast, flowing passion nature. " Then he says: "This is the passion nature:-It is exceedingly great, and exceed? ingly strong. Being nourished by rectitude, and sustaining no injury, it fills up all be- tween heaven and earth. . . . It is the mate and assistant of righteousness and reason. Without it man is in a state of starvation. It is produced by the accumulation of righ? teous deeds; it is not to be obtained by incidental acts of righteousness. If the mind does not feel complacency in the conduct, the nature becomes starved" [Legge, 529- 530].
. . .
51. move with the seed's breath: The semi- na motuum theme [80: 123].
52. Non combaattere: I, "Don't fight. "
53. Giovanna: A servant in a Venetian fami- ly Pound knew [76: 184].
54. Ideogram: Wu [M7208], "not"
55. Ideogram: Chu [MI370], "help. " 56. Ideogram: Ch'ang [M213], "grow"
57. Kung-Sun Chow: Book II of Mencius, which tells the anecdote of a man of Sung who was grieved because he pulled on his corn to make it longer and pulled it up by the roots. He went horne looking stupid and said, "1 have been helping the corn to grow long" [Legge, 531]. This story is told in the next section after the passage quoted in 49 above as an illustration of the way most people deal with their passion nature: "There are few in the world who do not deal with their passion nature, as if they were assisting the corn to grow long" [ibid. , 531- 532].
59. San [76: 196].
Trovaso:
Church in Venice
41. "When . . . forward":
[74: 182].
42. "pv&" H, "Dryad," a tree nymph [3: 11].
43. Taishan: [74:46].
44. the hidden city: Paradisal motif with hieratic animals [17/passim], with the seeds in motion anticipating Canto 90 et seq.
45. Chocorua: A peak in E New Hampshire in the Sandwich range of the White Moun- tains. MSB note: Running all mountains together. Brancusi getting all forms to one form.
46. Plura diafana: L, "more things diapha- nous. " From Grosseteste's De Luce. A recur? rent phrase [100/722] that relates to Eri- gena's "lux enim" [CFT,Pai, 2-3, 451-454].
47. Heliads: The daughters of Helios who were changed into poplar trees as they mourned for their brother Phaethon [76:6].
48. brightness of 'udor . . . : The opening dawn scene in Canto 83 replays the mystic symbolism in Neoplatonic thought, where everything that is (in this world) is a reflec- tion of the divine order: thus images relected in water become a graphic way of evoking manifestations of the divine process.
49. this breath . . . inanition: These 14 lines precis Pound's idea of a Mencius passage in
58. San [76: 196].
Gregorio:
Church in
Venice
SO. debt
printer [82: 19]. The question of "who wd / pay for the composition" may have resulted in an unpaid debt. That the line should be here is a sort of comic double take.
60. Old Ziovan: Prob. a Venetian named Giovanni whom Pound knew in Venice.
61. Adriatic: The Adriatic Sea, which seemed to Pound to have a particular blue, to which he relates eyes [Pai, 5-1, 52]. "I recall the Adriatic as a grey-blue, not unlike EP's own eyes" [HK] .
62. San Vio: Church in Venice [76:196]. Related to the color of the eyes at 97/676.
63. Redentore: I, "Redeemer. " Church on the island of Giudecca, Venice, which was the scene of an annual festival involving a bridge of boats and a votive offering to stop the plague. It was colorful and featured col- ored lights at night [Fang II, 292].
64. Giudecca: Island and canal in Venice. 65. Ca': I, "house" (in Venetian dialect).
66. Ca' Foscari: A Venetian palace, on the Grand Canal.
67. Ca' Giustinian: A palace of justice, of which there are three on the Grand Canal.
68. Desdemona: The Palazzo Contarini- Fasan on the Grand Canal was sometimes called this.
69. Ie Zattere: I, "the rafts. " Name of a long embankment on N edge of Giudecca Ca,nal in Venice.
70. Sensaria: I, "Brokerage House"-in V enice.
71. DAKRUON . . . : H, "weeping . . . weeping. "
72. La vespa: I, "the wasp. "
73. BraceIonde: Prob. Braceliande, the en- chanted forest of Arthurian romance, as in Cretien de Troyes's Yvain, I. 189 [BK].
74. Perugia: City in central Italy with an excellent 14th? century cathedral and a foun- tain with sculptures by Niccolo and Gio- vanni Pisano.
Clower:
Prob.
Clowes, the
? 462
83/532-535
83/535-536, 84/537
463
75. Bulagaio's: Prob. an acquaintance of Pound in Venice.
76. Mr. Walls: Prob.
29. Miss Tomczyk:
Everard Fielding), a Polish medium who could "produce telekinetic movements to order, in the laboratory" [H. Price, Fifty Years ofPsychical Research, 28J. One of the many occultists from Madam Blavatsky on
whom Yeats became involved with.
. . .
31. 18 Woburn Buildings: The London resi? dence of W. B. Yeats. In 1896 Yeats moved from Fountain Court to 18 Woburn Build? ings (now no. 5, Woburn Walk), where he lived when in London for ? 24 years. Not to be confused with Woburn Place, also in the British Museum area off Russell Square.
32. Mr. Tancred: Francis W. T. , one of the imagist poets published in the first vol. of Poetry. Pound makes a mental connection with Tancred, the Norman king of Sicily, who died in 1194 leaving the kingdom to his four? year-old son Frederick, later to become famous for his book on falcons [25:14; 98/689]. Early drafts of Canto 6 quote let? ters between another Tancred (who became famous in the first . crusade) and King Rich? ard. This Tancred reached Jerusalem [Dial,
(Mrs.
30. society
ence to the Society of Psychical Research founded in 1882.
Stanislawa T.
glad poor beaste . . . : Prob.
40. Be
On rhythm of Burns's lines from "To a Mouse" [Speare, 94? 96].
variation
? ? 458
82/526-527
83/528-529
459
ler, 1881? 1942(? ), instructor in German at the University of Pennsylvania, 1905? 1907; author of Walt Whitman and the Gennans, 1906.
46. Tdaenmarck: Presumably the sound of a German saying "Denmark" and "even the peasants know him," but this instructor ap- pears to have a bad cold.
47. Whitman: [80:51].
48. Camden: [80:275]. In 1906, Whitman lived about 10 miles from Philadelphia at 328 Mickle Street, in Camden.
49. "0 troubled . . . ": Quotes from "Out of the Cradle Endlessly Rocking" [Speare, 249? 256].
50. 0 GEA TERRA: H, "Earth"; L, "Earth. " These 10 lines are an intense lyrical evocation of the Dionysian-Ceres I Isis-Osiris metamorphosis theme of death and regenera- tion, with paradisal overtones indicated by the herbs and reinforced by the chthonic choral a few lines later [Knox, Pai, 3. 1, 77-78].
51. Ferrara: [8:30].
52. fu Nicolo . . . Po: I, "was Niccolo [d'Este] / and here beyond the Po" [24:22, 70].
53. 'Ellav T(W i:ivopC/: [81:33].
54. Kipling: Rudyard K. , 1865. 1936, En? glish poet and novelist. What he suspected is not known.
55. two halves . . . tally: [77:56].
56. connubium . . . mysterium: L, "the mar- riage of the earth . . . mystery. "
57. e'rpc/Ta . . . fIlO,: H, "she said my hus? band" [Agamemnon, 1404;LE, 269. 270; cf. II above].
58. XeONIO~: H, "earth? born" (adjective, masc. nom. sing. ).
59. XeONO~: H, "of the earth" (noun, gen. sing. ).
60. 'IX[1P: H, "Ichor," the fluid that flows in the veins of the gods.
61. 8r. x. l<. pvwv: H, "weeping" or "of tears. " 62. EVTEV8EV: H, "thereupon. "
Exegeses
Achilles Fang, "Materials for the Study of Pound's Cantos,"
Ph. D. dissertation, Harvard University, 1958, Vol. II; NS, Life, 3; G. Ivaneich, Ezra Pound in Italy, Rizzoli, 1978 [Ivancich]; Li? bera, Pai, 2? 3, 374; Schuldiner, Pai, 4. 1, 78? 79; CFT, Pai, 2. 3, 451-454; Flory, Pai, 5? 1,52.
Glossary
CANTO LXXXIII Sources
16. they dug up his bones: Because Eri? gena's Neoplatonic ideas bordered on pan- theism and his theories were exploited by the Albigensian heretics, he was condemned as a heretic by Pope Honorius III in 1225. It was not Erigena but Amalric who was dug up [74: 104].
17. De Montfort: Simon IV de Montfort l'Amaury [23:26].
18. Le Paradis . . . : [74:292].
19. Uncle William: W. B. Yeats
20. Notre Dame: The cathedral in Paris.
21. Notre Dame: F, "Our lady. " A statue of the Virgin over the door of the cathedral.
22. St Etienne: The basilica of SI. Etienne, a 12th? century church in perigueux.
23. Dei Miracoli: Santa Maria Dei M. in Rome [74: 129; 76: 170].
Dante, Pur, XXVI; James Legge, The Four Books, Shanghai, 1923 [Legge] ; Horace, Odes III; EP, CON, 217, 247.
Background
EP, L, 25; GK, 267; Erigena, De Divisione naturae, ed. C. B. Schluter; Robert Grosseteste, "De Luce seu de inchoatione for- marum," in L. Baur, Die Philosophischen Werke des Robert Gros? setesta, Munster, 1912;Poetry, May 1914; Letters o f w. B. Yeats, New York, Macmillan, 1955,590.
1. iJowp: H, "water. "
2. et Pax: L, "and peace. "
3. Gemisto: [8:31]. In his philosophical studies he made Neptune (Poseidon) the greatest of the gods, from whom all flows. In the Neoplatonic sense, that means especially mind or intelligence (vous).
4. Rimini: Sigismundo had Gemisto's ashes removed to Rimini [8:31]. The bas reliefs that feature the muses and signs of the zo~ diac are the subject of Adrian Stokes in Stones o f Rimini. The figures in the carvings "have the appearance of marble limbs seen in water" [Libera, Pai, 2. 3, 374].
5. Mr Yeats: [74:166]. His opinion given here is reflected in a similar one of Erigena below. It was Erigena's "hilarity and the things which he said so cleverly and wittily
[which] pleased the king" [ibid. ].
6. lux . . . aceidens: L, "for light/ is an attribute of fire. "
7. prete: L, ~~priest. " The priest is C. B. Schluter, who edited Erigena's, De Divisione Naturae,1818.
8. Scotus: Johannes S. Erigena [36:9; 74:90].
9. hilaritas: L, "joyousness.
" Schluter in his preface speaks of Erigena's "piety and cheer- fulness" (hilan'tas) and discerns at its root a "sublime joy of wonder and intellectual love. " However, this intellectual love "will often appear to the outside observer as little less than hilarious" [Shuldiner, Pai, 4? 1, 78].
10, King Carolus: Charles the Bald
[74: 103]. He is the king who was pleased by Erigena's hilarity [cf. 5 above].
11. the queen: Ermentrude, d. 869, first wife of Charles the Bald. She was noted for her ornamental needlework. Erigena com~ pared her with Athena.
12. "toujours Pari": F, "always Paris. "
13. Charles Ie Chauve: Charles the Bald, King Carolus above.
14. pyx: A casket or box made of precious metal in which the Host is preserved.
15. Omnia . . . sunt: L, "Every exists is light" [74:89].
thing that
? ? 460
83/529-53 I
83/531-532
461
24. Mennaids, that carving: The sirenes carved by Tullio in Santa Maria Dei MaraeaU in Venice [76: 168].
25. Zoagli: [46:4]. A town near Rapallo.
26. pax vowp . . :'T""P: [see 1,2 above].
27. The sage . . . : Analects VI, 21: "He said: the wise delight in water, the human delight in the hills. The knowing are active; the humane, tranquil; the knowing get the pleasure, and the humane get long life"
[CON, 217].
28. Uncle William: Yeats wrote in "Down
by the Sally Gardens": "She bid me take life easy, as the grass grows on the weirs; / But I was young and foolish, and now am full of tears. "
29. consiros: P, "with grief" or "longing. " Arnaut Daniel uses the word to describe his condition [Pur. XXVI, 144].
30. St What's his name: San Giorgio, a ca- thedral in Pantaneto, Siena. The traditional procession which carries the wax offerings to the Madonna takes place the day before the August Palio [Ivancich].
31. Cane e Gatto: I, "Dog and Cat. " The name of the place where two streets meet near San Giorgio.
32. solI . . . sein: G, "is to be your love. "
33. Patio: Semiannual horserace held in Siena: July 2, Festival of Our Lady's Visita- tion and August 15, Festival of Our Lady's Assumption [80:60].
34. level the windows: The Palazzo Capo- quadri Salimbene has windows that overlook the procession: "the first floor windows from which Pound watched are about level with the church roof" [Ivancich].
35. Olim de . . . : L, "Formerly of the Malatestas. "
36. Maria's face: The face in a panel paint? ing over one of the doors of the large hall at Palazzo Capoquadri Salim bene reminded Pound of his daughter's face [Ivancich repro- duces the picture] .
37. Montino: "The same 'child's face' is al? luded to in Canto LXXIV [74/446] as is 'Montino's,' the young son of Prince di San Faustino, whose resemblance to one of his family, in a painting, 'the family group 1820,' brought to Pound's mind Hardy's
poem 'The family face' " [Ivancich].
38. Hardy: Thomas H. , 1840-1928, English poet and novelist much admired by Pound. There is a lushness about the multifigured fresco which is indeed not wholly Hardy's material.
39. n&vra 'pet: H, "'Everything flows" [80:357; 96: 168].
40. below the altars: Analects XII, 21 [78:92; CON, 247].
which Mencius says it is difficult to describe what he means by his "vast, flowing passion nature. " Then he says: "This is the passion nature:-It is exceedingly great, and exceed? ingly strong. Being nourished by rectitude, and sustaining no injury, it fills up all be- tween heaven and earth. . . . It is the mate and assistant of righteousness and reason. Without it man is in a state of starvation. It is produced by the accumulation of righ? teous deeds; it is not to be obtained by incidental acts of righteousness. If the mind does not feel complacency in the conduct, the nature becomes starved" [Legge, 529- 530].
. . .
51. move with the seed's breath: The semi- na motuum theme [80: 123].
52. Non combaattere: I, "Don't fight. "
53. Giovanna: A servant in a Venetian fami- ly Pound knew [76: 184].
54. Ideogram: Wu [M7208], "not"
55. Ideogram: Chu [MI370], "help. " 56. Ideogram: Ch'ang [M213], "grow"
57. Kung-Sun Chow: Book II of Mencius, which tells the anecdote of a man of Sung who was grieved because he pulled on his corn to make it longer and pulled it up by the roots. He went horne looking stupid and said, "1 have been helping the corn to grow long" [Legge, 531]. This story is told in the next section after the passage quoted in 49 above as an illustration of the way most people deal with their passion nature: "There are few in the world who do not deal with their passion nature, as if they were assisting the corn to grow long" [ibid. , 531- 532].
59. San [76: 196].
Trovaso:
Church in Venice
41. "When . . . forward":
[74: 182].
42. "pv&" H, "Dryad," a tree nymph [3: 11].
43. Taishan: [74:46].
44. the hidden city: Paradisal motif with hieratic animals [17/passim], with the seeds in motion anticipating Canto 90 et seq.
45. Chocorua: A peak in E New Hampshire in the Sandwich range of the White Moun- tains. MSB note: Running all mountains together. Brancusi getting all forms to one form.
46. Plura diafana: L, "more things diapha- nous. " From Grosseteste's De Luce. A recur? rent phrase [100/722] that relates to Eri- gena's "lux enim" [CFT,Pai, 2-3, 451-454].
47. Heliads: The daughters of Helios who were changed into poplar trees as they mourned for their brother Phaethon [76:6].
48. brightness of 'udor . . . : The opening dawn scene in Canto 83 replays the mystic symbolism in Neoplatonic thought, where everything that is (in this world) is a reflec- tion of the divine order: thus images relected in water become a graphic way of evoking manifestations of the divine process.
49. this breath . . . inanition: These 14 lines precis Pound's idea of a Mencius passage in
58. San [76: 196].
Gregorio:
Church in
Venice
SO. debt
printer [82: 19]. The question of "who wd / pay for the composition" may have resulted in an unpaid debt. That the line should be here is a sort of comic double take.
60. Old Ziovan: Prob. a Venetian named Giovanni whom Pound knew in Venice.
61. Adriatic: The Adriatic Sea, which seemed to Pound to have a particular blue, to which he relates eyes [Pai, 5-1, 52]. "I recall the Adriatic as a grey-blue, not unlike EP's own eyes" [HK] .
62. San Vio: Church in Venice [76:196]. Related to the color of the eyes at 97/676.
63. Redentore: I, "Redeemer. " Church on the island of Giudecca, Venice, which was the scene of an annual festival involving a bridge of boats and a votive offering to stop the plague. It was colorful and featured col- ored lights at night [Fang II, 292].
64. Giudecca: Island and canal in Venice. 65. Ca': I, "house" (in Venetian dialect).
66. Ca' Foscari: A Venetian palace, on the Grand Canal.
67. Ca' Giustinian: A palace of justice, of which there are three on the Grand Canal.
68. Desdemona: The Palazzo Contarini- Fasan on the Grand Canal was sometimes called this.
69. Ie Zattere: I, "the rafts. " Name of a long embankment on N edge of Giudecca Ca,nal in Venice.
70. Sensaria: I, "Brokerage House"-in V enice.
71. DAKRUON . . . : H, "weeping . . . weeping. "
72. La vespa: I, "the wasp. "
73. BraceIonde: Prob. Braceliande, the en- chanted forest of Arthurian romance, as in Cretien de Troyes's Yvain, I. 189 [BK].
74. Perugia: City in central Italy with an excellent 14th? century cathedral and a foun- tain with sculptures by Niccolo and Gio- vanni Pisano.
Clower:
Prob.
Clowes, the
? 462
83/532-535
83/535-536, 84/537
463
75. Bulagaio's: Prob. an acquaintance of Pound in Venice.
76. Mr. Walls: Prob.
