Your
elegantly
printed "Mauber-
ley" {&- other poems), and J.
ley" {&- other poems), and J.
Ezra-Pound-Japan-Letters-essays
SECTIONII: 1936-66
125
I am sorry I must tell you that they cannot pay you for it, because the book will be of limited edition in a very small number.
it.
I should be very much grateful, if you would be good enough to agree to
Very sincerely yours, Kitasono Katue
128: Katue Kitasono to Ezra Pound & Dorothy Pound
Printed PC-1 1649 1-chome-nishi, Magomemachi, Otaku, Tokyo. 1 January 1953. (Two cards postmarked: 21 December 1952 and 1 January 1953, to Ezra Pound and Dorothy Pound] ^W -pv ^tl-,
129: Katue Kitasono to Ezra Pound TLS-l Tokio. 17 November 1953
Dear Ezra POUND,
h [A Happy New Year]
I am very sorry that I haven't written to you such a long time.
The other day Michael Reck visited me (I hadn't seen him since Febru- ary, and I was surprised to see him speak Japanese so fluently) and I showed him the typescript of the TRAXINIAI. He consented to take it to Mr. Ito Michio. He will soon come and tell me about it.
It was my greatest impression that I could catch the aspect of Noh in so vivid words and lively expression of you in Dxe Translations o/ E. P.
Now I am reading Lewis' V^oiimg W\\\.
VOU CLUB Katue YJiiasono
Ever yours, YAiasono Katue
? 126 SECTIONII: 1936-66
130: Ezra Pound to Katue Kitasono TLS-1 [n. p. ] 30 January 1959
Dear and respected Kit-Kat, after many ages, and perfidies etc.
There seems at last a chance of getting decent edition of the Odes, with both seal character and the reproduction of the magnificent text you sent me years ago. Have you any idea what edition it is? I can send photo to refresh your memory. Beautiful characters, and the Odes without the notes, as they are in Mao etc.
I dare say Vanni sends you his printed matter?
Both the german and Italian versions of TRAXINIAI are in process of production (stage) as well as print, but it will need the Minoru or Japanese technique to get any result near to what I or Sophokles could get much pleasure from.
I recall, as ever Lady Gregory, when a north english company had mur- dered The King's Threshold; "An oi tell him whoi doesn't he wroite comedies, an den he would have a few pleasant moments whoile he's in deh teeYayter! "
I tell him why doesn't he write comedies and then he would have a few pleasant moments while he is in the theatre.
Projected edition of the Odes will have two texts in Chinese, my american and Scarfoglio's Italian, and the indication of the sound (which of course wont indicate much, but at least the number of syllables in the original, and the tone variation).
131: Ezra Pound to Katue Kitasono
TLS-l Hotel Italia, Rapallo, Italy. 12 June 1959
Dear Kit Kat
I am, as you can see from post mark, back in Rapallo where I rec'd your first letter, and where there is still a file of BroJetto.
TRAXINIAI is being done in Berlin, heaven knows how, but some- one has said it will take them 50 years to see what has been done. I still believe that only a Noh company can do it properly.
Ever yours Ezra Pound
? SECTIONII: 1936-66 127
1 haven't learned kana yft. Pages of the magnificent text of the Odes that you sent have been photographed in the not extinguished hope of a decent edition, seal, that square character, my english and Scarfoglio's italian. but. . . .
It might help if some critic not in terror of the american "cultural" (bless your heart) "foundations," should animadvert on the delays in transmission and the spirit of Harvard and other universities. Beauson Tseng has approved the translation, if you know who he is, or if there is any survival of Tcheu's lament: they ought to be like brothers, they read the same books.
Kripalani has just sent me his translation of Tagore's novels, and some Gandhi.
Books are kept in the Warsaw cellarage. More editors might follow your method of printing a few words in the language of the books they mention, which would at least tell the ignorant alien what they consider worth notice.
I have enough superfluous bone (calcination) in my neck to sup- ply a giraffe, and it has been slowing me down.
I don't imagine the /apan Times has been returned to the peo- ple who had it before my untimely note on Matsuoka? Or that other than aesthetic ideas have much more outlet in Tokyo than anywhere else? I suspect you have forgotten your english during the past 20 years. At the same time one might manage more lively exchange of correspondence. Young Reck must know enough Japanese to help at it.
I don't think you have ever mentioned Junzaburo, or Iwasaki. Af- ter success of TRAXINIAI in the german translation (Eva Hesse) there are requests for Noh, for performance in Germany.
The charming member of your other profession, who had 200 vari- eties of roses in his Rapallo (quite small) garden has passed into whatev- er non-Bhudist realm of non- or not-non existence. There is a spate of building, in I suspect, very unstable material, and less beach open to the unorganized public. The gulf still contains water and the mountains not greatly altered by bombing raids d'antan.
Very interesting fotos in one VOU that I have passed on to the Oberti, who will, I think, send you Ana etc. , they and their friend Carre- ga will take note of anything your friends send them. Does anyone want a copy of Boris' bilingual Book of the Dead? No use my sending Scheiwiller notices if he has already done so. Mary's Kagekiyo has gone into another large edition. What does Japan do with TV?
? 128 SECTIONII: 1936-66
Italian phrase heard recently: memories are the white hairs of the heart. From wife of old tennis pal of mine now invalid.
benedictions, Ez. P.
132: Katue Kitasono to Mary de Rachewiltz
TLS-l 1-26, 5 chome, Akasaka, Minatoku, Tokyo, Japan. 28 November 1966
Dear Mary de Rachewiltz,
Your book of poems, Di Riflesso, reached me safely passing through many hands from my former address. I cannot read your poems, because I don't know Italian language, but visually I can see that these poems are very nice and beautiful. Many thanks.
I lost many of my books I loved during the war, among which the text of your story is included. Very, very sorry!
with best wishes, Kitasono Katue
P. S. I also thank you for the copy of your fine work of translation, ll Teatro Giapponese No.
? III POUND'SPOST-WORLDWARII CONTACTSWITH JAPAN: 1956-68
In this section are collected five letters of Ryozo Iwasaki to Ezra Pound, seven letters of Pound to Iv^asaki, one letter of Shiro Tsunoda to Pound, a fragment of Pound's letter to Tsunoda, one letter of Pound to Tomoji Okada, and one letter of Pound to the Librarian, University of Virginia.
The first book-length collection of Pound's poems in Japanese appeared in 1956, the culmination of years of dedicated effort of Ryozo Iwasaki (1908-76), then Professor of English Literature at Keio University. A scholar working in classical Greek and Latin literature, Iwasaki provided an amply annotated translation which immediately won very favorable notice.
In his letter to Pound, Iwasaki enclosed a poem by his colleague, Junzaburo Nishiwaki, who had written the "Preface" to Iwasaki's transla- tion. On reading the poem, Pound suggested to Iwasaki that Nishiwaki be recommended to the Swedish Academy as a Nobel Prize candidate. This note from Pound, though brief, created a tremendous impact on the Japanese literary world.
Since his undergraduate days, Iwasaki had been associated with var- ious literary circles, and had written a number of critical essays. In 1927, a year after he entered Keio University, he joined four other young people to start the magazine, Butai Shinsei [New Voices on Theatre). And in 1931, with other members of the University, he launched another magazine. Shin Mita-ha [New Mita Group).
His interest in Pound goes back to his early years. In 1934 he wrote "Poetics of Mr. Pound" for the Shiho [Poetics) edited by Shiro Murano and Azuma Kondo. He also contributed essays on modern poets including Pound to the poetry journal, Shinryodo [New Territory), around 1937.
During World War II his main concern was directed toward classical Roman literature. He published A History of Roman Literature in 1940 and Selected Works of Cicero in 1943. But after the war, his interest in American literature was revived. He wrote "Ezra Loomis Pound" for Seminars on Contemporary Poetry (Sogensha) in 1950. He then published the transla- tion, Ezra Pound: Selected Poems (Arechi Shuppan, 1956). In October, 1965, Iwasaki spoke over the radio (NHK) on Ezra Pound in celebration of his 80th birthday, broadcasting also selected recordings of Pound's own readings. For the poetry magazine, Mugen [Infinity), he wrote three articles:
129
? 130
SECTIONIII: 1956-68
"The Structure of the Cantos" (August, 1960], "Cock and Snail: Pound and Eliot" (October, 1965), and "Ezra Pound and Cummings" (November, 1967]. [As for his other works on Pound, see Donald Gallup, A Bibliography of Ezra Pound. ] When Iwasaki traveled through Italy on his way to England in 1961, Pound's illness regrettably made it impossible for him to meet the aged poet.
While still in Washington, D. C. , Pound received a letter from another Japanese scholar, Shiro Tsunoda (1922- ], now professor at Obirin Uni- versity. Though Pound was busy at that time, with various people outside the hospital trying to have the court dismiss the indictment against him, he replied providing several answers to Tsunoda's questions on his poetry. It is a pity that, except for one fragment which is printed in the following section, the remainder of the letter was lost.
Tomoji Okada, a retired businessman, wrote Pound offering a correc- tion of a misleading passage in Pound's Introduction to his No translation. Pound had written that, after Fenollosa's sudden death in London, the Japanese government had "sent a warship for his body. " But Okada claimed to know that Fenollosa's ashes had been brought to Japan via the Siberian Railroad. In fact, Okada had asked his friend Yasotaro Kato. who was returning to Japan via Siberia, to carry Fenollosa's ashes to Japan with him. Pound's letter to Okada may reflect his attitude toward history: "I certainly did not invent it. " One may wonder if indeed the ashes were brought back to Japan on a Japanese warship over the Japan Sea. But Tokutaro Shigehisa, who later investigated the matter, suggests that the ashes probably arrived at Tsuruga from Vladivostok on September 19, 1909 on the Hozanmaru of the Osaka Shipping Co. (Tokutaro Shigehisa, "Fenollosa's Ashes and Japan," Comparative Literature, vol. 2, 1959. pp. 83-4. ]
In 1968 when the present editor visited with Pound in Paris, the poet wrote a note to the librarian at the University of Virginia granting permis- sion for access to a microfilm copy of the Fenollosa notebooks. All the notebooks of Fenollosa sent to Pound by Mary Fenollosa were at that time under lock and key, and it would have been impossible otherwise for me to have read them. At the time, Hugh Kenner's microfilm of part of the notebooks had been stored at the library of the University of Virginia.
? SECTIONIII: 1956-68 131
133: Ryozo Iwasaki to Ezra Pound
TLS-4 1-34, Mita, Minatoku, Tokyo, Japan. 30 November 1956
Dear Mr. Pound,
I am sending you the Japanese translation of your poems to-day. It has meant a great deal to me. I have no words to apologize to you for publishing your poems without permission. The Waste Land has been translated by several hands in our country, but "Hugh Selwyn Mauberley" has never been put into Japanese, and some favourable comments to my translation have appeared in Japanese newspapers. But I must confess it was a very difficult task. I wonder what it will seem to you. I want you to tell me what effect it has on you.
I had a very pleasant journey to Kobe the other day, and found that Ernest Fenollosa's lock of hair had been buried at Homyoin, Enjoji Temple in Otsu, near Kyoto. I enclose photographs of the grave, which was built by Mr. Laurence Binyon and other foreigners. The weather was most over- whelmingly lovely. He sleeps among the cedar grove and beautiful ferns by the Lake Biwa (i. e. lute). Vale! Valel
Yours very sincerely, Ryozo Iwasaki
? 132 SECTIONIII: 1956-68
Appendix 1
Contents of Selected Poems of Ezra Pound (Japanese Translation)
Preface by Junzaburo Nishiwaki "Sestina: Altaforte"
"Rome"
"The Garden"
"The Spring"
"Dance Figure"
"Gentildonna"
"To Kalon"
"Ladies"
"After Ch'u Yuan"
"Fan-Piece, for her Imperial Lord" "In a Station of the Metro" "Alba"
"Papyrus"
"To Formianus' Young Lady Friend" "The Lake Isle"
"Epitaphs"
"Homage to Quintus S. F. Christianus" "Moeurs contemporaines (Stele)" "Canto I"
"Canto IV" (abridged)
"Hugh Selwyn Mauberley"
Appendix 2
January in Kyoto
Janus, old man,
Your name is damp and grey and too prolonged A ring to rattle in my verse;
You double-faced, diluted churl of churls,
You corn-dull, poppy-wilted, beaver-brown.
By Junzaburo Nishiwaki
? SECTIONIII: 1956-68 133
You snow-eater, a parasite on roots and berries, Iconoclast of gins and perries,
You're really one of the pariah dogs
Yelping, thrash-worth, at the belated gods.
I knowthedeitieswouldratherinflate
And flow in pipes than in metric odes, but now You suddenly brought us shy myth,
When we, disguised as Zeus and Hermes, went Looking for orchids that will hang oblong and dim At cuckoo-crow at the hell lady's door.
In the Hiei foot-hills by pebbly-purring streams.
We went into a peasant's cottage to see
How one cleans and adorns one's range
With a sprig of rue and a tangle of hips
To honour the bluff god of the kitchen fire.
The old baucis-and-philemon tree rustled its top: "Reverend sirs, you are early. Well now. "
My friend, a Ben Jonson scholar at the university, And a complete parr angler, could speak
The Yase doric: "Look what we've got,
Such lovely slender buds; may we leave
These things with you by this mercury bush,
As we're going to see Emau Convent up there? " Again we went out into loam land, dreaming
Of Angels and pottery crystal-beaming:
This time as tinkers we wandered . . .
Post-orchid journey it will be named.
A redolent trek, there was a smell
Of yellow plum blossom in the turnip fields.
"Who is it walking with you, strangers? "
"It is a woman. "
She is in holy visibility:
That was an old woman with the help of a stick On her way from Shu-gaku-in to Iwakura
To draw out money, the account book on her head, Nicely done up in a peony-patterned cloth Probably to ransom her helen out of peonage.
She had a leer like a boar
And had a stutter like Darley;
? 134 SECTIONIII: 1956-68
But it might be thunder if she chose to parley. Excited by our indignation on the boar ravages,
With fury and frothing she made a Delphic utterance: "It only took them a night to devour
A middlesex acre (as Macaulay says) of your yams; Last year they shot a huge one, but nobody
. "
Could bear him away, so there you are
So saying she glowered at us and passed by.
Now I come to the second nonnes tale:
We greeted the ancress in a most elegant way; Unrobed, aproned, head tonsured as azure as
The kingfisher's wings, sweeping up fallen leaves Among the landscape stones green with moss, Herself indistinguishable from the blue.
"Good morning, Madame Eglantine, may I
See your garden? Wonderful!
And do you happen to know my relation
Who is a prioress living near Kitano-Tenjin? "
"I wouldn't know, sir. But how odd, when I've been Of the same tribe nearly all my life.
Bo tree, that. Very, very rare. "
"Perhaps you could let me have a twig in the spring; I'd like to graft it on a stock . . . mulberry it is. " Enlightenment . . . an entwining of rose and bay. "By all means. Secretum secretorum! "
When we returned full circle to the roots
Of our orchids, we maundered to sanctify
Fertility . . . magic jabber . . . over cups of tea.
The wife decanted golden mead to immortalize
Our chats and our pseudo-godliness, but we tried Hard to hide our mortality . . .
Biographical Note: J. Nishiwaki was born in 1896. He graduated at Keio University but later studied English literature at Oxford University. He is the author of a number of books on English and European languages and literature and has translated Eliot's The Waste Land into Japanese. He has published several books of poems and although his output has been small, he is one of the most influential of modern poets in Japan to-day. He is at present Professor of English literature at Keio University.
. .
? SECTIONIII: 1956-68
135
134: Ezra Pound to Ryozo Iwasaki
TLS-2 [Pmk: WASHINGTON D. C. ) 28 December 1956
Dear Ryozo Iwasaki
It has been a most delightful Xmas, and I have you to thank for two of the pleasant surprises.
Your elegantly printed "Mauber-
ley" {&- other poems), and J. N. 's Janus Poem, the latter most opportune, as Stock has started a magazine which badly needs it. Edge, edited by Noel Stock
436 Nepean Rd. , East Brighton S. 6, Melbourne, Australia
Started with the highest aims of any review since Ford's English Review in 1908. To whom I trust you and Junzaburo will contribute at once. He has printed a few translations of mine and the long-needed Zielinski SibyiJe/ but there was the lack of vortex; of concentration of creative tal- ents such as made The Little Review with Lewis, Joyce, and Eliot.
Don't credit me with a knowledge of Japanese, let alone the ability to judge the style of your translation or its nearness to the original. I am delighted with the look of the edition, happy to see the W. L. portrait on the jacket (portrait now on show in N. York), and having only partially unwrapped the volume, had the second and delayed pleasure and sur- prise of finding D. P. 's cover design for Ripostes on the reverse. Looking much better enlarged to that size and with the nippon script cohering much better with the design than the heavy english lettering of the origi- nal. In short a pleasant yesterday. And the 40 year after surge of coinci- dence. W. L. 's preface for his show at the Tate and my note on La Mar- tinelli having been done without collusion . . . in a way that would have pleased Yeats' astrological yearnings.
JunzaburohasamorevitalenglishthananyI haveseenforsometime. AND if you choose such good company I can well believe you have made a good job of the "Mauberley," and trust if you also write in english or translate your own poems you will send copies both to Stock and my- self.
I have enjoyed that Janus poem more than anything I have come on for some time.
I recall Ford on one occasion re/ lack of literary comprehension in London: "That is why one feels so damn lonely. " And at the opposite extreme, it is heartening to find that another good poet exists.
One or two questions, as yr/ oxfordian friend has a vocabulary which in- cludes "ancress"/ may be he has a dictionary which includes "perries. "
? 136 SECTIONIII: 1956-68
I have no english dictionary here/ only greek and Chinese, so I can't hunt for it, and if it is a typing slip, he might correct
it before sending the ms/ to Stock (which, as above, I hope he will do]. I shall tell Stock I have asked him to.
It cant be misprint for berries, which occurs as rhyme in line preceding. Probably is oxonian, and not yankee.
Thrash-worth, or thrash-worthy / If he wants thrash-worth, let it stand.
It is stronger/ but one wants to be on guard when writing a for- eign language. You improve it, and it is set down to ignorance. Stock must know it is intentional.
(These are very fussy comments on matters of small importance, but I don't want to lose time with Stock. ) Again parr, or par. ?
Don't imagine that I ever knew how to spell in any language, and have certainly forgotten a good deal that 1 knew temporarily. I hear an Athen- ian taxi driver was lamenting that he couldn't help me to correct the greek in Cantos/ which is, at least partly, due to american printer omit- ting corrections after they had been properly set up. Besides whatever state the typescript is in, Melbourne will probably add a few errors. Does thehelenwantacapital(Helen)? peri,forperiwinkle? in1. 7? ? Ajoke that I shd/ be asking for footnotes. Darley?
At the boar's (is not necessary) ravages. so there you are
{"Stetson" is used with emphasis, no implication that reader already knows of him. )
(These two might be typing slips? )
Other Xmas items at this end. Amaral's Cantares Pisanos at last issued by Univ. of Mexico. Eva's Pisaner Gesdnge and popular edtn. pocket book Dichtung und Prosa. No. 2. Edge with the Zielinski. And at last the TRAXINIAI in London with some addenda. I will send Academia Bulle- tins slow post. Thanks for the Fenollosa fotos. And give my regards to the Minoru. It was his grandfather's foto on my mantelpiece that lowered the bamboo curtain with Ito and Kume in London, 40 years ago. And the present Minoru in Kagekiyo mask is on cover of my daughter's Italian translation of the Fenollosa-E. P. impression of that play. (They met at Venice festival. ) The TRAXINIAI translation was due to rereading the Noh translations for collected translations, and to make Verkehr with Lorenzatos greek edition of Cathay . . . a current toward inter- communications.
? SECTIONIII: 1956-68 137
I will ask Vanni Scheiwiller to send you some of his editions, or, as he runs on enthusiasm, perhaps the Keio Univ. will want some for their li- brary. The stone tablet text of Pivot is neater in the Italian bilingual than in the larger New Directions edtn/ and the outrage of delays and sabotage in connection with Harvard press, which should have done the Odes with seal character and sound-graph, one more infamy on the neck of this unfortunate continent.
At any rate, do send me more news as the incarcerated live on their post-bag.
135: Ryozo Iwasaki to Ezra Pound TLS-1 [n. p. l 8 April 1957
Dear Mr. Pound:
I have accused myself for not writing to you. Many thanks for your cordial letter and Academia Bulletins. I felt as if I actually met you and listened to your witty causerie. I have just read through Mr. Denis Goacher's "Pictures of E. P. " in the Nimbus, and I have been keenly feeling that the world is incompatible with the wisdom of a genuine poet. Yet I believe an artist should be allowed his own vision.
MyheartwasfilledwithintensesorrowwhenI heardthenewsof Wyndham Lewis's death. I can well understand your feelings, though omnes eodem cogimur.
Junzaburo Nishiwaki won the Yomiuri prize for poetry the other day for his The Third Myth, which contains Janus poem in Japanese version. He expresses his gratitude and delight for your helpful and inspiring criticism. I hear George Darley (1795-1846), an Irish poet, was a stutterer. He says he will send you some other poems before long.
The London edition of Traxiniai came to my hand this morning. I read your version in the Hudson Review a few years ago. I will press Kitasono to translate it into Japanese as soon as possible. (I hear he has been depressed by a love affair. ) In recent years No plays written by the modern authors are on at the various theatres in Tokyo, and some of them are successful.
I think Italy must be a very pleasant country to live in. My brother-in- law is the Japanese Ambassador at Rome. I hope I shall be able to travel in
cordiali saJuti to both of you. Ezra Pound
? 138 SECTIONIII: 1956-68
Italy--where every footstep is fraught with memories--during his tenure of office.
There is a story that when, after the last war, Norman Douglas applied to the Italian Government for permission to return to Capri, he was told that no foreigner was allowed to settle in Italy. "I do not wish to live in Italy," he replied, "I wish to die there. " His request was granted.
May I ask you some questions?
1. Or through dawn-mist
The grey and rose
Of the juridical
Flamingoes: "Mauberley" IV
What is the meaning of the juridical in this context?
2. Who is Headlam? ("Mauberley")
John Espey says that Headlam is the Rev. Stewart Headlam, though
Friar and Brinnin say that he is the R. Rev. Arthur C. Headlam, the Bishop of Gloucester.
Please forgive me for the trouble I am causing you.
In exchange for your kindness, I am sending you Japanese No Plays,
Confucian Analects by Dr. Legge, and T'ao Yiian-ming in Chinese char- acters, which I am sure you will like.
136: Ezra Pound to Ryozo Iwasaki TLS-1 St. Elizabeths. 11 April 1957
Dear Ryozo Iwasaki
I wonder if what Ito would have called your "brother in row" is the Ambassador my daughter met when the Minoru took the
Noh to Venice?
I hope Junzaburo will continue to "derocher," but wish you would both get in touch with Noel Stock, now. (Occidental vulgarity, we live in eternity, but magazines do not, and the better a periodical the more pre- carious its existence, and the greater the need to get the best available matter printed before the editor goes bust. )
I dont think Kit Kat knows enough english to translate TRAX-
INIAI.
Sincerely Yours, Ryozo Iwasaki
? SECTIONIII: 1956-68 139
BUT am convinced the Noh technique is only way of doing it properly, in whatever language.
No poet shd/ be depressed by a love affair/ if accepted he can enjoy it/ if given the "heave-ho" it shd/ improve his prosody and versification. And Kit Kat must be several years younger than I am.
When you get to Italy you must spend a few days with my descendents at Schloss Brunnenburg--Tirolo, Merano.
"juridical"/ gravity of the bird, the general legal attitude/ etc.
I shd/ say the lizard is professorial/ at least one memorable occasion of main body of said animal, utterly impassive, returning to in- spect the excited movements of its own tail knocked off by a cat. Of course situation much more serious for tail (irrevocable), whereas lizard cd/ replace same with patience.
Headlam, Stuart (or Stewart), member of rhymers club, I dont think he attained prebebde.
Do you know Dr. Kojiro Yoshikawa? He has sent his East-flow West-flow to Sheri, my copy hasn't come.
If you can persuade yr/ publisher to extend his operation by sending re- view copies of your "Mauberley" to h. de campos, r. dr. franco da rocha 232, s. paulo, Brasil
AND to Stock, and to Eva Hesse O'Donnell, Franzjosef str/ 7. vi, Miinchen 13, Germany
I think they wd/ spread the glad tidings.
Also to Garcia Terres, Universidad de Mexico, Mexico City, Mexico. The Ministry of Education in Brazil, and Mex. University are publishing the Spanish Pisans, and Portuguese 17 Cantos.
The venerable Chiang encourages me with the jail sentence of King Wen and Confucio and other respectable chinamen.
In just what sense do you use word "stutterer" re/ Darley? 1 take it [it] is J. N. who is sending poems. Quicker to send 'em to Stock, and he will print 'em and send on more copies.
Jo Bard lecturing in the Canary Isles, rhymes with yr/ use of the very Possum in the preterite.
And I shall be grateful for the To Emmei.
cordiali saJuti Ez P
? 140
SECTIONIII: 1956-68
137: Ryozo Iwasaki to Ezra Pound
TLS-2 Keio University, Mita, Minatoku, Tokyo, Japan. 24 June 1957
Dear Mr. Ezra Pound:
I've received a parcel containing Italian Kagekiyo, Con/ucio, Cantos, Iconogra/ia and Lavoro ed Usura, etc. the other day. Many many thanks for your kindness and all those wonderful books Mrs. Mary de Rachewiltz sent me. In particular Iconogra/ia and Confucio are so beautiful that they fairly take my breath away. In exchange for her kindness I sent her my "Mauber- ley" and Japanese Masks, which I'm sure she will like. And also I sent you Japanese Masks and Taiga. Ikeno Taiga (1723-76) is one of the Southern School Artists. He had a true enthusiasm for Chinese culture, and was earnest in Chinalizing the Japanese landscape, as the Augustan poets in England used to Latinizing the English world.
J. N. 's Janus poem will be published in Edge no. 5. He's deeply grateful to you. I sent my "Mauberley" to Mr. Stock, h. de campos, Eva Hesse O'Donnell, and Garcia Terres last month.
Commemorating the fiftieth anniversary of Fenollosa's death, a biog- raphy was published in Tokyo. I'm writing now an essay on Mr. Pound and Fenollosa. Donald Davie, a young critic and Fellow of Trinity College, paid a great homage to The Chinese Written Character in his Articulate Energy. How and when did you happen to be acting as literary executor of Fenollo- sa? (Fenollosa's name first appeared in your letter. To William C. Williams, 19 Dec, 1913. ) Please tell me the circumstances.
One of my students is writing a doctor thesis on Yeats's plays. She had been in England for three years, and brought back some photographs of Yeats's mss. May I ask you some questions?
1. DoyouknowthedatewhenYeatsstartedAttheHawk'sWell?
2. Did Yeats actually write the first draft at Coole Park, being quite independent from your assistance?
3. TowhatextentdidyouhelpYeatsintheprogressofwritingAtthe Hawk's Well, or other plays, if any?
4. CanyougiveusastatementinwhichyoutestifyYeats'szealforthe Far Eastern art, etc? (including the Noh, of course. )
May I publish your letters in the Japanese magazine, omitting too personal passages (e.
125
I am sorry I must tell you that they cannot pay you for it, because the book will be of limited edition in a very small number.
it.
I should be very much grateful, if you would be good enough to agree to
Very sincerely yours, Kitasono Katue
128: Katue Kitasono to Ezra Pound & Dorothy Pound
Printed PC-1 1649 1-chome-nishi, Magomemachi, Otaku, Tokyo. 1 January 1953. (Two cards postmarked: 21 December 1952 and 1 January 1953, to Ezra Pound and Dorothy Pound] ^W -pv ^tl-,
129: Katue Kitasono to Ezra Pound TLS-l Tokio. 17 November 1953
Dear Ezra POUND,
h [A Happy New Year]
I am very sorry that I haven't written to you such a long time.
The other day Michael Reck visited me (I hadn't seen him since Febru- ary, and I was surprised to see him speak Japanese so fluently) and I showed him the typescript of the TRAXINIAI. He consented to take it to Mr. Ito Michio. He will soon come and tell me about it.
It was my greatest impression that I could catch the aspect of Noh in so vivid words and lively expression of you in Dxe Translations o/ E. P.
Now I am reading Lewis' V^oiimg W\\\.
VOU CLUB Katue YJiiasono
Ever yours, YAiasono Katue
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130: Ezra Pound to Katue Kitasono TLS-1 [n. p. ] 30 January 1959
Dear and respected Kit-Kat, after many ages, and perfidies etc.
There seems at last a chance of getting decent edition of the Odes, with both seal character and the reproduction of the magnificent text you sent me years ago. Have you any idea what edition it is? I can send photo to refresh your memory. Beautiful characters, and the Odes without the notes, as they are in Mao etc.
I dare say Vanni sends you his printed matter?
Both the german and Italian versions of TRAXINIAI are in process of production (stage) as well as print, but it will need the Minoru or Japanese technique to get any result near to what I or Sophokles could get much pleasure from.
I recall, as ever Lady Gregory, when a north english company had mur- dered The King's Threshold; "An oi tell him whoi doesn't he wroite comedies, an den he would have a few pleasant moments whoile he's in deh teeYayter! "
I tell him why doesn't he write comedies and then he would have a few pleasant moments while he is in the theatre.
Projected edition of the Odes will have two texts in Chinese, my american and Scarfoglio's Italian, and the indication of the sound (which of course wont indicate much, but at least the number of syllables in the original, and the tone variation).
131: Ezra Pound to Katue Kitasono
TLS-l Hotel Italia, Rapallo, Italy. 12 June 1959
Dear Kit Kat
I am, as you can see from post mark, back in Rapallo where I rec'd your first letter, and where there is still a file of BroJetto.
TRAXINIAI is being done in Berlin, heaven knows how, but some- one has said it will take them 50 years to see what has been done. I still believe that only a Noh company can do it properly.
Ever yours Ezra Pound
? SECTIONII: 1936-66 127
1 haven't learned kana yft. Pages of the magnificent text of the Odes that you sent have been photographed in the not extinguished hope of a decent edition, seal, that square character, my english and Scarfoglio's italian. but. . . .
It might help if some critic not in terror of the american "cultural" (bless your heart) "foundations," should animadvert on the delays in transmission and the spirit of Harvard and other universities. Beauson Tseng has approved the translation, if you know who he is, or if there is any survival of Tcheu's lament: they ought to be like brothers, they read the same books.
Kripalani has just sent me his translation of Tagore's novels, and some Gandhi.
Books are kept in the Warsaw cellarage. More editors might follow your method of printing a few words in the language of the books they mention, which would at least tell the ignorant alien what they consider worth notice.
I have enough superfluous bone (calcination) in my neck to sup- ply a giraffe, and it has been slowing me down.
I don't imagine the /apan Times has been returned to the peo- ple who had it before my untimely note on Matsuoka? Or that other than aesthetic ideas have much more outlet in Tokyo than anywhere else? I suspect you have forgotten your english during the past 20 years. At the same time one might manage more lively exchange of correspondence. Young Reck must know enough Japanese to help at it.
I don't think you have ever mentioned Junzaburo, or Iwasaki. Af- ter success of TRAXINIAI in the german translation (Eva Hesse) there are requests for Noh, for performance in Germany.
The charming member of your other profession, who had 200 vari- eties of roses in his Rapallo (quite small) garden has passed into whatev- er non-Bhudist realm of non- or not-non existence. There is a spate of building, in I suspect, very unstable material, and less beach open to the unorganized public. The gulf still contains water and the mountains not greatly altered by bombing raids d'antan.
Very interesting fotos in one VOU that I have passed on to the Oberti, who will, I think, send you Ana etc. , they and their friend Carre- ga will take note of anything your friends send them. Does anyone want a copy of Boris' bilingual Book of the Dead? No use my sending Scheiwiller notices if he has already done so. Mary's Kagekiyo has gone into another large edition. What does Japan do with TV?
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Italian phrase heard recently: memories are the white hairs of the heart. From wife of old tennis pal of mine now invalid.
benedictions, Ez. P.
132: Katue Kitasono to Mary de Rachewiltz
TLS-l 1-26, 5 chome, Akasaka, Minatoku, Tokyo, Japan. 28 November 1966
Dear Mary de Rachewiltz,
Your book of poems, Di Riflesso, reached me safely passing through many hands from my former address. I cannot read your poems, because I don't know Italian language, but visually I can see that these poems are very nice and beautiful. Many thanks.
I lost many of my books I loved during the war, among which the text of your story is included. Very, very sorry!
with best wishes, Kitasono Katue
P. S. I also thank you for the copy of your fine work of translation, ll Teatro Giapponese No.
? III POUND'SPOST-WORLDWARII CONTACTSWITH JAPAN: 1956-68
In this section are collected five letters of Ryozo Iwasaki to Ezra Pound, seven letters of Pound to Iv^asaki, one letter of Shiro Tsunoda to Pound, a fragment of Pound's letter to Tsunoda, one letter of Pound to Tomoji Okada, and one letter of Pound to the Librarian, University of Virginia.
The first book-length collection of Pound's poems in Japanese appeared in 1956, the culmination of years of dedicated effort of Ryozo Iwasaki (1908-76), then Professor of English Literature at Keio University. A scholar working in classical Greek and Latin literature, Iwasaki provided an amply annotated translation which immediately won very favorable notice.
In his letter to Pound, Iwasaki enclosed a poem by his colleague, Junzaburo Nishiwaki, who had written the "Preface" to Iwasaki's transla- tion. On reading the poem, Pound suggested to Iwasaki that Nishiwaki be recommended to the Swedish Academy as a Nobel Prize candidate. This note from Pound, though brief, created a tremendous impact on the Japanese literary world.
Since his undergraduate days, Iwasaki had been associated with var- ious literary circles, and had written a number of critical essays. In 1927, a year after he entered Keio University, he joined four other young people to start the magazine, Butai Shinsei [New Voices on Theatre). And in 1931, with other members of the University, he launched another magazine. Shin Mita-ha [New Mita Group).
His interest in Pound goes back to his early years. In 1934 he wrote "Poetics of Mr. Pound" for the Shiho [Poetics) edited by Shiro Murano and Azuma Kondo. He also contributed essays on modern poets including Pound to the poetry journal, Shinryodo [New Territory), around 1937.
During World War II his main concern was directed toward classical Roman literature. He published A History of Roman Literature in 1940 and Selected Works of Cicero in 1943. But after the war, his interest in American literature was revived. He wrote "Ezra Loomis Pound" for Seminars on Contemporary Poetry (Sogensha) in 1950. He then published the transla- tion, Ezra Pound: Selected Poems (Arechi Shuppan, 1956). In October, 1965, Iwasaki spoke over the radio (NHK) on Ezra Pound in celebration of his 80th birthday, broadcasting also selected recordings of Pound's own readings. For the poetry magazine, Mugen [Infinity), he wrote three articles:
129
? 130
SECTIONIII: 1956-68
"The Structure of the Cantos" (August, 1960], "Cock and Snail: Pound and Eliot" (October, 1965), and "Ezra Pound and Cummings" (November, 1967]. [As for his other works on Pound, see Donald Gallup, A Bibliography of Ezra Pound. ] When Iwasaki traveled through Italy on his way to England in 1961, Pound's illness regrettably made it impossible for him to meet the aged poet.
While still in Washington, D. C. , Pound received a letter from another Japanese scholar, Shiro Tsunoda (1922- ], now professor at Obirin Uni- versity. Though Pound was busy at that time, with various people outside the hospital trying to have the court dismiss the indictment against him, he replied providing several answers to Tsunoda's questions on his poetry. It is a pity that, except for one fragment which is printed in the following section, the remainder of the letter was lost.
Tomoji Okada, a retired businessman, wrote Pound offering a correc- tion of a misleading passage in Pound's Introduction to his No translation. Pound had written that, after Fenollosa's sudden death in London, the Japanese government had "sent a warship for his body. " But Okada claimed to know that Fenollosa's ashes had been brought to Japan via the Siberian Railroad. In fact, Okada had asked his friend Yasotaro Kato. who was returning to Japan via Siberia, to carry Fenollosa's ashes to Japan with him. Pound's letter to Okada may reflect his attitude toward history: "I certainly did not invent it. " One may wonder if indeed the ashes were brought back to Japan on a Japanese warship over the Japan Sea. But Tokutaro Shigehisa, who later investigated the matter, suggests that the ashes probably arrived at Tsuruga from Vladivostok on September 19, 1909 on the Hozanmaru of the Osaka Shipping Co. (Tokutaro Shigehisa, "Fenollosa's Ashes and Japan," Comparative Literature, vol. 2, 1959. pp. 83-4. ]
In 1968 when the present editor visited with Pound in Paris, the poet wrote a note to the librarian at the University of Virginia granting permis- sion for access to a microfilm copy of the Fenollosa notebooks. All the notebooks of Fenollosa sent to Pound by Mary Fenollosa were at that time under lock and key, and it would have been impossible otherwise for me to have read them. At the time, Hugh Kenner's microfilm of part of the notebooks had been stored at the library of the University of Virginia.
? SECTIONIII: 1956-68 131
133: Ryozo Iwasaki to Ezra Pound
TLS-4 1-34, Mita, Minatoku, Tokyo, Japan. 30 November 1956
Dear Mr. Pound,
I am sending you the Japanese translation of your poems to-day. It has meant a great deal to me. I have no words to apologize to you for publishing your poems without permission. The Waste Land has been translated by several hands in our country, but "Hugh Selwyn Mauberley" has never been put into Japanese, and some favourable comments to my translation have appeared in Japanese newspapers. But I must confess it was a very difficult task. I wonder what it will seem to you. I want you to tell me what effect it has on you.
I had a very pleasant journey to Kobe the other day, and found that Ernest Fenollosa's lock of hair had been buried at Homyoin, Enjoji Temple in Otsu, near Kyoto. I enclose photographs of the grave, which was built by Mr. Laurence Binyon and other foreigners. The weather was most over- whelmingly lovely. He sleeps among the cedar grove and beautiful ferns by the Lake Biwa (i. e. lute). Vale! Valel
Yours very sincerely, Ryozo Iwasaki
? 132 SECTIONIII: 1956-68
Appendix 1
Contents of Selected Poems of Ezra Pound (Japanese Translation)
Preface by Junzaburo Nishiwaki "Sestina: Altaforte"
"Rome"
"The Garden"
"The Spring"
"Dance Figure"
"Gentildonna"
"To Kalon"
"Ladies"
"After Ch'u Yuan"
"Fan-Piece, for her Imperial Lord" "In a Station of the Metro" "Alba"
"Papyrus"
"To Formianus' Young Lady Friend" "The Lake Isle"
"Epitaphs"
"Homage to Quintus S. F. Christianus" "Moeurs contemporaines (Stele)" "Canto I"
"Canto IV" (abridged)
"Hugh Selwyn Mauberley"
Appendix 2
January in Kyoto
Janus, old man,
Your name is damp and grey and too prolonged A ring to rattle in my verse;
You double-faced, diluted churl of churls,
You corn-dull, poppy-wilted, beaver-brown.
By Junzaburo Nishiwaki
? SECTIONIII: 1956-68 133
You snow-eater, a parasite on roots and berries, Iconoclast of gins and perries,
You're really one of the pariah dogs
Yelping, thrash-worth, at the belated gods.
I knowthedeitieswouldratherinflate
And flow in pipes than in metric odes, but now You suddenly brought us shy myth,
When we, disguised as Zeus and Hermes, went Looking for orchids that will hang oblong and dim At cuckoo-crow at the hell lady's door.
In the Hiei foot-hills by pebbly-purring streams.
We went into a peasant's cottage to see
How one cleans and adorns one's range
With a sprig of rue and a tangle of hips
To honour the bluff god of the kitchen fire.
The old baucis-and-philemon tree rustled its top: "Reverend sirs, you are early. Well now. "
My friend, a Ben Jonson scholar at the university, And a complete parr angler, could speak
The Yase doric: "Look what we've got,
Such lovely slender buds; may we leave
These things with you by this mercury bush,
As we're going to see Emau Convent up there? " Again we went out into loam land, dreaming
Of Angels and pottery crystal-beaming:
This time as tinkers we wandered . . .
Post-orchid journey it will be named.
A redolent trek, there was a smell
Of yellow plum blossom in the turnip fields.
"Who is it walking with you, strangers? "
"It is a woman. "
She is in holy visibility:
That was an old woman with the help of a stick On her way from Shu-gaku-in to Iwakura
To draw out money, the account book on her head, Nicely done up in a peony-patterned cloth Probably to ransom her helen out of peonage.
She had a leer like a boar
And had a stutter like Darley;
? 134 SECTIONIII: 1956-68
But it might be thunder if she chose to parley. Excited by our indignation on the boar ravages,
With fury and frothing she made a Delphic utterance: "It only took them a night to devour
A middlesex acre (as Macaulay says) of your yams; Last year they shot a huge one, but nobody
. "
Could bear him away, so there you are
So saying she glowered at us and passed by.
Now I come to the second nonnes tale:
We greeted the ancress in a most elegant way; Unrobed, aproned, head tonsured as azure as
The kingfisher's wings, sweeping up fallen leaves Among the landscape stones green with moss, Herself indistinguishable from the blue.
"Good morning, Madame Eglantine, may I
See your garden? Wonderful!
And do you happen to know my relation
Who is a prioress living near Kitano-Tenjin? "
"I wouldn't know, sir. But how odd, when I've been Of the same tribe nearly all my life.
Bo tree, that. Very, very rare. "
"Perhaps you could let me have a twig in the spring; I'd like to graft it on a stock . . . mulberry it is. " Enlightenment . . . an entwining of rose and bay. "By all means. Secretum secretorum! "
When we returned full circle to the roots
Of our orchids, we maundered to sanctify
Fertility . . . magic jabber . . . over cups of tea.
The wife decanted golden mead to immortalize
Our chats and our pseudo-godliness, but we tried Hard to hide our mortality . . .
Biographical Note: J. Nishiwaki was born in 1896. He graduated at Keio University but later studied English literature at Oxford University. He is the author of a number of books on English and European languages and literature and has translated Eliot's The Waste Land into Japanese. He has published several books of poems and although his output has been small, he is one of the most influential of modern poets in Japan to-day. He is at present Professor of English literature at Keio University.
. .
? SECTIONIII: 1956-68
135
134: Ezra Pound to Ryozo Iwasaki
TLS-2 [Pmk: WASHINGTON D. C. ) 28 December 1956
Dear Ryozo Iwasaki
It has been a most delightful Xmas, and I have you to thank for two of the pleasant surprises.
Your elegantly printed "Mauber-
ley" {&- other poems), and J. N. 's Janus Poem, the latter most opportune, as Stock has started a magazine which badly needs it. Edge, edited by Noel Stock
436 Nepean Rd. , East Brighton S. 6, Melbourne, Australia
Started with the highest aims of any review since Ford's English Review in 1908. To whom I trust you and Junzaburo will contribute at once. He has printed a few translations of mine and the long-needed Zielinski SibyiJe/ but there was the lack of vortex; of concentration of creative tal- ents such as made The Little Review with Lewis, Joyce, and Eliot.
Don't credit me with a knowledge of Japanese, let alone the ability to judge the style of your translation or its nearness to the original. I am delighted with the look of the edition, happy to see the W. L. portrait on the jacket (portrait now on show in N. York), and having only partially unwrapped the volume, had the second and delayed pleasure and sur- prise of finding D. P. 's cover design for Ripostes on the reverse. Looking much better enlarged to that size and with the nippon script cohering much better with the design than the heavy english lettering of the origi- nal. In short a pleasant yesterday. And the 40 year after surge of coinci- dence. W. L. 's preface for his show at the Tate and my note on La Mar- tinelli having been done without collusion . . . in a way that would have pleased Yeats' astrological yearnings.
JunzaburohasamorevitalenglishthananyI haveseenforsometime. AND if you choose such good company I can well believe you have made a good job of the "Mauberley," and trust if you also write in english or translate your own poems you will send copies both to Stock and my- self.
I have enjoyed that Janus poem more than anything I have come on for some time.
I recall Ford on one occasion re/ lack of literary comprehension in London: "That is why one feels so damn lonely. " And at the opposite extreme, it is heartening to find that another good poet exists.
One or two questions, as yr/ oxfordian friend has a vocabulary which in- cludes "ancress"/ may be he has a dictionary which includes "perries. "
? 136 SECTIONIII: 1956-68
I have no english dictionary here/ only greek and Chinese, so I can't hunt for it, and if it is a typing slip, he might correct
it before sending the ms/ to Stock (which, as above, I hope he will do]. I shall tell Stock I have asked him to.
It cant be misprint for berries, which occurs as rhyme in line preceding. Probably is oxonian, and not yankee.
Thrash-worth, or thrash-worthy / If he wants thrash-worth, let it stand.
It is stronger/ but one wants to be on guard when writing a for- eign language. You improve it, and it is set down to ignorance. Stock must know it is intentional.
(These are very fussy comments on matters of small importance, but I don't want to lose time with Stock. ) Again parr, or par. ?
Don't imagine that I ever knew how to spell in any language, and have certainly forgotten a good deal that 1 knew temporarily. I hear an Athen- ian taxi driver was lamenting that he couldn't help me to correct the greek in Cantos/ which is, at least partly, due to american printer omit- ting corrections after they had been properly set up. Besides whatever state the typescript is in, Melbourne will probably add a few errors. Does thehelenwantacapital(Helen)? peri,forperiwinkle? in1. 7? ? Ajoke that I shd/ be asking for footnotes. Darley?
At the boar's (is not necessary) ravages. so there you are
{"Stetson" is used with emphasis, no implication that reader already knows of him. )
(These two might be typing slips? )
Other Xmas items at this end. Amaral's Cantares Pisanos at last issued by Univ. of Mexico. Eva's Pisaner Gesdnge and popular edtn. pocket book Dichtung und Prosa. No. 2. Edge with the Zielinski. And at last the TRAXINIAI in London with some addenda. I will send Academia Bulle- tins slow post. Thanks for the Fenollosa fotos. And give my regards to the Minoru. It was his grandfather's foto on my mantelpiece that lowered the bamboo curtain with Ito and Kume in London, 40 years ago. And the present Minoru in Kagekiyo mask is on cover of my daughter's Italian translation of the Fenollosa-E. P. impression of that play. (They met at Venice festival. ) The TRAXINIAI translation was due to rereading the Noh translations for collected translations, and to make Verkehr with Lorenzatos greek edition of Cathay . . . a current toward inter- communications.
? SECTIONIII: 1956-68 137
I will ask Vanni Scheiwiller to send you some of his editions, or, as he runs on enthusiasm, perhaps the Keio Univ. will want some for their li- brary. The stone tablet text of Pivot is neater in the Italian bilingual than in the larger New Directions edtn/ and the outrage of delays and sabotage in connection with Harvard press, which should have done the Odes with seal character and sound-graph, one more infamy on the neck of this unfortunate continent.
At any rate, do send me more news as the incarcerated live on their post-bag.
135: Ryozo Iwasaki to Ezra Pound TLS-1 [n. p. l 8 April 1957
Dear Mr. Pound:
I have accused myself for not writing to you. Many thanks for your cordial letter and Academia Bulletins. I felt as if I actually met you and listened to your witty causerie. I have just read through Mr. Denis Goacher's "Pictures of E. P. " in the Nimbus, and I have been keenly feeling that the world is incompatible with the wisdom of a genuine poet. Yet I believe an artist should be allowed his own vision.
MyheartwasfilledwithintensesorrowwhenI heardthenewsof Wyndham Lewis's death. I can well understand your feelings, though omnes eodem cogimur.
Junzaburo Nishiwaki won the Yomiuri prize for poetry the other day for his The Third Myth, which contains Janus poem in Japanese version. He expresses his gratitude and delight for your helpful and inspiring criticism. I hear George Darley (1795-1846), an Irish poet, was a stutterer. He says he will send you some other poems before long.
The London edition of Traxiniai came to my hand this morning. I read your version in the Hudson Review a few years ago. I will press Kitasono to translate it into Japanese as soon as possible. (I hear he has been depressed by a love affair. ) In recent years No plays written by the modern authors are on at the various theatres in Tokyo, and some of them are successful.
I think Italy must be a very pleasant country to live in. My brother-in- law is the Japanese Ambassador at Rome. I hope I shall be able to travel in
cordiali saJuti to both of you. Ezra Pound
? 138 SECTIONIII: 1956-68
Italy--where every footstep is fraught with memories--during his tenure of office.
There is a story that when, after the last war, Norman Douglas applied to the Italian Government for permission to return to Capri, he was told that no foreigner was allowed to settle in Italy. "I do not wish to live in Italy," he replied, "I wish to die there. " His request was granted.
May I ask you some questions?
1. Or through dawn-mist
The grey and rose
Of the juridical
Flamingoes: "Mauberley" IV
What is the meaning of the juridical in this context?
2. Who is Headlam? ("Mauberley")
John Espey says that Headlam is the Rev. Stewart Headlam, though
Friar and Brinnin say that he is the R. Rev. Arthur C. Headlam, the Bishop of Gloucester.
Please forgive me for the trouble I am causing you.
In exchange for your kindness, I am sending you Japanese No Plays,
Confucian Analects by Dr. Legge, and T'ao Yiian-ming in Chinese char- acters, which I am sure you will like.
136: Ezra Pound to Ryozo Iwasaki TLS-1 St. Elizabeths. 11 April 1957
Dear Ryozo Iwasaki
I wonder if what Ito would have called your "brother in row" is the Ambassador my daughter met when the Minoru took the
Noh to Venice?
I hope Junzaburo will continue to "derocher," but wish you would both get in touch with Noel Stock, now. (Occidental vulgarity, we live in eternity, but magazines do not, and the better a periodical the more pre- carious its existence, and the greater the need to get the best available matter printed before the editor goes bust. )
I dont think Kit Kat knows enough english to translate TRAX-
INIAI.
Sincerely Yours, Ryozo Iwasaki
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BUT am convinced the Noh technique is only way of doing it properly, in whatever language.
No poet shd/ be depressed by a love affair/ if accepted he can enjoy it/ if given the "heave-ho" it shd/ improve his prosody and versification. And Kit Kat must be several years younger than I am.
When you get to Italy you must spend a few days with my descendents at Schloss Brunnenburg--Tirolo, Merano.
"juridical"/ gravity of the bird, the general legal attitude/ etc.
I shd/ say the lizard is professorial/ at least one memorable occasion of main body of said animal, utterly impassive, returning to in- spect the excited movements of its own tail knocked off by a cat. Of course situation much more serious for tail (irrevocable), whereas lizard cd/ replace same with patience.
Headlam, Stuart (or Stewart), member of rhymers club, I dont think he attained prebebde.
Do you know Dr. Kojiro Yoshikawa? He has sent his East-flow West-flow to Sheri, my copy hasn't come.
If you can persuade yr/ publisher to extend his operation by sending re- view copies of your "Mauberley" to h. de campos, r. dr. franco da rocha 232, s. paulo, Brasil
AND to Stock, and to Eva Hesse O'Donnell, Franzjosef str/ 7. vi, Miinchen 13, Germany
I think they wd/ spread the glad tidings.
Also to Garcia Terres, Universidad de Mexico, Mexico City, Mexico. The Ministry of Education in Brazil, and Mex. University are publishing the Spanish Pisans, and Portuguese 17 Cantos.
The venerable Chiang encourages me with the jail sentence of King Wen and Confucio and other respectable chinamen.
In just what sense do you use word "stutterer" re/ Darley? 1 take it [it] is J. N. who is sending poems. Quicker to send 'em to Stock, and he will print 'em and send on more copies.
Jo Bard lecturing in the Canary Isles, rhymes with yr/ use of the very Possum in the preterite.
And I shall be grateful for the To Emmei.
cordiali saJuti Ez P
? 140
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137: Ryozo Iwasaki to Ezra Pound
TLS-2 Keio University, Mita, Minatoku, Tokyo, Japan. 24 June 1957
Dear Mr. Ezra Pound:
I've received a parcel containing Italian Kagekiyo, Con/ucio, Cantos, Iconogra/ia and Lavoro ed Usura, etc. the other day. Many many thanks for your kindness and all those wonderful books Mrs. Mary de Rachewiltz sent me. In particular Iconogra/ia and Confucio are so beautiful that they fairly take my breath away. In exchange for her kindness I sent her my "Mauber- ley" and Japanese Masks, which I'm sure she will like. And also I sent you Japanese Masks and Taiga. Ikeno Taiga (1723-76) is one of the Southern School Artists. He had a true enthusiasm for Chinese culture, and was earnest in Chinalizing the Japanese landscape, as the Augustan poets in England used to Latinizing the English world.
J. N. 's Janus poem will be published in Edge no. 5. He's deeply grateful to you. I sent my "Mauberley" to Mr. Stock, h. de campos, Eva Hesse O'Donnell, and Garcia Terres last month.
Commemorating the fiftieth anniversary of Fenollosa's death, a biog- raphy was published in Tokyo. I'm writing now an essay on Mr. Pound and Fenollosa. Donald Davie, a young critic and Fellow of Trinity College, paid a great homage to The Chinese Written Character in his Articulate Energy. How and when did you happen to be acting as literary executor of Fenollo- sa? (Fenollosa's name first appeared in your letter. To William C. Williams, 19 Dec, 1913. ) Please tell me the circumstances.
One of my students is writing a doctor thesis on Yeats's plays. She had been in England for three years, and brought back some photographs of Yeats's mss. May I ask you some questions?
1. DoyouknowthedatewhenYeatsstartedAttheHawk'sWell?
2. Did Yeats actually write the first draft at Coole Park, being quite independent from your assistance?
3. TowhatextentdidyouhelpYeatsintheprogressofwritingAtthe Hawk's Well, or other plays, if any?
4. CanyougiveusastatementinwhichyoutestifyYeats'szealforthe Far Eastern art, etc? (including the Noh, of course. )
May I publish your letters in the Japanese magazine, omitting too personal passages (e.
