tained "the most remarkable and best au-
thenticated
stories of apparitions, dreams, second sight,.
A-Companion-to-the-Cantos-of-Ezra-Pound-II
.
: 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. trainee at DTC.
77. signorinas: I, "young ladies. "
78. Jones: Lieutenant and provost officer at DTC [80:111]. MSB note: "Jones rodents: The inmates who had to pull up grass. "
79. Tellus: Roman divinity of the earth [47:24]. Here just the earth [77/468].
80. XTHONOS: H, "of the earth" [77:26; 82:59].
81. OJ XeONIOJ: H, "the ones of the earth" (nom. plural).
82. ell:; Xeoz;wv,: H, "to the ones under the earth" (acc. pI. after prep. implying motion).
83. IlEpoEq,6vEl": H, "Persephone" [1: 11; 74:374].
84. Tiresias: The blind sage of Thebes [1:7].
85. Cristo Re, Dio Sole: I, "Christ the King, God the Sun. "
86. Kakemono: J, "a painted scroll. "
87. Uncle William: W. B. Yeats. Pound acted nominally as his secretary during the winters of 1913, 1914, 1915, at a cottage in Sussex: Yeats worked downstairs and Pound worked upstairs.
88. Peeeeacock: The Peacock poem was published in Poetry, May 1914. It may have been based on the peacock luncheon W. S. Blunt gave the committee of poets who vis~ ited him to pay homage on January 18, 1914 (Y eats, Moore, Manning, Masefield, Plarr, Flint, Aldington, and Pound), memori? alized by a photo [see NS Life, 239]. Pound attempts to give the impression both of Yeats's Irish brogue and his highly mannered way of reading. See HK, A Colder Eye [po 55], for connection with Pennell's Life of Whistler [pp. 301, 306] for the reading which includes a proposal for "a great pea- cock ten feet high. "
89. aere perennius: L, "more enduring than bronze" [Horace, Odes III, 30].
90. Stone Cottage: Coleman's Hatch, Ash? down Forest, in Sussex, where the events reflected in these anecdotes took place-a kind of hilaritas [Pai, 4. 1, 79]? Pound's early idea of it was not promising: "My stay in Stone Cottage will not be the least profit- able. I detest the country. Yeats will amuse me part of the time and bore me to death with psychical research the rest. I regard the visit as a duty to posterity" [L, 25]. But he ended up liking it.
91. Wordsworth: Part of Pound's secretarial duties included reading to Yeats, whose eyes were very weak. Yeats wrote to his father: "I have just started to read through the whole seven volumes of Wordsworth" [The Letters of w. B. Yeats, 590]. But Pound did the reading.
92. Ennemosor on Witches: The History of Magic, by Joseph Ennemoser, trans. from German by William Howitt, 1854. The book had an appendix by Mary Howitt which con?
tained "the most remarkable and best au- thenticated stories of apparitions, dreams, second sight,. . . divinations, etc. ": in a word, the kind of stuff Yeats, in those years, would have liked best.
93. Doughty: Charles Montagu D. , 1843? 1926, English traveler and writer; author of Arabia Deserta (1888) and an epic poem, The Dawn in Britain (J906). Pound said of Arabia Deserta: "Doughty's volume is a bore, but one ought to read it" [GK, 267].
94. Summons . . . : During WWI a summons, later withdrawn, was served on both Doro- thy and Pound for being aliens in a prohi? bited area. Stone Cottage was on the coast.
95. The eyes . . . sea: Reprise of eyes-eidos- sea lyric at 81/520.
96. und . . . Greis: G, "and the ladies say to me you are an old man. " Pound's version of one of the Anacreontea, which usually goes: "Oft am I by the women told, Poor Ana? creon, thou grow'st old" [Cowley].
97. Anacreon: Greek lyric poet, fl. 525 B. C. 98. novecento: I, "of the 20th century. "
99. quattrocento: I, "of the fifteenth century. "
100. Tirol: The Tyrol. Herr Bacher's father is the 20th? century sculptor of Madonnas
102. Senate: Pound's mother once visited the United States Senate to listen to the proceedings [NS, Life, 3].
103. Westminister: Here, the House of Par? liament.
104. Senator Edwards: Ninian E. , 1775? 1833, U. S. Senator from Illinois. He was first appointed governor of the Illinois Terri- tory (1809) and then served as one of its first senators when it became a state. His memorable tropes have not yet been identi- fied.
T
[74:496].
. . .
"That is
101. "Das heis'
Walter Square. " A place in Bozen, a German-speaking town in the Tyrol, named after Walther von der Vogelweide. It was called Bolzano after it was ceded to Italy in 1919.
I. Si tui! . . . : P, "If all the grief and the tears /. . . . Recurrent refrain [80:424].
2. Angold: J. P. A. , 1909? 1943, British poet who died in actio"n as a pilot in the RAF in 1943. The London Times carried his neero? logy January 14, 1944, MSB note: Got word Angold had been shot down. E. P. working on Angold's economics. Ango1d had con?
tributed in the early 30s to the New English Weekly on economic matters.
: G,
called
CANTO LXXXIV
Sources
Time, Oct. I, Oct. 8, July 30, Aug. 27, 1945; The Republic, Armed Services edition (P. 29), 425; Dante, Pur XXVI; the Bible, Micah 4. 5; EP CON, 279, 20.
Background
EP, SP, 300; H. A. Giles, A History o f Chinese Literature, Lon?
don and New York, 1901; Dial, LXXI, 4, Oct. 1921; Daphne Fielding, Those Remarkable Cunards, Atheneum, 1968; Anne Chisholm, Nancy Cunard, New York, Knopf, 1979 [AC, Nancy].
Exegeses
Achilles Fang, "Material for the Study of Pound's Cantos," Ph. D.
dissertation, Harvard University, 1958, Vols. lII, IV; Tay,Pai, 4? 2 & 3, 549; Bosha,Pai,4? 1,99;Peck,Pai, 1? 1, 7? 9; BoshaPai, 11? 2, 284. 286; DP, Barb, 291? 292; CE, Ideas, 151? 153; LL, Motive, 79? 80.
Glossary
3. re8V1/KE: H, "He is dead. "
4. tui! . . . bes: P, good" [80:424].
"all the
worth, all the
5. Bankhead: John Hollis B. , 1872? 1946,
? 464
U. S. Senator from Alabama (1930. 1946). Pound thought highly of him because he was a believer in the efficacy of a stamp scrip and proposed it in a Senate bill [SP, 300]. Pound heard the remarks on his 1939 visit. The mule is likely Roosevelt.
6. Borah: William Edgar B. , 1865. 1940, U. S. Senator from Idaho (1907. 1940). A leading spokesman on foreign affairs. Pound's offer to do what he could to help keep the U. S. out of the war elicited this response [Bosha, Pai, 11. 2, 284. 286].
7. ye spotted lambe . . . delight: Source unknown.
8. Roy Richardson: Captain in charge of prisoner training, DTC, Pisa.
9. Demattia . . . Crowder: Presumably both "blacke and white" trainees at the DTC, the white ones named first and the "(dark)" ones later. One of the black soldiers prob. looked like Henry Crowder, a black jazz musician with whom Nancy Cunard [80:43] had a violent and scandalous love affair (1928. 1935). Nancy's mother and many others disowned her because of it, but Pound defended both her and Crowder [AC, Nancy, 118. 171, 176? 182, passim]
10. Slaughter: A major in the cadre at Pisa [78:44].
II. Mr. Coxey: Jacob Sechler C. , 1854? 1951, American reformer. Time [Oct. I, 1945] reported about him: "'General' of the famed tatterdemalion army of unem~ ployed that marched from Ohio on Washing? ton in 1894, still full of fight at 91, gave a Chicago isolationist gathering something to wrestle with: 'The Government takes 20% out of your salary to pay you interest on the 10% you have deducted from your salary to buy bonds. . . . Then they have to tax the people so the Government can pay interest to the banks, so the banks will support Gov? ernment bonds upon which money is issued' " [p. 46].
12. Sine: Sinclair Lewis, 1885? 1953, Ameri? can novelist. Time [Oct. 8, 1945, 100] car?
84/537? 538
84/538? 539
465
ried a review of his Cass Timberlane which dealt with Lewis's whole work.
13. Bartok: Bela B. , 1881? 1945, Hungarian composer, pianist, and collector of folk mu~ sic. Time carried an obit [ibid. , 74].
14. Mr. Beard: Charles Austin B. , 1874? 1948, American historian. The line in ques- tion here occurred in the Armed Services edition (P. 29) of The Republic: "Beard: But all the democracies have new deals or man- aged economies of one kind or another. If any government keeps control over its own currency, it will in practice, more or less manage its economy" [p. 425].
15. Mr John Adams: During the controver? sies when some politicians and the press wanted war with France, Adams's foreign policy was to keep talking and keep out of war, a quite unpopular stance that helped defeat him in his bid for a second term [70:9, 10]. The idea is also (in Adams letter to B.
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. trainee at DTC.
77. signorinas: I, "young ladies. "
78. Jones: Lieutenant and provost officer at DTC [80:111]. MSB note: "Jones rodents: The inmates who had to pull up grass. "
79. Tellus: Roman divinity of the earth [47:24]. Here just the earth [77/468].
80. XTHONOS: H, "of the earth" [77:26; 82:59].
81. OJ XeONIOJ: H, "the ones of the earth" (nom. plural).
82. ell:; Xeoz;wv,: H, "to the ones under the earth" (acc. pI. after prep. implying motion).
83. IlEpoEq,6vEl": H, "Persephone" [1: 11; 74:374].
84. Tiresias: The blind sage of Thebes [1:7].
85. Cristo Re, Dio Sole: I, "Christ the King, God the Sun. "
86. Kakemono: J, "a painted scroll. "
87. Uncle William: W. B. Yeats. Pound acted nominally as his secretary during the winters of 1913, 1914, 1915, at a cottage in Sussex: Yeats worked downstairs and Pound worked upstairs.
88. Peeeeacock: The Peacock poem was published in Poetry, May 1914. It may have been based on the peacock luncheon W. S. Blunt gave the committee of poets who vis~ ited him to pay homage on January 18, 1914 (Y eats, Moore, Manning, Masefield, Plarr, Flint, Aldington, and Pound), memori? alized by a photo [see NS Life, 239]. Pound attempts to give the impression both of Yeats's Irish brogue and his highly mannered way of reading. See HK, A Colder Eye [po 55], for connection with Pennell's Life of Whistler [pp. 301, 306] for the reading which includes a proposal for "a great pea- cock ten feet high. "
89. aere perennius: L, "more enduring than bronze" [Horace, Odes III, 30].
90. Stone Cottage: Coleman's Hatch, Ash? down Forest, in Sussex, where the events reflected in these anecdotes took place-a kind of hilaritas [Pai, 4. 1, 79]? Pound's early idea of it was not promising: "My stay in Stone Cottage will not be the least profit- able. I detest the country. Yeats will amuse me part of the time and bore me to death with psychical research the rest. I regard the visit as a duty to posterity" [L, 25]. But he ended up liking it.
91. Wordsworth: Part of Pound's secretarial duties included reading to Yeats, whose eyes were very weak. Yeats wrote to his father: "I have just started to read through the whole seven volumes of Wordsworth" [The Letters of w. B. Yeats, 590]. But Pound did the reading.
92. Ennemosor on Witches: The History of Magic, by Joseph Ennemoser, trans. from German by William Howitt, 1854. The book had an appendix by Mary Howitt which con?
tained "the most remarkable and best au- thenticated stories of apparitions, dreams, second sight,. . . divinations, etc. ": in a word, the kind of stuff Yeats, in those years, would have liked best.
93. Doughty: Charles Montagu D. , 1843? 1926, English traveler and writer; author of Arabia Deserta (1888) and an epic poem, The Dawn in Britain (J906). Pound said of Arabia Deserta: "Doughty's volume is a bore, but one ought to read it" [GK, 267].
94. Summons . . . : During WWI a summons, later withdrawn, was served on both Doro- thy and Pound for being aliens in a prohi? bited area. Stone Cottage was on the coast.
95. The eyes . . . sea: Reprise of eyes-eidos- sea lyric at 81/520.
96. und . . . Greis: G, "and the ladies say to me you are an old man. " Pound's version of one of the Anacreontea, which usually goes: "Oft am I by the women told, Poor Ana? creon, thou grow'st old" [Cowley].
97. Anacreon: Greek lyric poet, fl. 525 B. C. 98. novecento: I, "of the 20th century. "
99. quattrocento: I, "of the fifteenth century. "
100. Tirol: The Tyrol. Herr Bacher's father is the 20th? century sculptor of Madonnas
102. Senate: Pound's mother once visited the United States Senate to listen to the proceedings [NS, Life, 3].
103. Westminister: Here, the House of Par? liament.
104. Senator Edwards: Ninian E. , 1775? 1833, U. S. Senator from Illinois. He was first appointed governor of the Illinois Terri- tory (1809) and then served as one of its first senators when it became a state. His memorable tropes have not yet been identi- fied.
T
[74:496].
. . .
"That is
101. "Das heis'
Walter Square. " A place in Bozen, a German-speaking town in the Tyrol, named after Walther von der Vogelweide. It was called Bolzano after it was ceded to Italy in 1919.
I. Si tui! . . . : P, "If all the grief and the tears /. . . . Recurrent refrain [80:424].
2. Angold: J. P. A. , 1909? 1943, British poet who died in actio"n as a pilot in the RAF in 1943. The London Times carried his neero? logy January 14, 1944, MSB note: Got word Angold had been shot down. E. P. working on Angold's economics. Ango1d had con?
tributed in the early 30s to the New English Weekly on economic matters.
: G,
called
CANTO LXXXIV
Sources
Time, Oct. I, Oct. 8, July 30, Aug. 27, 1945; The Republic, Armed Services edition (P. 29), 425; Dante, Pur XXVI; the Bible, Micah 4. 5; EP CON, 279, 20.
Background
EP, SP, 300; H. A. Giles, A History o f Chinese Literature, Lon?
don and New York, 1901; Dial, LXXI, 4, Oct. 1921; Daphne Fielding, Those Remarkable Cunards, Atheneum, 1968; Anne Chisholm, Nancy Cunard, New York, Knopf, 1979 [AC, Nancy].
Exegeses
Achilles Fang, "Material for the Study of Pound's Cantos," Ph. D.
dissertation, Harvard University, 1958, Vols. lII, IV; Tay,Pai, 4? 2 & 3, 549; Bosha,Pai,4? 1,99;Peck,Pai, 1? 1, 7? 9; BoshaPai, 11? 2, 284. 286; DP, Barb, 291? 292; CE, Ideas, 151? 153; LL, Motive, 79? 80.
Glossary
3. re8V1/KE: H, "He is dead. "
4. tui! . . . bes: P, good" [80:424].
"all the
worth, all the
5. Bankhead: John Hollis B. , 1872? 1946,
? 464
U. S. Senator from Alabama (1930. 1946). Pound thought highly of him because he was a believer in the efficacy of a stamp scrip and proposed it in a Senate bill [SP, 300]. Pound heard the remarks on his 1939 visit. The mule is likely Roosevelt.
6. Borah: William Edgar B. , 1865. 1940, U. S. Senator from Idaho (1907. 1940). A leading spokesman on foreign affairs. Pound's offer to do what he could to help keep the U. S. out of the war elicited this response [Bosha, Pai, 11. 2, 284. 286].
7. ye spotted lambe . . . delight: Source unknown.
8. Roy Richardson: Captain in charge of prisoner training, DTC, Pisa.
9. Demattia . . . Crowder: Presumably both "blacke and white" trainees at the DTC, the white ones named first and the "(dark)" ones later. One of the black soldiers prob. looked like Henry Crowder, a black jazz musician with whom Nancy Cunard [80:43] had a violent and scandalous love affair (1928. 1935). Nancy's mother and many others disowned her because of it, but Pound defended both her and Crowder [AC, Nancy, 118. 171, 176? 182, passim]
10. Slaughter: A major in the cadre at Pisa [78:44].
II. Mr. Coxey: Jacob Sechler C. , 1854? 1951, American reformer. Time [Oct. I, 1945] reported about him: "'General' of the famed tatterdemalion army of unem~ ployed that marched from Ohio on Washing? ton in 1894, still full of fight at 91, gave a Chicago isolationist gathering something to wrestle with: 'The Government takes 20% out of your salary to pay you interest on the 10% you have deducted from your salary to buy bonds. . . . Then they have to tax the people so the Government can pay interest to the banks, so the banks will support Gov? ernment bonds upon which money is issued' " [p. 46].
12. Sine: Sinclair Lewis, 1885? 1953, Ameri? can novelist. Time [Oct. 8, 1945, 100] car?
84/537? 538
84/538? 539
465
ried a review of his Cass Timberlane which dealt with Lewis's whole work.
13. Bartok: Bela B. , 1881? 1945, Hungarian composer, pianist, and collector of folk mu~ sic. Time carried an obit [ibid. , 74].
14. Mr. Beard: Charles Austin B. , 1874? 1948, American historian. The line in ques- tion here occurred in the Armed Services edition (P. 29) of The Republic: "Beard: But all the democracies have new deals or man- aged economies of one kind or another. If any government keeps control over its own currency, it will in practice, more or less manage its economy" [p. 425].
15. Mr John Adams: During the controver? sies when some politicians and the press wanted war with France, Adams's foreign policy was to keep talking and keep out of war, a quite unpopular stance that helped defeat him in his bid for a second term [70:9, 10]. The idea is also (in Adams letter to B.
