old Carolus: Charles Auguste Emile
Carolus?
A-Companion-to-the-Cantos-of-Ezra-Pound-II
"
193. la Patrie: F, "the Fatherland" (Gaudier was French)_
194. Ulster: [cf. 58 above].
195. "Ia bonne _. . soldat": F, "good soup makes a good soldier. "
. 196. Yeats: [74:166].
197. Dolmetsch: Arnold D. ,
French musician and instrument maker, especially of early stringed and key instru? ments, whom Pound honored for years. See "Arnold Dolmetsch" [LE, 431-436] and
"Vers Libre and Arnold Dolmetsch" [ibid. , 437-440]. [81 :48].
198. "II est . . . pain": F, "It is good as bread. " Proverbial: "It is as good as gold. ".
199. Mackel: Editor of La Wallonie [7871].
200. Willy: [cf. 187 above].
201. Gauthier: "Willy. "
202. Dial: American literary magaZine, 1880-1929. Pound recalls Mackel wanting to get "Willy" to contribute to it.
203. Gluck: Christoph Willibald G. , 1714- 1787, best known for his operas such as
Iphigenie en Tauride.
204. Les moeurs . . . reste: F, "Customs go and pain remains. "
205. "En casque . . . ": F, "In pink crystal helmets the mountebanks" [78:72].
206. Mallarme: Stephane M. , 1842-1898, French symbolist poet.
207. WhistIer: [see 175 above].
208. Charles Condor: C. Conder, 1868- 1909, English decorative painter, described as "a wistful, tentative, ailing man, his hair luxuriant but lifelessly hanging, a brown lock perpetually over one malicious blue eye, who admitted, in a voice exhausted to the point of inaudibility, to being a little 'gone at the knees'" [Holroyd, John, 92]. This year he was 31.
209. Degas: [74:226].
210. Follies: [74:221].
211. Manet: [74:219].
212. 'La Concorde': Place de la Concorde, central square of the Tuilleries, Paris.
213. Judith: J. Gautier, 1850-1917, French poet and novelist, the daughter of TMophile Gautier. Her junk shop was her apartment located at 30 rue Washington. She was the only woman member of the Academie Goncourt [77: 143]. She lived "with her
monkeys, her bibelots (Chinese, Hindu, and prehistoric) and her cats" [Fang, II, 193]. The junk shop and bricabrac are mentioned earlier [76:48].
214. Ca s'appelle . . . : F, "That is called an
attic,"
215. Rue Jacob: Street on the Left Bank in Paris where for 60 years the house of Natalie Barney at number 20 was a landmark.
216. it l'Amitie: F, "to friendship. " Refers to "Temple a l'Amith~," a small Doric gazebo in the garden of Natalie's elegant Parisian townhouse [Sieburth, Instigations, 15] .
brought up," Implying it is "ill? mannered" to treat a lady in such a way.
223. Tiens . . . : F, "Look, she's telling you. "
224. jambe-de-bois: F, "wooden leg," mean- ing "The man with. . . . "
225. "Entrez . . . monde": F, "Enter, then, go on in I it is everybody's house. " Prob. Natalie's welcome to arriving guests.
226. H. Liveright: Horace Brisbin L. , 1886-1933, American publisher and theatri? cal producer who, with Albert Boni, founded the firm of Boni and Liveright in 1918.
227. vers Ie Noel: F, "around Christmas. " This visit was prob. after WWI.
228. three small boys . . . : The anecdote of the smacked young fanny (the incident occurred in Pound's presence according to M de R) was a story Natalie told of her early days in Paris. Her salon was known as a place liberated in talk and morals. She was famous as a writer: "But her reputation is due even more to the emancipated ideas by which she lived and to the personal magnetism which she exercised in her many love affairs. She was unquestionably the most candid, the most daring, and the most famous lesbian of her time. . . if they [younger people] listened, they might be surprised by her witty and unconventional remarks" [Wickes, American Writers in Paris, 23, 24] .
229. ce sont les . . . : F, "These are the morals of Lutece. " Lutetia Parisiorum was the ancient name for Paris.
230. Le Musee de Cluny: The Cluny Museum. A 14th-15th-century Gothic and Renaissance structure in the Left Bank, Saint-Germain des Pres district, on the Boulevard St. -Michel. Built by the abbot of Cluny, it houses medieval and Renaissance art objects and curios.
231. teatro romano: I, "Roman theater. " 232. Uncle William: W. B. Yeats [77:163].
1858-1940,
'-'-
217.
M. Jean: J. Cocteau [74:246].
Ecole Militaire: F, "Military School. "
218.
The bUilding on the Champ-de-Mars, Paris,
as the French General Staff College.
"II me parait . . . ": Repeat of anec- about Maritain [77:138].
220.
1972, one of the most famous of the Ameri- can expatriate writers, whose salon was a center of literary activity, especially during the 20s and 30s. She was known as "the Amazon," a sobriquet which inspired Remy de Gourmont's Lettres it L 'Amazone. Pound knew her first in pre. WWI visits to Paris, and since she was a close friend of Gourmont, he tried to arrange publications of his work in English as early as 1913. Since she was possessed of some wealth, Pound persuaded her to support some of his causes and authors such as "Bel Esprit," Valery, George Antheil, etc.
221. apache . . . : The male apache of a bistro (nightclub) dance team who was purported to treat his partner violently, throwing her about the stage with sadistic intent. They were, and still are, popular tourist attractions. Since Miss Barney never went out to cafes, she may have imported such a team to entertain at her. salon one evening.
222. vous etes . . . : F, "You are very badly
used
219. dote
Natalie: N. Clifford Barney, 1876-
? ? ? ? ? 440
80/505-506
80/506? 507
441
233. Ronsard: Pierre de R. , 1524? 1585, a French poet and leader of the Pleiade. Earlier, Yeats had done his "When you are old . . . " on one of Ronsard's Sonnets pour Helene.
234. the ink's heir: Eugene Ullman, 1877? 1953 (whose father manufactured ink for printers), did a portrait of Pound around 1912 which was used as a frontispiece in Donald Davie'sPoet as Sculptor lOP].
235. Monsieur C. : Cocteau [cf. 217 above] .
236. La Falange: Prob. La Phalange, the Parisian literary magazine. Or possibly money paid to the Spanish Falangists [M de R].
237. Arnold Bennett: Enoch A. B. , 1867? 1931, English novelist. .
238.
old Carolus: Charles Auguste Emile Carolus? Duran, ? 1837? 1917, French portrait and genre painter.
239. "vous . . . toile? ": F, "Are you going to shave a canvas? " In a 1955 letter about the female nude in painting Pound described an event of 1912 in Paris. The authorities felt that three paintings of Carriere needed retouching because they were too nude. So he "putt on a few dabs of pastel. " While he was doing it, Durand passed by and said, "Ah Monsieur, valiS allez raser une toile? ! "
[Kimpel, Pai, 10? 2,308].
240. Puvis: Pierre Puvis de Chavannes, 1824? 1898, French muralist. Some of his best work is in the Sorbonne and the
Pantheon.
241. Carriere: Eugene C. , 1849? 1906, French painter and lithographer; known for his portrait of Verlaine and for decorations in the Sorbonne.
242. o? hon dit quelque fois au vi'age: Recurrent phrase [29:30; 78:64]: "It is sometimes said in the village. "
Louis Farigoule, 1885? 1972, French poet and novelist who invented unanimism.
245. Vildrac: Charles V. , pseudonym of Charles Messager, 1882? 1971, French essayist, critic, poet, dramatist, and author of children's books.
246. Chenneviere: Georges C. , 1884? 1927, French poet.
247. Quand . . . vieille: F, "When you are very old. " A line from Sonnets pour Helene [II, 42] which inspired Yeats poem that starts, "When you are old and grey and full
of sleep. "
248. mia pargoletta: I, "my little girl. " The phrase may be addressed to Pound's daughter, Mary. The manuscripts of the Pisan Cantos were sent directly to her to make clean copies for the publisher.
249. Jugoslavian: Yugoslavian.
250. Schlag: G, a Viennese idiom, "with whipped cream. " Used to garnish Vienna coffee.
251. that cafe: The Vienna Cafe [cf. 255 below].
by a precocious Binyonian offspring" [PE, 29].
255. WIENER CAFE: The Vienna Cafe at lbe corner of Oxford and Hart streets. Wyndham Lewis wrote: "When the Belgian fortresses fen to the 'Hun,' the Vienna Cafe tottered and fell, too. For it was staffed and owned entirely by Germans, or Austrians, 'Alien enemies. ' It would not have survived under all-British management. So it became a Bank" [Lewis, Blasting, 280]. Lewis first met Pound there ca. 1910.
256. Jozefff: Prob. a waiter at the Vienna Cafe who returned to Austria to follow Emperor Franz Joseph.
257. Neptune: Name for Sturge Moore [HK].
258. Laomedon: Thomas Sturge Moore's The Rout (Pound recalls Defeat) of the Amazons (1903) opens with these lines: "Faun: Ahi, ahi, ahi, Laomedon! I Laomedon: It is the faun: He is in sore dismay: I That shrewd 'ah ee' denoteth grief or pain. " The sonority of the lines so impressed Pound that he refers to them in an early article on Dante [SR, 161; rpt. PE, 205].
259. Mr Newbolt: Sir Henry John N. [12:5, 74:171]. His "A Ballad of John Nicholson" contained inversions Pound couldn't endure: "the captains passed in silence forth I And stood the door behind. " He indicates pro- fane thoughts about the line? in a piece on Harold Monro: " B u t . . . (blanks left for profanity) . . . it, Hewlett, look at the line: 'He stood the door behind. ' " [PE, 11] .
260. cummings: e. e. cummings [74:157].
261. meum . . . in tabernam: L, "it is my intention . . . [to die, mari] in a tavern. " First 2 lines of stanza 12 of the Goliardic confession poem Estuans intrinsecus (Burp. - ing up inside) attributed to the so? called Archpoet of the Middle Ages, included in the Carmina Burana [JW] .
262. Chinese food . . . debacle: This seem?
ing nonsequitur has a Poundian logic about it: Any country so backward and uncivilized as not to have a Chinese restaurant is due for disaster.
263. Mr Bridges: Robert B. , 1844? 1930, English poet who became laureate in 1913. Pound said: "Anecdote: years ago when I was just trying to find and use modern speech, old Bridges carefully went through Personae and Exultations and commended every archaism (to my horror), exclaiming 'We'll git em all back; we'll git em all back' "
[L. , 179].
264. Furnivall: Frederick James F. , 1825?
1910, English scholar and philologist who edited the Oxford English Dictionary in the beginning (1861), founded the Early English Text Society, the Chaucer Society, etc.
265. Dr. Weir Mitchell: Dr. SilasW. M. , 1829? 1914, a noted neurologist and man of letters from Philadelphia. Pound prob. met him when young and approved some of his cultural projects, such as a Chaucer diction- ary and the Franklin Inn Club, of which he was the guiding spirit and president from its foundation in 1902 until his death. He invented the "phantom limb" concept to describe the sense people have of an amputa- ted limb still being there.
266. old William: W. B. Yeats [74:166]. His poem "Upon a House Shaken by the Land Agitation" contains the contention.
267. Gesell: [74:368].
268. Mabel: Mabel Beardsley, 1872? 1913, sister of Aubrey B.
269. Sligo in Heaven: [77:162]. Sligo was one of Yeats's favorite places.
270. old "da": John Butler Yeats, 1839? 1922, Irish artist, father ofW. B. Yeats, who spent many years in New York. Pound said in a letter of 1915 to John Quinn: "I have still a very clear recollection of Yeats pere on an elephant (at Coney Island), smiling like Elijah in the beatific viSion, and of you
243.
11] .
244. Romains: Jules R. , pseudonym of
253. Mr Binyon: Laurence B. , 1869? 1943, English poet, keeper of the prints and drawings, British Museum, authority on Oriental art, and translator of Dante. His Flight of the Dragon [1911] made a big impression on Pound [Pai, 3? 1,94? 100].
254. Penthesilea: Binyon's narrative poem in two parts ("The Coming of the Amazons" and "The Battle"), which concerns the battle between the queen of the Amazons (Penthesilia) and Achilles and dramatizes her defeat by the Greek hero. Pound heard the story from one of Binyon's three daughters (prodigies) and was prompted to hunt the story up at the British Museum. He wrote "demme if I remember anything but a word, one name, Penthesilia, and that not from reading it, but from hearing it spoken
Brisset:
Anecdote
repeated
[27: 10,
252. Mr [7840].
Lewis:
Percy
Wyndham
L.
? ? ? 442
plugging away in the shooting gallery"
[L,52].
271. Mr John Quinn: [12:18; 103:54].
272. "Liquids and fluids! ": The Cuala Press in May, 1917, published a 60? page book: Passages from the Letters of John Butler Yeats, Selected by Ezra Pound. Norman says, "old J. B. Yeats, who used to worry that his son would run off with a ballet dancer, had begun to worry that he would never run off with anyone. He began to frequent fortune tellers to learn, if possible, what his chances were of becoming a grandfather . . . "
[CN, Pound, 203]. Conversation between the palmist and J. B. Yeats was prob. reo ported in one of these letters.
273. Warren Dahler: A painter Pound knew during his 1910? 1911 months in New York, when he visited J. B. Yeats often. Dahler is seen as the discoverer of Patchin Place, where Cummings lived at no. 4 for many years after WWI. Pound wrote to Cummings in 1930: "Does a venerable figure called Dahler still live at No. 7 Pat. PI? " [L, 228].
274. Hier wohnt: G, "Here lives. "
275. Whitman: Just as the tradition lived on in Camden, N. J.
193. la Patrie: F, "the Fatherland" (Gaudier was French)_
194. Ulster: [cf. 58 above].
195. "Ia bonne _. . soldat": F, "good soup makes a good soldier. "
. 196. Yeats: [74:166].
197. Dolmetsch: Arnold D. ,
French musician and instrument maker, especially of early stringed and key instru? ments, whom Pound honored for years. See "Arnold Dolmetsch" [LE, 431-436] and
"Vers Libre and Arnold Dolmetsch" [ibid. , 437-440]. [81 :48].
198. "II est . . . pain": F, "It is good as bread. " Proverbial: "It is as good as gold. ".
199. Mackel: Editor of La Wallonie [7871].
200. Willy: [cf. 187 above].
201. Gauthier: "Willy. "
202. Dial: American literary magaZine, 1880-1929. Pound recalls Mackel wanting to get "Willy" to contribute to it.
203. Gluck: Christoph Willibald G. , 1714- 1787, best known for his operas such as
Iphigenie en Tauride.
204. Les moeurs . . . reste: F, "Customs go and pain remains. "
205. "En casque . . . ": F, "In pink crystal helmets the mountebanks" [78:72].
206. Mallarme: Stephane M. , 1842-1898, French symbolist poet.
207. WhistIer: [see 175 above].
208. Charles Condor: C. Conder, 1868- 1909, English decorative painter, described as "a wistful, tentative, ailing man, his hair luxuriant but lifelessly hanging, a brown lock perpetually over one malicious blue eye, who admitted, in a voice exhausted to the point of inaudibility, to being a little 'gone at the knees'" [Holroyd, John, 92]. This year he was 31.
209. Degas: [74:226].
210. Follies: [74:221].
211. Manet: [74:219].
212. 'La Concorde': Place de la Concorde, central square of the Tuilleries, Paris.
213. Judith: J. Gautier, 1850-1917, French poet and novelist, the daughter of TMophile Gautier. Her junk shop was her apartment located at 30 rue Washington. She was the only woman member of the Academie Goncourt [77: 143]. She lived "with her
monkeys, her bibelots (Chinese, Hindu, and prehistoric) and her cats" [Fang, II, 193]. The junk shop and bricabrac are mentioned earlier [76:48].
214. Ca s'appelle . . . : F, "That is called an
attic,"
215. Rue Jacob: Street on the Left Bank in Paris where for 60 years the house of Natalie Barney at number 20 was a landmark.
216. it l'Amitie: F, "to friendship. " Refers to "Temple a l'Amith~," a small Doric gazebo in the garden of Natalie's elegant Parisian townhouse [Sieburth, Instigations, 15] .
brought up," Implying it is "ill? mannered" to treat a lady in such a way.
223. Tiens . . . : F, "Look, she's telling you. "
224. jambe-de-bois: F, "wooden leg," mean- ing "The man with. . . . "
225. "Entrez . . . monde": F, "Enter, then, go on in I it is everybody's house. " Prob. Natalie's welcome to arriving guests.
226. H. Liveright: Horace Brisbin L. , 1886-1933, American publisher and theatri? cal producer who, with Albert Boni, founded the firm of Boni and Liveright in 1918.
227. vers Ie Noel: F, "around Christmas. " This visit was prob. after WWI.
228. three small boys . . . : The anecdote of the smacked young fanny (the incident occurred in Pound's presence according to M de R) was a story Natalie told of her early days in Paris. Her salon was known as a place liberated in talk and morals. She was famous as a writer: "But her reputation is due even more to the emancipated ideas by which she lived and to the personal magnetism which she exercised in her many love affairs. She was unquestionably the most candid, the most daring, and the most famous lesbian of her time. . . if they [younger people] listened, they might be surprised by her witty and unconventional remarks" [Wickes, American Writers in Paris, 23, 24] .
229. ce sont les . . . : F, "These are the morals of Lutece. " Lutetia Parisiorum was the ancient name for Paris.
230. Le Musee de Cluny: The Cluny Museum. A 14th-15th-century Gothic and Renaissance structure in the Left Bank, Saint-Germain des Pres district, on the Boulevard St. -Michel. Built by the abbot of Cluny, it houses medieval and Renaissance art objects and curios.
231. teatro romano: I, "Roman theater. " 232. Uncle William: W. B. Yeats [77:163].
1858-1940,
'-'-
217.
M. Jean: J. Cocteau [74:246].
Ecole Militaire: F, "Military School. "
218.
The bUilding on the Champ-de-Mars, Paris,
as the French General Staff College.
"II me parait . . . ": Repeat of anec- about Maritain [77:138].
220.
1972, one of the most famous of the Ameri- can expatriate writers, whose salon was a center of literary activity, especially during the 20s and 30s. She was known as "the Amazon," a sobriquet which inspired Remy de Gourmont's Lettres it L 'Amazone. Pound knew her first in pre. WWI visits to Paris, and since she was a close friend of Gourmont, he tried to arrange publications of his work in English as early as 1913. Since she was possessed of some wealth, Pound persuaded her to support some of his causes and authors such as "Bel Esprit," Valery, George Antheil, etc.
221. apache . . . : The male apache of a bistro (nightclub) dance team who was purported to treat his partner violently, throwing her about the stage with sadistic intent. They were, and still are, popular tourist attractions. Since Miss Barney never went out to cafes, she may have imported such a team to entertain at her. salon one evening.
222. vous etes . . . : F, "You are very badly
used
219. dote
Natalie: N. Clifford Barney, 1876-
? ? ? ? ? 440
80/505-506
80/506? 507
441
233. Ronsard: Pierre de R. , 1524? 1585, a French poet and leader of the Pleiade. Earlier, Yeats had done his "When you are old . . . " on one of Ronsard's Sonnets pour Helene.
234. the ink's heir: Eugene Ullman, 1877? 1953 (whose father manufactured ink for printers), did a portrait of Pound around 1912 which was used as a frontispiece in Donald Davie'sPoet as Sculptor lOP].
235. Monsieur C. : Cocteau [cf. 217 above] .
236. La Falange: Prob. La Phalange, the Parisian literary magazine. Or possibly money paid to the Spanish Falangists [M de R].
237. Arnold Bennett: Enoch A. B. , 1867? 1931, English novelist. .
238.
old Carolus: Charles Auguste Emile Carolus? Duran, ? 1837? 1917, French portrait and genre painter.
239. "vous . . . toile? ": F, "Are you going to shave a canvas? " In a 1955 letter about the female nude in painting Pound described an event of 1912 in Paris. The authorities felt that three paintings of Carriere needed retouching because they were too nude. So he "putt on a few dabs of pastel. " While he was doing it, Durand passed by and said, "Ah Monsieur, valiS allez raser une toile? ! "
[Kimpel, Pai, 10? 2,308].
240. Puvis: Pierre Puvis de Chavannes, 1824? 1898, French muralist. Some of his best work is in the Sorbonne and the
Pantheon.
241. Carriere: Eugene C. , 1849? 1906, French painter and lithographer; known for his portrait of Verlaine and for decorations in the Sorbonne.
242. o? hon dit quelque fois au vi'age: Recurrent phrase [29:30; 78:64]: "It is sometimes said in the village. "
Louis Farigoule, 1885? 1972, French poet and novelist who invented unanimism.
245. Vildrac: Charles V. , pseudonym of Charles Messager, 1882? 1971, French essayist, critic, poet, dramatist, and author of children's books.
246. Chenneviere: Georges C. , 1884? 1927, French poet.
247. Quand . . . vieille: F, "When you are very old. " A line from Sonnets pour Helene [II, 42] which inspired Yeats poem that starts, "When you are old and grey and full
of sleep. "
248. mia pargoletta: I, "my little girl. " The phrase may be addressed to Pound's daughter, Mary. The manuscripts of the Pisan Cantos were sent directly to her to make clean copies for the publisher.
249. Jugoslavian: Yugoslavian.
250. Schlag: G, a Viennese idiom, "with whipped cream. " Used to garnish Vienna coffee.
251. that cafe: The Vienna Cafe [cf. 255 below].
by a precocious Binyonian offspring" [PE, 29].
255. WIENER CAFE: The Vienna Cafe at lbe corner of Oxford and Hart streets. Wyndham Lewis wrote: "When the Belgian fortresses fen to the 'Hun,' the Vienna Cafe tottered and fell, too. For it was staffed and owned entirely by Germans, or Austrians, 'Alien enemies. ' It would not have survived under all-British management. So it became a Bank" [Lewis, Blasting, 280]. Lewis first met Pound there ca. 1910.
256. Jozefff: Prob. a waiter at the Vienna Cafe who returned to Austria to follow Emperor Franz Joseph.
257. Neptune: Name for Sturge Moore [HK].
258. Laomedon: Thomas Sturge Moore's The Rout (Pound recalls Defeat) of the Amazons (1903) opens with these lines: "Faun: Ahi, ahi, ahi, Laomedon! I Laomedon: It is the faun: He is in sore dismay: I That shrewd 'ah ee' denoteth grief or pain. " The sonority of the lines so impressed Pound that he refers to them in an early article on Dante [SR, 161; rpt. PE, 205].
259. Mr Newbolt: Sir Henry John N. [12:5, 74:171]. His "A Ballad of John Nicholson" contained inversions Pound couldn't endure: "the captains passed in silence forth I And stood the door behind. " He indicates pro- fane thoughts about the line? in a piece on Harold Monro: " B u t . . . (blanks left for profanity) . . . it, Hewlett, look at the line: 'He stood the door behind. ' " [PE, 11] .
260. cummings: e. e. cummings [74:157].
261. meum . . . in tabernam: L, "it is my intention . . . [to die, mari] in a tavern. " First 2 lines of stanza 12 of the Goliardic confession poem Estuans intrinsecus (Burp. - ing up inside) attributed to the so? called Archpoet of the Middle Ages, included in the Carmina Burana [JW] .
262. Chinese food . . . debacle: This seem?
ing nonsequitur has a Poundian logic about it: Any country so backward and uncivilized as not to have a Chinese restaurant is due for disaster.
263. Mr Bridges: Robert B. , 1844? 1930, English poet who became laureate in 1913. Pound said: "Anecdote: years ago when I was just trying to find and use modern speech, old Bridges carefully went through Personae and Exultations and commended every archaism (to my horror), exclaiming 'We'll git em all back; we'll git em all back' "
[L. , 179].
264. Furnivall: Frederick James F. , 1825?
1910, English scholar and philologist who edited the Oxford English Dictionary in the beginning (1861), founded the Early English Text Society, the Chaucer Society, etc.
265. Dr. Weir Mitchell: Dr. SilasW. M. , 1829? 1914, a noted neurologist and man of letters from Philadelphia. Pound prob. met him when young and approved some of his cultural projects, such as a Chaucer diction- ary and the Franklin Inn Club, of which he was the guiding spirit and president from its foundation in 1902 until his death. He invented the "phantom limb" concept to describe the sense people have of an amputa- ted limb still being there.
266. old William: W. B. Yeats [74:166]. His poem "Upon a House Shaken by the Land Agitation" contains the contention.
267. Gesell: [74:368].
268. Mabel: Mabel Beardsley, 1872? 1913, sister of Aubrey B.
269. Sligo in Heaven: [77:162]. Sligo was one of Yeats's favorite places.
270. old "da": John Butler Yeats, 1839? 1922, Irish artist, father ofW. B. Yeats, who spent many years in New York. Pound said in a letter of 1915 to John Quinn: "I have still a very clear recollection of Yeats pere on an elephant (at Coney Island), smiling like Elijah in the beatific viSion, and of you
243.
11] .
244. Romains: Jules R. , pseudonym of
253. Mr Binyon: Laurence B. , 1869? 1943, English poet, keeper of the prints and drawings, British Museum, authority on Oriental art, and translator of Dante. His Flight of the Dragon [1911] made a big impression on Pound [Pai, 3? 1,94? 100].
254. Penthesilea: Binyon's narrative poem in two parts ("The Coming of the Amazons" and "The Battle"), which concerns the battle between the queen of the Amazons (Penthesilia) and Achilles and dramatizes her defeat by the Greek hero. Pound heard the story from one of Binyon's three daughters (prodigies) and was prompted to hunt the story up at the British Museum. He wrote "demme if I remember anything but a word, one name, Penthesilia, and that not from reading it, but from hearing it spoken
Brisset:
Anecdote
repeated
[27: 10,
252. Mr [7840].
Lewis:
Percy
Wyndham
L.
? ? ? 442
plugging away in the shooting gallery"
[L,52].
271. Mr John Quinn: [12:18; 103:54].
272. "Liquids and fluids! ": The Cuala Press in May, 1917, published a 60? page book: Passages from the Letters of John Butler Yeats, Selected by Ezra Pound. Norman says, "old J. B. Yeats, who used to worry that his son would run off with a ballet dancer, had begun to worry that he would never run off with anyone. He began to frequent fortune tellers to learn, if possible, what his chances were of becoming a grandfather . . . "
[CN, Pound, 203]. Conversation between the palmist and J. B. Yeats was prob. reo ported in one of these letters.
273. Warren Dahler: A painter Pound knew during his 1910? 1911 months in New York, when he visited J. B. Yeats often. Dahler is seen as the discoverer of Patchin Place, where Cummings lived at no. 4 for many years after WWI. Pound wrote to Cummings in 1930: "Does a venerable figure called Dahler still live at No. 7 Pat. PI? " [L, 228].
274. Hier wohnt: G, "Here lives. "
275. Whitman: Just as the tradition lived on in Camden, N. J.
