berrius, "He saw nothing
ridiculous
in a child's wanting to know if the last letter of the word Katz stood for the cat's tail, and the first one for its head.
A-Companion-to-the-Cantos-of-Ezra-Pound-II
" Pound gives the intent of soni's whole statement as, "that's where the state gets its cut.
" When he first heard about Gesell's stamp script, this waS R.
's response
[Bridson Interview, N. D. 17, 175J.
78. Delcroix: [88:46J.
79. "che magnifica! ": I, "how magificent! " Said Pound: "And another thing . . . I mean Delcroix, who was the head of the Italian Veterans . . . he beat his head with his little wooden artificial arms and said 'che magni- fica idea'-What a magnificent idea" [ibid. , 176J.
80. (prescrittibile): I, "prescriptible. " Used with moneta it means "stamp script" of the Gesell variety.
81. "May their pond be full: "We perform ch'er k'o [a medicinal riteJ on the family; may heaven give it many sons and daughters, may their pond be fuJi and may they only hear good tidings" [Rock, "D'a 3Nv," 21J.
82. The son . . . hearing: "[The ms has phrasesJ expressing the hope that ihere may
CANTO CII
Sources
Homer, ad. I, II, III, IV, V, X; Ovid, Meta. IV; EP, CON; Sir Barry Domvile, From Admiral to Cabin Boy, London, 1947; Apollodorus, The Library, III (Loeb); Ammianus Marcellinus, History, II [Mar. J.
Exegeses
EP, ABCR, 187; SP, 328; Peck, Pai, I-I; MB, Trace, 408; NS,
71. 2dto - 1mba's face pictured in one of the plates.
. . .
: A Na-khi priest
Ros~
be among
geous) sons: [the ceremonyJ is performed on his good hearing, keen sight, on his right
. arm, on his left arm . . . " [ibid. J.
. . .
The
above [ibid. J.
84. "His horses . . . peace. ": In another
Rock work entitled The 2Zhi 3 md Funeral Ceremony, we read: "You are on the way to the realm of the gods, your body and soul are at peace and the mane of your horse is beautiful" [po 197J .
1. Kalupso: Calypso [20:67J. Hermes told her that Zeus said she should let Odysseus go
[ad. V, 97 ff. J.
2. Hermes: [12:8J. Here the messenger of
Zeus.
3_ Dwight L. Morrow: [86:105J.
4. the body elected . . . : Unlike members of the English Parliament, U. S. senators must have a legal residence in the state they run in.
5. Pallas: P. Athena, disguised as the old woman Mentes, lied to Telemachus, saying that she had a ship whose cargo was iron
[ad. I, 184J .
6. Penelope: Around 1950 Pound wanted friends not to send cliched . Christmas cards but a question that would send people back to the classics, such as, "Why did Penelope wait for the return of Odysseus? " The an- swer is in ad. IV, 693 (not 639): Kfivos . . .
7. Leucothoe: The daughter of King Orcha- mus of Babylon. She resisted the passion of Apollo, who turned her into "a sweet de- lightful tree of frankincense" [Meta. IV, 203-3 ! OJ . Not to be confused with Leuco- ihea [cf. 8 belowJ .
8. sea-gull: Pound's name for the bird which Ina, the daughter of Cadmus, was changed into; she was thence called Leucothea. With the help of the veil ("bikini") she gave Odys- seus, he reached the shores of the Phaeacians.
9. Ideogram: Pu [M5379J, "not; a nega- tive. " Because his old artist friends did not see that ignorance of money and how it should be issued prevented the creation of a society in which the arts could flourish, they "had no ground to stand on" [98:33J.
10. Black shawls . . . : [98:14, 15J.
11. OIOS . . . TE: H, "so as to finish the job . . . and love. " The original line [ad. II, 272J has Enos, "word," rather than EROS, "love. " Thus Loeb has: "such a man was he to fulfill both deed and word. "
12. J1. &w: A Greek root used here only for sound [98:37J.
13. Barley . . . : Athena tells Telemachus to "make ready stores, and bestow all in vessels-wine in jars, and barley meal, the marrow of men, in stout skins" [Od. II, 289-29IJ. Also a rhyme with the Eleusinian grain? rites, and perhaps with Pound's early visits to Venice when gondolas "cost too much" and "he had to live upon barley soup" [MB, Trace, 408J. The strength-of- men:is-in-grain motif [106:4J.
83. noun
ms.
graph entitled . . .
descendants
such 1 D'a
(=coura-
peace. ": A "very fare funeral of a rich war- rior" has 3 Na-khi pictographs in a rectangu- lar frame, which translate "rich-warrior fu- neral. " The center one is an image of a man standing. The first one, meaning "rich," sug- gests two rows of teeth in a square mouth and appears to be sideways. The third looks like the mane of a horse as if seen from
~
Reading,
I l l ;
JW,Pai, 3-2,
289;Peck,Agenda, vol. 9,
Glossary
2-3,1971.
which should
"keinos . . . eorgei. " The whole line means, "Never at any time did that man do anyone harm" [HK,Pai, 4-1, 187J.
fW P 'Y fl,
tranliterate to,
? 660
14. orzo: I, "barley. " An orzo is an order of barley soup, which costs "40 centess'," or 40 centesimi, or 40% of one lira.
15. Procape: Restaurant at 13 rue de l'An? cienne Comedie on the Left Bank in Paris. It was founded in the 17th century by an Ital? ian and patronized by writers, from Voltaire to Pound, because it served excellent food cheaply [JW].
16. Noi . . . borghesi: I, "we other common people. "
17. We thought . . . : [98/686]: " . . . con? trol Mussolini. "
18. ye sail over . . . : The lines evoke the words of Tiresias and "the dark eyelids" of Aphrodite in Canto I.
19. Winkelmann: The French edition, His? taire de l'art chez les anciens (Paris, 1802), of the classic work by Johann Joachim Winc? kelmann: Geschichte der Kunst des Alter- turns, 1764. He said that the shape, heavi? ness, and arch of the eyelid in Venus are crucial to her beauty [Peck, Pai, 1? 1, 26].
20. Ronsard: [80/505].
21. "jacques Pere": Pun on Shakespeare.
The Belgians would pronounce the J soft, as an I [ABCR, 187].
22. Le Porte1: The Swinburne connection [82/523].
23. Freiheit: G, "Freedom. " Eva Hesse: longtime friend and correspondent of Pound and official translator of The Cantos and other Pound works into German. His line
[74/426], "that free speech without free radio speech is as zero," she translated: "dass Redefreiheit ohne Radiofreiheit gleich null ist. "
24. The Changes: The I Ching. Confucius said: "If many years were added to me, I would give fifty to the study of The Book of Changes, and might therefore manage to avoid great mistakes" [CON, p. 221].
25. Swan: Unidentified, but clearly a man who showed heroism and unperturbability
under pressure in the manner of Bud Cowart below.
26. another chap . . . : [95:62]. Bud Co? wart, who got caught in the Akron's moor- ing ropes but held on while seeing two others fall to their deaths.
27. KatZe: G, "cat. " Pound said of Fro?
berrius, "He saw nothing ridiculous in a child's wanting to know if the last letter of the word Katz stood for the cat's tail, and the first one for its head. But to the school
less me ye Achaeans came . . . " rOd. IV, 144? 145]. KUVW7f1]S literaIly means "dog? eyed"-says Lidell? Scott, "i. e. shameless one. " Lidell-Scott gives for the feminine, "the shameless woman," but adds: "also fierce? eyed, terrible. " Pound prefers the lat? ter and works the half? goddess into the fearful? eyes theme started with Aphrodite in Canto I and recurring in Rock-Drill and Thrones [81:54; 91 :4].
34. Atalant: Says Apollodorus: "This Ata? lanta was exposed by her father, because he desired male children; and a she-bear came often and gave her suck. . . . " Thereafter, she "kept herself a virgin and became protected by Diana" [The Library, III, 9. 2; Loeb, I, 399].
35. aithiops . . . oinops: H, "wine . . . dark? bright" [97:159]; Homeric variant of "wine? dark sea" [II. I, 462; Peck, Pai, 1? 1, 24; MB, Trace, 412].
36. haliporphuros: H, "sea purple. " But Pound prefers the colors he lists.
37. oriXalko: H, "watery? copper. "
38. Ie xaladines: [97:163]. The sound sug? gests the Greek K"'At ("beautiful") and/or the sound of copper (above), in addition to Shakespeare's "multitudinous seas incarna- dine" [Macbeth, II, 1].
39. the nature, the sign: [90:2].
40. Smail lions: Animal statues atop tall col?
45. Wild goose . . . coral: Details of Na? khi landscape [Peck, Agenda, 9, p. 51] .
46. dead words . . . : Applies to all the Na-khi religious ceremonies, and by exten- sion, to many others.
47. KAI ALOGA: H, "and unspoken. "
48. APHANASTON: H, "secret, inscrutable,
or unknown" [cf. DG,Pai, 3? 3, 420-421]. 49. the pine needles . . . : A recurrent leit-
motif in the Na? khi materials. Rock [110:54] mentions pine needles and cones burned in religious ceremonies a number of times. Both the red glow and the billowing smoke have significance. Pound believes such ceremonies performed by the Na-khi derive from the same spiritual essence as do similar ceremonies performed by various occult and alchemical sects in the West [91 :2? 5]. Both groups aspire to burst out of the universe. Recall the third subject? response of The Can? tos, which Pound explained to his father: "The 'magic moment' or moment of meta- morphosis, bust through from quotidien into 'divine or permanent world. ' Gods, etc. " [L, 210]. Note, too, the way images used early in the poem are repeated as we near the end: "There is a wine? red glow in the shallows"
[2/7].
50. OU THELEI . . . KOSMOU: H. Pound's
"they
teacher . . . the
[SP ,328].
child just
seemed
stupid"
28. Dummheit: G, "stupidity. "
29. (Ingrid): A London woman Pound cor? responded with who said "she could not find anything by Sir Barry Domvile in local li? braries" [NS,Reading, 111]. Pound believed this was deliberate suppression. According to Stock, "Pound was thinking specifically of Domvile's autobiography, From Admiral to Cabin Boy, a comparatively mild piece of anti? semitism published in 1947. " It is the suppression of anti? Semitic data which Stock thinks explains "as was natural" [a poem by Domvile is in PD, 236? 237].
30. "pseudos . . . pepneumenos": H, [98:45], "he won't lie . . . is much too clever" rOd. III, 20]. The intimation is that Domvile has been silenced because he was, like Nestor, "too intelligent to prevaricate"
[99/697].
31. seed . . .
(of Lacedaemonia) sacrificed a horse to Apollo on Mt. Taygetus [97:290]. Eury? cleia, the nurse, lulled Penelope to sleep: "She then . . . went up to her upper chamber with her handmaids, and placing barley grains in a basket prayed to Athene" rOd. IV, 758? 761].
32. Leucothoe: [Cf. 7, 8 above]. The divine intelligence that makes the cherrystone into a cherrytree is what makes the metamor- phosed girl rise "as an incense bush. "
33. "for my bitch eyes": Helen of Troy said to Menelaus, "when for the sake of shame-
in the next line: want. . . . " But Pound neglects the negative, "QU. " Peter Lori gives: "does not want to come into the world" [Pai, 3? 2, 289]. For the phrase in Greek except for EAEAN, see
(Lacedaemon):
The Spartans
umns of [97:165].
St. Mark's
Venice
102/729-730
102/730-731
661
Cathedral in
41. AISSOUSIN:
[97: 169]. Odysseus tells of his visit to Tire?
sias and says: "To him even in death Perse- phone has granted reason, that he alone should have understanding; but the others flit about as shadows" rOd. X, 494-495].
42. Berenice:
[97: 170].
52. Antoninus: [42:4; 78:56].
53. Julian: J. the Apostate, 331? ? 363, Ro? man emperor (361. 363). He succeeded Con? stantius III, who had made him caesar with command of the Western Empire. But his success in Gaul as an idol of his troops and his reforms of the fiscal system in Rome, which allowed him to reduce the tax from
43. "Same books" [88:67].
brotherlike:
44. south slope . . . : [101 :2; 110:20].
H, "flitting
about"
105/750. 51. amnis
translation
. ripas: L, "river-grass-banks" [JW, Pai, 3? 2, 289] .
? ? ? ? ? ? ? 662
25 to 7 solidi per caput, made Constantius fearful of him as a rival. Constantius ordered him to bring his army east. Julian tried, but his troops refused and named him augustus. Then he marched east, but before the con? frontation Constantius died of a fever [cf. 57 below].
54. Marcellinus: Ammianus M. , ca. 300-ca. 400, Latin historian who was a great admirer of Julian. His 31-book history of Rome, in the manner of Tacitus, covered A. D. 96 to 378, but only books XIV-XXXI survive. Bk. XXIII, chap. 6, has this heading: "A descrip- tion of the eighteen greater provinces of the Persian kingdom, with the cities of each and the customs of their inhabitants" [Mar. , II, 349].
[Bridson Interview, N. D. 17, 175J.
78. Delcroix: [88:46J.
79. "che magnifica! ": I, "how magificent! " Said Pound: "And another thing . . . I mean Delcroix, who was the head of the Italian Veterans . . . he beat his head with his little wooden artificial arms and said 'che magni- fica idea'-What a magnificent idea" [ibid. , 176J.
80. (prescrittibile): I, "prescriptible. " Used with moneta it means "stamp script" of the Gesell variety.
81. "May their pond be full: "We perform ch'er k'o [a medicinal riteJ on the family; may heaven give it many sons and daughters, may their pond be fuJi and may they only hear good tidings" [Rock, "D'a 3Nv," 21J.
82. The son . . . hearing: "[The ms has phrasesJ expressing the hope that ihere may
CANTO CII
Sources
Homer, ad. I, II, III, IV, V, X; Ovid, Meta. IV; EP, CON; Sir Barry Domvile, From Admiral to Cabin Boy, London, 1947; Apollodorus, The Library, III (Loeb); Ammianus Marcellinus, History, II [Mar. J.
Exegeses
EP, ABCR, 187; SP, 328; Peck, Pai, I-I; MB, Trace, 408; NS,
71. 2dto - 1mba's face pictured in one of the plates.
. . .
: A Na-khi priest
Ros~
be among
geous) sons: [the ceremonyJ is performed on his good hearing, keen sight, on his right
. arm, on his left arm . . . " [ibid. J.
. . .
The
above [ibid. J.
84. "His horses . . . peace. ": In another
Rock work entitled The 2Zhi 3 md Funeral Ceremony, we read: "You are on the way to the realm of the gods, your body and soul are at peace and the mane of your horse is beautiful" [po 197J .
1. Kalupso: Calypso [20:67J. Hermes told her that Zeus said she should let Odysseus go
[ad. V, 97 ff. J.
2. Hermes: [12:8J. Here the messenger of
Zeus.
3_ Dwight L. Morrow: [86:105J.
4. the body elected . . . : Unlike members of the English Parliament, U. S. senators must have a legal residence in the state they run in.
5. Pallas: P. Athena, disguised as the old woman Mentes, lied to Telemachus, saying that she had a ship whose cargo was iron
[ad. I, 184J .
6. Penelope: Around 1950 Pound wanted friends not to send cliched . Christmas cards but a question that would send people back to the classics, such as, "Why did Penelope wait for the return of Odysseus? " The an- swer is in ad. IV, 693 (not 639): Kfivos . . .
7. Leucothoe: The daughter of King Orcha- mus of Babylon. She resisted the passion of Apollo, who turned her into "a sweet de- lightful tree of frankincense" [Meta. IV, 203-3 ! OJ . Not to be confused with Leuco- ihea [cf. 8 belowJ .
8. sea-gull: Pound's name for the bird which Ina, the daughter of Cadmus, was changed into; she was thence called Leucothea. With the help of the veil ("bikini") she gave Odys- seus, he reached the shores of the Phaeacians.
9. Ideogram: Pu [M5379J, "not; a nega- tive. " Because his old artist friends did not see that ignorance of money and how it should be issued prevented the creation of a society in which the arts could flourish, they "had no ground to stand on" [98:33J.
10. Black shawls . . . : [98:14, 15J.
11. OIOS . . . TE: H, "so as to finish the job . . . and love. " The original line [ad. II, 272J has Enos, "word," rather than EROS, "love. " Thus Loeb has: "such a man was he to fulfill both deed and word. "
12. J1. &w: A Greek root used here only for sound [98:37J.
13. Barley . . . : Athena tells Telemachus to "make ready stores, and bestow all in vessels-wine in jars, and barley meal, the marrow of men, in stout skins" [Od. II, 289-29IJ. Also a rhyme with the Eleusinian grain? rites, and perhaps with Pound's early visits to Venice when gondolas "cost too much" and "he had to live upon barley soup" [MB, Trace, 408J. The strength-of- men:is-in-grain motif [106:4J.
83. noun
ms.
graph entitled . . .
descendants
such 1 D'a
(=coura-
peace. ": A "very fare funeral of a rich war- rior" has 3 Na-khi pictographs in a rectangu- lar frame, which translate "rich-warrior fu- neral. " The center one is an image of a man standing. The first one, meaning "rich," sug- gests two rows of teeth in a square mouth and appears to be sideways. The third looks like the mane of a horse as if seen from
~
Reading,
I l l ;
JW,Pai, 3-2,
289;Peck,Agenda, vol. 9,
Glossary
2-3,1971.
which should
"keinos . . . eorgei. " The whole line means, "Never at any time did that man do anyone harm" [HK,Pai, 4-1, 187J.
fW P 'Y fl,
tranliterate to,
? 660
14. orzo: I, "barley. " An orzo is an order of barley soup, which costs "40 centess'," or 40 centesimi, or 40% of one lira.
15. Procape: Restaurant at 13 rue de l'An? cienne Comedie on the Left Bank in Paris. It was founded in the 17th century by an Ital? ian and patronized by writers, from Voltaire to Pound, because it served excellent food cheaply [JW].
16. Noi . . . borghesi: I, "we other common people. "
17. We thought . . . : [98/686]: " . . . con? trol Mussolini. "
18. ye sail over . . . : The lines evoke the words of Tiresias and "the dark eyelids" of Aphrodite in Canto I.
19. Winkelmann: The French edition, His? taire de l'art chez les anciens (Paris, 1802), of the classic work by Johann Joachim Winc? kelmann: Geschichte der Kunst des Alter- turns, 1764. He said that the shape, heavi? ness, and arch of the eyelid in Venus are crucial to her beauty [Peck, Pai, 1? 1, 26].
20. Ronsard: [80/505].
21. "jacques Pere": Pun on Shakespeare.
The Belgians would pronounce the J soft, as an I [ABCR, 187].
22. Le Porte1: The Swinburne connection [82/523].
23. Freiheit: G, "Freedom. " Eva Hesse: longtime friend and correspondent of Pound and official translator of The Cantos and other Pound works into German. His line
[74/426], "that free speech without free radio speech is as zero," she translated: "dass Redefreiheit ohne Radiofreiheit gleich null ist. "
24. The Changes: The I Ching. Confucius said: "If many years were added to me, I would give fifty to the study of The Book of Changes, and might therefore manage to avoid great mistakes" [CON, p. 221].
25. Swan: Unidentified, but clearly a man who showed heroism and unperturbability
under pressure in the manner of Bud Cowart below.
26. another chap . . . : [95:62]. Bud Co? wart, who got caught in the Akron's moor- ing ropes but held on while seeing two others fall to their deaths.
27. KatZe: G, "cat. " Pound said of Fro?
berrius, "He saw nothing ridiculous in a child's wanting to know if the last letter of the word Katz stood for the cat's tail, and the first one for its head. But to the school
less me ye Achaeans came . . . " rOd. IV, 144? 145]. KUVW7f1]S literaIly means "dog? eyed"-says Lidell? Scott, "i. e. shameless one. " Lidell-Scott gives for the feminine, "the shameless woman," but adds: "also fierce? eyed, terrible. " Pound prefers the lat? ter and works the half? goddess into the fearful? eyes theme started with Aphrodite in Canto I and recurring in Rock-Drill and Thrones [81:54; 91 :4].
34. Atalant: Says Apollodorus: "This Ata? lanta was exposed by her father, because he desired male children; and a she-bear came often and gave her suck. . . . " Thereafter, she "kept herself a virgin and became protected by Diana" [The Library, III, 9. 2; Loeb, I, 399].
35. aithiops . . . oinops: H, "wine . . . dark? bright" [97:159]; Homeric variant of "wine? dark sea" [II. I, 462; Peck, Pai, 1? 1, 24; MB, Trace, 412].
36. haliporphuros: H, "sea purple. " But Pound prefers the colors he lists.
37. oriXalko: H, "watery? copper. "
38. Ie xaladines: [97:163]. The sound sug? gests the Greek K"'At ("beautiful") and/or the sound of copper (above), in addition to Shakespeare's "multitudinous seas incarna- dine" [Macbeth, II, 1].
39. the nature, the sign: [90:2].
40. Smail lions: Animal statues atop tall col?
45. Wild goose . . . coral: Details of Na? khi landscape [Peck, Agenda, 9, p. 51] .
46. dead words . . . : Applies to all the Na-khi religious ceremonies, and by exten- sion, to many others.
47. KAI ALOGA: H, "and unspoken. "
48. APHANASTON: H, "secret, inscrutable,
or unknown" [cf. DG,Pai, 3? 3, 420-421]. 49. the pine needles . . . : A recurrent leit-
motif in the Na? khi materials. Rock [110:54] mentions pine needles and cones burned in religious ceremonies a number of times. Both the red glow and the billowing smoke have significance. Pound believes such ceremonies performed by the Na-khi derive from the same spiritual essence as do similar ceremonies performed by various occult and alchemical sects in the West [91 :2? 5]. Both groups aspire to burst out of the universe. Recall the third subject? response of The Can? tos, which Pound explained to his father: "The 'magic moment' or moment of meta- morphosis, bust through from quotidien into 'divine or permanent world. ' Gods, etc. " [L, 210]. Note, too, the way images used early in the poem are repeated as we near the end: "There is a wine? red glow in the shallows"
[2/7].
50. OU THELEI . . . KOSMOU: H. Pound's
"they
teacher . . . the
[SP ,328].
child just
seemed
stupid"
28. Dummheit: G, "stupidity. "
29. (Ingrid): A London woman Pound cor? responded with who said "she could not find anything by Sir Barry Domvile in local li? braries" [NS,Reading, 111]. Pound believed this was deliberate suppression. According to Stock, "Pound was thinking specifically of Domvile's autobiography, From Admiral to Cabin Boy, a comparatively mild piece of anti? semitism published in 1947. " It is the suppression of anti? Semitic data which Stock thinks explains "as was natural" [a poem by Domvile is in PD, 236? 237].
30. "pseudos . . . pepneumenos": H, [98:45], "he won't lie . . . is much too clever" rOd. III, 20]. The intimation is that Domvile has been silenced because he was, like Nestor, "too intelligent to prevaricate"
[99/697].
31. seed . . .
(of Lacedaemonia) sacrificed a horse to Apollo on Mt. Taygetus [97:290]. Eury? cleia, the nurse, lulled Penelope to sleep: "She then . . . went up to her upper chamber with her handmaids, and placing barley grains in a basket prayed to Athene" rOd. IV, 758? 761].
32. Leucothoe: [Cf. 7, 8 above]. The divine intelligence that makes the cherrystone into a cherrytree is what makes the metamor- phosed girl rise "as an incense bush. "
33. "for my bitch eyes": Helen of Troy said to Menelaus, "when for the sake of shame-
in the next line: want. . . . " But Pound neglects the negative, "QU. " Peter Lori gives: "does not want to come into the world" [Pai, 3? 2, 289]. For the phrase in Greek except for EAEAN, see
(Lacedaemon):
The Spartans
umns of [97:165].
St. Mark's
Venice
102/729-730
102/730-731
661
Cathedral in
41. AISSOUSIN:
[97: 169]. Odysseus tells of his visit to Tire?
sias and says: "To him even in death Perse- phone has granted reason, that he alone should have understanding; but the others flit about as shadows" rOd. X, 494-495].
42. Berenice:
[97: 170].
52. Antoninus: [42:4; 78:56].
53. Julian: J. the Apostate, 331? ? 363, Ro? man emperor (361. 363). He succeeded Con? stantius III, who had made him caesar with command of the Western Empire. But his success in Gaul as an idol of his troops and his reforms of the fiscal system in Rome, which allowed him to reduce the tax from
43. "Same books" [88:67].
brotherlike:
44. south slope . . . : [101 :2; 110:20].
H, "flitting
about"
105/750. 51. amnis
translation
. ripas: L, "river-grass-banks" [JW, Pai, 3? 2, 289] .
? ? ? ? ? ? ? 662
25 to 7 solidi per caput, made Constantius fearful of him as a rival. Constantius ordered him to bring his army east. Julian tried, but his troops refused and named him augustus. Then he marched east, but before the con? frontation Constantius died of a fever [cf. 57 below].
54. Marcellinus: Ammianus M. , ca. 300-ca. 400, Latin historian who was a great admirer of Julian. His 31-book history of Rome, in the manner of Tacitus, covered A. D. 96 to 378, but only books XIV-XXXI survive. Bk. XXIII, chap. 6, has this heading: "A descrip- tion of the eighteen greater provinces of the Persian kingdom, with the cities of each and the customs of their inhabitants" [Mar. , II, 349].
