1 END 18
2 T.S. Eliot, ‘American Literature and the American Language’, in To Criticize the Critic and Other Writings, London: Faber & Faber, 1965, p. 58
3 Ezra Pound, ‘The Later Yeats’, PMV 4/2, May 1914, p. 65
4 Aldington used the phrase in his introduction to his Complete Poems: CPRA 13
5 Christopher Middleton, ‘Documents on Imagism from the Papers of F.S. Flint’, The Review, 15, 1965, p. 43
6 LL 121
1 H.D. in The Cantos of Ezra Pound: Some Testimonies, Ernest Hemingway et al., New York, Farrar & Rinehart, 1933, p. 17. Pound in fact didn’t go to Tunis, though he did visit Tangiers
2 END 3
3 H.D. in The Cantos of Ezra Pound, p. 17
4 All quotations from Henry James in this chapter are from Chapter IX, ‘Philadelphia’, in The American Scene [1907], Harmondsworth: Penguin, 1994, pp. 202–223
5 EPP 8
6 IND 14
7 END 22
8 IND 21
9 END 22
10 Lincoln Steffens, The Shame of the Cities, London: Heinemann, 1904, p. 193
11 LE 327
12 IND 54
13 HC 26
14 BP 59
15 RTY 388
16 According to Humphrey Carpenter he eventually reached the height of 5’ 10”, though whether or not that includes the piles of red-gold curls he doesn’t say
17 YP 59/2647. Pound’s letters to his parents are largely undated, though often a date is suggested in what appears to be Homer’s handwriting. Sometimes this seems to have been added in retrospect, though sometimes the date given seems to be the date when the letter arrived. This letter is in fact dated ‘Jan 18’, though unusually no one has added a year date. I will generally not give dates for these letters, but cite the folder in which they are kept in the Beinecke Rare Books and Manuscript Library, Yale University
18 HC 34
19 A. David Moody suggests in his recent book that Pound did not get to Tangiers until his next visit with Aunt Frank in 1902: see Ezra Pound: Poet. A Portrait of the Man and his Work: Vol. 1, The Young Genius 1885–1920, Oxford: Oxford University Press, 2007, p. 10
20 END 14
21 NS 23
22 HER 65
23 CEP 34
24 LE 320
25 EPL 146, Dedication to A Lume Spento
26 It taught such skills as textile design, illustration, ceramics, metalwork and interior decoration, as well as offering classes in drawing, painting and sculpture. Over 1,000 students enrolled in 1901–2; in 1910 the figure for the University of Pennsylvania was 697. Carol Troyen and Erica Hirshler, Charles Sheeler: Paintings and Drawings, Boston: Little, Brown, 1987, p. 3
27 EPP 33
28 Walter Pater, The Renaissance: Studies in Art and Poetry [1875], London: Macmillan, 1902, pp. 237–239
29 Ronald Bush sees him as being under Pater’s influence until 1915, and visionary moments remain important right to the end of the Cantos: see Ronald Bush, The Genesis of Ezra Pound’s Cantos, Princeton: Princeton University Press, 1976
30 END 13–14
31 These letters are reproduced in James J. Wilhelm, ‘The Letters of William Brooke Smith’, Paideuma, 19/1 & 2, 1990, pp. 163–168
32 END 15
33 Wilhelm, ‘The Letters of William Brooke Smith’, p. 168
34 Ernest Earnest, S. Weir Mitchell: Novelist and Physician, Philadelphia: University of Pennsylvania Press, 1950, pp. 180 & 178
35 Nathan Hale, Freud in America: The Beginnings of Psychoanalysis in the United States, 1876–1917, New York: Oxford University Press, 1971, p. 44
36 EPL 229
37 Emily Mitchell Wallace, ‘Youthful Days and Costly Hours’, in Daniel Hoffman, ed., Ezra Pound & William Carlos Williams: The University of Pennsylvania Conference Papers, Philadelphia: University of Pennsylvania Press, 1983, p. 27
38 AMY 117
39 William Carlos Williams, I wanted to write a poem: the autobiography of the works of a poet, reported and edited by Edith Heal, Boston: Beacon Press, 1958, p. 5
40 David Frail, The Early Politics and Poetics of William Carlos Williams, Ann Arbor: UMI Research Press, 1987, p. 29
41 Williams, I wanted to write a poem, p. 5
42 Ibid., p. 7
43 Paul Mariani, William Carlos Williams: A New World Naked, New York: McGraw-Hill, 1982, pp. 101 & 109 on Pound and The Tempers
44 William Carlos Williams, The Autobiography of William Carlos Williams, New York: Random House, 1951, p. 58
45 YP 59/2648. Here the letter in which the phrase ‘delighted …’ comes is dated 11 June, and someone (I think Homer) has added 1903. The letter from which ‘or be out …’ comes is dated by Pound ‘Monday night’ and the other hand has added ‘Sept 20’
46 YP 59/2649, 29 April (1904)
47 YP 59/2651
48 Ibid.
49 YP 59/2652
50 YP 59/2651
51 ‘Introduction’ to Oxford Book of Modern Verse: 1892–1935, ed. W.B. Yeats, Oxford: Oxford University Press, 1936, p. xi
52 Pater, The Renaissance, p. 2
53 Roy Harvey Pearce, The Continuity of American Poetry, Princeton: Princeton University Press, 1961
54 SR viii
55 Faubion Bowers, ‘Memoir within Memoir’, Paideuma, 2/1, 1973. Her father was a well-known German Jewish violinist, though as her mother was gentile, she was technically right to say that she was not Jewish
56 YP 59/2650
57 EPL 146–7
58 ‘Scriptor Ignotus’, CEP 24–6
59 Quoted in Leon Surette, The Birth of Modernism: Ezra Pound, T.S. Eliot, W.B. Yeats and the Occult, Montreal: McGill-Queen’s University Press, 1993, p. 13. Surette is one who has argued strongly for the importance of the occult for many modernists. See also Timothy Materer, Modernist Alchemy: Poetry and the Occult, Ithaca: Cornell University Press, 1995
60 Elizabeth Butler Cullingford, ‘At the Feet of the Goddess: Yeats’s Love Poetry and the Feminist Occult’, in Yeats and Women, ed. Deirdre Toomey, Basingstoke: Macmillan, 1997, pp. 55–6
61 Wassily Kandinsky, Concerning the Spiritual in Art, trans. M.T.H. Sadler [German original, 1911, trans. 1914], New York: Dover, 1977, p. 13
62 See Demetres P. Tryphonopoulos, ‘“That Great Year Epic”: Ezra Pound, Katherine Ruth Heyman and H.D.’, in Jacqueline Kaye, ed., Ezra Pound & America, Basingstoke: Macmillan, 1992
63 Williams, Autobiography, pp. 56–7
64 YB 16/612. Letter to Bryher, 17 October 1948
65 YP 59/2650
66 John L. Brown, writing in 1932, quoted in E. Fuller Torrey, The Roots of Treason: Ezra Pound and the Secret of St Elizabeths, London: Sidgwick & Jackson, 1984, p. 29
67 P/W 6
68 Charles Norman, Ezra Pound, rev. edn, London: Macdonald, 1969, p. 13
69 EPP 35
70 CEP 91
71 LE 367
72 CEP 46
73 Hugh Witemeyer, The Poetry of Ezra Pound: Forms and Renewals, 1908–1920, Berkeley: University of California Press, 1969, p. 47. He argues that ‘Motif’ draws particularly on Fiona Macleod’s ‘The Unknown Wind’
74 ‘The Renaissance: 1’, PMV 5/5, February 1915, p. 228
75 TRIB 32
76 GIFT 37
77 GIFT2 xi
78 GIFT 94
79 TRIB 187
80 GIFT 41
81 GIFT 89
82 GIFT 47–8
83 GIFT 112
84 GIFT 101
85 GIFT 90, TRIB 121
86 TRIB 28, 33
87 TRIB 124 (final ellipsis H.D.’s)
88 GIFT 96, 98
89 TRIB 33, 121
90 Williams, Autobiography, p. 68
91 PIT 5
92 TRIB 132
93 To the Lighthouse [1927], Oxford: Oxford University Press, 2006, p. 9
94 PIT 8
95 Emily Mitchell Wallace, ‘Hilda Doolittle at Friends’ Central School in 1905’, H.D. Newsletter, 1/1, Spring 1987, pp. 17–28; pp. 18 & 22
96 Ibid. p. 18
97 TRIB x
98 Emily Wallace suggests H.D. must have been exceptional to be allowed to take the examination in 1904, but there is no evidence that it was seen this way
99 PIT 5
100 END 12
101 END 50
102 ASPH 39
103 See Williams, I wanted to write a poem, p. 7. According to Emily Wallace, Bryn Mawr did let their students study Greek, but H.D. was never given the chance
104 Williams, Autobiography, p. 57
105 Barbara Guest, Herself Defined: The Poet H.D. and her World [1984], London: Collins, 1985, p. 20
106 John C. Thirwall, ed., The Selected Letters of William Carlos Williams, New York: McDowell, Obolensky, 1957, pp. 8–9
107 Wallace, ‘Youthful Days and Costly Hours’, p. 14
108 Williams, Autobiography, p. 68
109 Ibid.
110 Emily Wallace, ‘Afterword: the House of the Father’s Science and the Mother’s Art’, William Carlos Williams Newsletter, 2/2, Fall 1976, p. 5
111 William Carlos Williams, ‘A Letter from William Carlos Williams to Norman Holmes Pearson Concerning Hilda Doolittle and Her Mother and Father’ (11 July 1955), William Carlos Williams Newsletter, 2/2, Fall 1976, p. 3
112 Letter from H.D. to William Carlos Williams, quoted in Frail, The Early Politics and Poetics of William Carlos Williams, p. 44
113 Williams, ‘A Letter’, p. 2
114 END 22–3
115 Glenn Hughes, Imagism & the Imagists: A Study in Modern Poetry, California: Stanford University Press, 1931, p. 110
116 James McNeill Whistler, ‘The Ten O’Clock Lecture’, in Mr Whistler’s ‘Ten o’Clock’ together with Mr Swinburne’s Comment and Mr Whistler’s Reply, Chicago: Old Dominion Shop, 1904, p. 3
117 LE 367
118 END 23
119 END 70
120 EP/MC 41
121 HD 88
122 END 3–4
123 END 12
124 Ibid.
125 Ibid.
126 William Carlos Williams, Imaginations, New York: New Directions, 1970, p. 12
127 Ibid.
128 SP 41
129 Williams, I wanted to write a poem, p. 4
130 Williams, Autobiography, p. 52
131 Pater, The Renaissance, p. 12
132 SR 83–4
133 Pater, The Renaissance, p. 13
134 Hughes, Imagism & the Imagists, p. 110
135 Ibid.
136 YP 59/2650
137 SR2 48, SR 58
138 EPP 58
139 ‘Burgos: A Dream City of Old Castile’, Book News Monthly, 25/2, October 1906, pp 91–94 in EPP&P1, 11
140 ‘Raphaelite Latin’, Book News Monthly, 25/1, September 1906, pp. 31–34, in EPP&P1, 5
141 Pater, The Renaissance, xx–xxi
142 He later irritated Pound considerably by asking at one point for free copies of his books, although by then he, unlike Pound, was a rich man, which may explain Pound’s refusal to acknowledge what he learnt from him. See LE 367
143 See, for example, Cornelius Weygandt, Tuesday at Ten: A Garnering from the Talks of Thirty Years, Philadelphia: University of Pennsylvania Press, 1928 and The Time of Yeats: English Poetry of To-day against an American Background, New York: D. Appleton-Century, 1937
144 Susan Stanford Friedman, ed., Analyzing Freud: Letters of H.D., Bryher and their Circle, New York: New Directions, 2002, p. 213
145 Ibid., pp. 212–3
146 HER 5
147 TRIB x
148 END 15
149 Hale, Freud in America, p. 85
150 Wallace, ‘Youthful Days and Costly Hours’, p. 27
151 END ix, 18–19
152 Williams, ‘A Letter’, p. 2
153 ‘Toward the Piraeus,’ HDCP 177
154 END 17
155 Ibid.
156 HER 85, 174
157 ‘Toward the Piraeus’, HDCP 179
158 HER 172–3
159 HC 70
160 YP 59/2654
161 PER 19–20
162 W.B. Yeats, Ideas of Good and Evil, London: Macmillan, 1903, pp. 168, 178
163 Ezra Pound, ‘Letters to Viola Baxter Jordan’, ed. with commentary by Donald Gallup, Paideuma, 1, 1972, p. 109
164 PER 3, WBYCP 81. See Witemeyer, Poetry of Ezra Pound, p. 48
165 END 84, 73
166 HER 42, 82, 83
167 SR2 92
168 Witemeyer, Poetry of Ezra Pound, p. 24
169 On Pound and Browning, see Mary Ellis Gibson, Epic Re-Invented: Ezra Pound and the Victorians, Ithaca: Cornell University Press, 1995
170 Pound, ‘Letters to Viola Baxter Jordan’, p. 107
171 P/W 7 (In quoting from this text, I silently omit the editor’s use of ‘sic’, which is not inserted in most editions of Pound’s correspondence, though in EPL his spelling is tidied)
172 Pater, The Renaissance, p. 171
173 Pound, ‘Letters to Viola Baxter Jordan’, p. 109
174 DHLL2 183
175 T.S. Eliot, ‘The Love Song of J. Alfred Prufrock’, Collected Poems: 1909–1935, London: Faber & Faber, p. 12
176 GB 98
177 ‘The Truth of Masks’ was one of the essays in Oscar Wilde’s 1891 volume, Intentions
178 PER 6–8
179 ‘Letters to Violet Baxter Jordan’, p. 110
180 PM 81
181 Pound’s letters to Mary Moore are held in the University of Pennsylvania archives
182 HC 77
183 END 15–16
184 YP 59/2655
185 END 14
186 NS 55
187 PER 240
188 END ix
189 Barbara Guest, Herself Defined: The Poet H.D. and her World, London: Collins, 1985, p. 6
190 YB 16/612 (Letter to Bryher, 13 October 1948)
191 END 15
192 END 35; ‘Toward the Piraeus’, HDCP 176
193 END 47
194 YHD 13/466, 24 June 1959
1 EPK 40
2 YP 59/2555
3 NS 57
4 YP 59/2664
5 YP 59/2655
6 Phyllis Bottome, From the Life, London: Faber & Faber, 1944, p. 76
7 YP 59/2555 (Pound’s ellipsis)
8 Ibid.
9 YP 59/2656
10 Ibid.
11 Ibid.
12 YP 59/2665
13 HLRA (19 January 1915)
14 CEP 9–10 (Pound’s ellipses)
15 CEP 8
16 CEP 5
17 HC 95
18 CEP 322 (the editor suggests ‘is’ could be ‘was’, and ‘intensity’ may be ‘intensifying’)
19 Williams, I wanted to write a poem, p. 18
20 CEP 322
21 Walter Pater, The Renaissance: Studies in Art and Poetry [1873], London: Macmillan, 1902, pp. 239, 189–190. See Herbert Sussman, Victorian Masculinities: Manhood and Masculine Poetics in Early Victorian Literature and Art, Cambridge: Cambridge University Press, 1995
22 CEP 252
23 CEP 320. The quotation is not actually reproduced in CEP, but I presume Pound used the Authorized Version, as here
24 YP 59/2655
25 Ibid.
26 YP 59/2657
27 HC 107
28 YP 59/2658
29 YP 59/2657
30 Ibid.
31 CEP 71
32 Thomas H. Jackson, The Early Poetry of Ezra Pound, Cambridge, MA: Harvard University Press, 1968
33 ‘Verse’, The New Age, 6 January 1910
34 David Leverenz, Manhood and the American Renaissance, Ithaca: Cornell University Press, 1989
35 Sussman, Victorian Masculinities, p. 168
36 HC 113
37 SL, 46
38 Ernest Rhys, Everyman Remembers, London: Dent, 1931, p. 114
39 James G. Nelson, Elkin Mathews: Publisher to Yeats, Joyce, Pound, Madison: University of Wisconsin Press, 1989, p. 7. My thanks to Chris Baldick for introducing me to this fascinating book, as to many others
40 Owen Seaman, The Battle of the Bays, London: John Lane, Bodley Head, 1896, p. 24
41 Richard Le Gallienne, The Romantic ’90s [1926], London: Robin Clark, 1993, p. 98
42 Nelson, Elkin Mathews, p. 16, EPK 58
43 Nelson, Elkin Mathews, p. 252, n. 30
44 Ibid., p. 16
45 Quoted in R.K.R. Thornton, ed., Poetry of the Nineties, Harmondsworth: Penguin, 1970, p. 26
46 Nelson, Elkin Mathews, p. 134
47 See P/W 7–11, from which the all following quotations come
48 See David Moody’s perceptive analyses of Pound’s early poems, particularly his early experiments with metrics and cadence. A. David Moody, Ezra Pound: Poet. A Portrait of the Man and His Work: Vol. 1, The Young Genius 1885–1920, Oxford: Oxford University Press, 2007
49 Pater, The Renaissance, p. xix
50 James Griffyth Fairfax, The Gates of Sleep, and Other Poems, Vigo Cabinet Series no. 38, London: Elkin Mathews, 1906
51 YP 59/2661
52 EP/DS 3
53 YP 59/2659. Carpenter and Qian say Mathews in fact introduced them
54 Laurence Binyon, ‘For the Fallen’, The Winnowing-Fan: Poems on the Great War, London: Elkin Mathews, 1914, p. 29
55 YP 59/2659
56 EPC 572
57 YP 59/2660
58 Zhaoming Qian, Orientalism and Modernism: The Legacy of China in Pound and Williams, Durham, NC: Duke University Press, 1995
59 Rhys, Everyman Remembers, pp. 252, 105, 255
60 YP 59/2661
61 Rhys, Everyman Remembers, p. 93
62 YP 59/2659
63 Ibid.
64 Ibid.
65 P/W 13
66 William Carlos Williams, ‘A Street Market, N.Y., 1908’, Poems, privately printed by Reid Howell, Rutherford, 1909, p. 15
67 P/W 14–15
68 See WBY 259, 337
69 ‘Impressionism – Some Speculations: II’, PMV 2/6, September 1913, p. 220
70 ER I, December 1908, p. 2
71 FORD 243
72 Jessie Chambers, D.H. Lawrence: A Personal Record, London: Jonathan Cape, 1935, p. 156
73 FY 19–20
74 END 9–10
75 RTY 371
76 In January 1910, a letter to his mother says that Ford was reading Pound extracts from his novel The Simple Life Limited, but that is all. At this stage Pound read little prose, certainly not modern fiction
77 ‘Impressionism – Some Speculations: II’, p. 217
78 FORD 28
79 FY 141
80 SL 39
81 FORD 42
82 ‘Ford Madox Hueffer’, NFW, 15 December 1913, p. 251
83 BP 54
84 SL 9
85 Alan G. Hill, ‘Introduction’ to Ford Madox Ford, The Soul of London: A Survey of a Modern City [1905], London: Dent, 1995, p. xxi
86 Guy de Maupassant, Pierre and Jean, London: Heinemann, 1890, pp. 12, 14, 15–16
87 FORD 388
88 Ford Madox Ford, ‘English Literature Today’, ER 3, October 1909, p. 488
89 RTY 389
90 See Stories from de Maupassant, trans. E.M. (Elsie Martindale), preface by Ford Madox Hueffer, London: Duckworth, 1903. One person who has looked at this is R. G. Hampson in ‘“Experiments in Modernity”: Ford and Pound’, in Pound in Multiple Perspective, ed. Andrew Gibson, Basingstoke: Macmillan, 1993
91 David Garnett, The Golden Echo, London: Chatto & Windus, 1953, p. 118
92 FY 57
93 SL 89
94 SL 42
95 BP 50, 52
96 Garnett, Golden Echo, p. 183
97 SL 135
98 Wyndham Lewis, Rude Assignment, London: Hutchinson, 1950, p. 122, FORD 368
99 FY 41
100 FORD 28. Judith Soskice, Chapters from Childhood: Reminiscences of an Artist’s Grand-daughter, London: Selwyn & Blount, 1921, pp. 1–2, 3–4, 10; FORD 46
101 Soskice, Chapters from Childhood, pp. 1–2, 3–4, 10
102 Ford, Soul of London, pp. 12–13
103 Douglas Goldring, Odd Man Out: The Autobiography of a ‘Propaganda Novelist’, London: Chapman & Hall, 1935, p. 121
104 Ford, Soul of London, p. 13
105 RTY 370, 388
106 Attempts have been made to date their meeting to a party on 4 April, but that depends on yet another colourful anecdotal memoir, David Garnett’s The Golden Echo, not necessarily a wholly reliable source
1 YP 59/2659
2 Douglas Goldring, Odd Man Out: The Autobiography of a ‘Propaganda Novelist’, London: Chapman & Hall, 1935, p. 120
3 Later still, when that area north of Oxford Street became known as Fitzrovia, the Tour Eiffel, by then in other hands and known as the White Tower, became a favourite drinking place for Dylan Thomas and his writer friends
4 Robert Ferguson, The Short Sharp Life of T.E. Hulme, London: Allen Lane, 2002, p. 30
5 It was perhaps a sign of the times that while the Rhymers’ Club, which had met at the Cheshire Cheese pub in Fleet Street, was entirely male, fifteen years later the Poets’ Club admitted women, and women poets several times gained their annual prize for the best poem of the year
6 F.S. Flint, ‘Book of the Week: Recent Verse’, NA, 11 February 1909
7 T.E. Hulme, ‘Belated Romanticism’, NA, 18 February 1909
8 ‘A History of Imagism’, EG 2, 1 May 1915, p. 70; WBY 43; Ferguson, T.E. Hulme, p. 43
9 Ferguson, T.E. Hulme, pp. 20–21
10 HULME 49
11 J.C. Squire, The Honeysuckle and the Bee, London: Heinemann, 1937, p. 155
12 HULME 3
13 There is extant a letter from his college’s director of music alleging that Hulme was ‘ruining … one of the choral-scholars’ morals by day and night’, but although later Hulme was to cultivate an image as a womaniser, this is the only hint of sexual scandal for now, though that would be the central issue when he was sent down from Cambridge for a second time in 1912. Ferguson, T.E. Hulme, p. 29
14 Ferguson, T.E. Hulme, p. 27
15 J.B. Harmer, Victory in Limbo: Imagism 1908–1917, London: Secker & Warburg, 1975, p. 18
16 Alun R. Jones, The Life and Opinions of T.E. Hulme, London: Victor Gollancz, 1960, p. 22; Ferguson, T.E. Hulme, p. 34
17 HULME 22
18 Herbert Read, who brought out the first book-length collection of Hulme’s writings, suggested they were meant to be a set of aphorisms, held together by an allegory, on the model of Nietzsche’s Thus Spake Zarathustra; there is a reference to a mysterious Aphra at one point, whom Read identifies as the potential Zarathustra figure, but if that were Hulme’s plan, it was left in embryo
19 HULME 86
20 HULME 87
21 HULME 53
22 HULME 10–11, 9, 11
23 HULME 8
24 HULME 50
25 UCD Every Day Diary, 3–9 July 1930, P80/1202 (7)
26 ‘History of Imagism’, p. 71
27 BB 111
28 LL 154
29 BL ADD 57725, marginal note by Pound on Patricia Hutchins’ draft of ‘Ezra Pound in Kensington’, p. 7
30 David Garnett, The Golden Echo, London: Chatto & Windus, 1953, p. 237
31 HULME 15, 13
32 See Maud Ellmann, The Poetics of Impersonality: T.S. Eliot and Ezra Pound, Brighton: Harvester Press, 1987
33 David Trotter, Paranoid Modernism: Literary Experiment, Psychosis, and the Professionalization of English Society, Oxford: Oxford University Press, 2001
34 HULME 233
35 Hulme has often been attacked as a contradictory and muddled thinker, but that has largely been because his work was originally published undated and confusingly arranged. In the first collection of Hulme’s writings to appear, edited by Herbert Read under the title of Speculations in 1924, and for a long time the only available source of most of Hulme’s work, the essays are almost precisely in reverse chronological order. The publication of Further Speculations in 1954 did nothing to clarify the chronology, which has only recently been established. As Hulme’s ideas changed significantly about 1912, trying to read what was written before and afterwards as a coherent philosophical stance was certainly problematic
36 HULME 3
37 Dominic Hibberd, Harold Monro: Poet of the New Age, London: Palgrave, 2001, p. 104
38 All unattributed quotations in this chapter are from Flint’s unpublished papers in the Harry Ransom Humanities Research Center, University of Texas at Austin (UTA)
39 See Flint’s obituary by H.B. Grimsditch, reprinted in The Fourth Imagist: Selected Poems of F.S. Flint, ed. Michael Copp, Madison: Fairleigh Dickinson University Press, 2007, p. 141
40 At this stage he was probably not yet reading Nietzsche in German, as in 1909 there are lists of German vocabulary in one of his notebooks, suggesting that he was only working on it then. Certainly by 1911, he was quoting Nietzsche in German and complaining that he was badly translated. Perhaps he learnt German so that he could read Nietzsche in the original
41 Flint gives this passage the date 1868, the date of its first appearance in Pater’s essay on William Morris; both that essay and the conclusion of the first edition of The Renaissance use the phrase ‘art for art’s sake’. Pater dropped the conclusion altogether for the second edition, and when he restored it for the third edition modified the phrase to ‘art for its own sake’
42 This final quotation comes from the essay on Winckelmann in Walter Pater, The Renaissance: Studies in Art and Poetry [1873], London: Macmillan, 1902, p. 188
43 Foreword to J.B. Hobman, ed., David Eder: Memoirs of a Modern Pioneer, London: Victor Gollancz, 1945, p. 9. The book’s appearance must have been delayed by the war; Freud died in 1939
44 Wallace Martin, ‘The New Age’ under Orage: Chapters in English Cultural History, Manchester: Manchester University Press, 1967, p. 140
45 Hobman, David Eder, p. 21
46 ‘Unreality’, NA, 2 December 1907
47 Quoted in Martin, ‘The New Age’, p. 19
48 Samuel Hynes, Edwardian Occasions: Essays on English Writing in the Early Twentieth Century, London: Routledge & Kegan Paul, 1972, p. 41
49 Ibid. pp. 42–43
50 Martin, ‘The New Age’, p. 41
51 Hynes, Edwardian Occasions, p. 44
52 EPK 104
53 Hynes, Edwardian Occasions, p. 42
54 Ibid.
55 NA, 6 June 1907
56 See Martin, ‘The New Age’, p. 91
57 EPK 106. Pound did not appear in the New Age for most of 1914, as will become apparent
58 Wallace Martin, ed., Orage as Critic, London: Routledge & Kegan Paul, 1974, pp. 135, 143, 138
59 Ann Ardis in particular has rightly argued that recent accounts have too glibly seen the New Age as a modernist journal, but I think she overstates its hostility to the avant-garde; it is true that from about 1913 onwards the avant-garde would often be attacked in its pages, but it generally went on publishing their work. See Ann Ardis, Modernism and Cultural Conflict: 1880–1922, Cambridge: Cambridge University Press, 2002
60 ‘Women and Men 4: Average People’, Little Review, 6 /1, May 1918, p. 59
61 ‘Palinode’, NA, 18 January 1908
62 These articles appeared in the journal Les Lettres but were later collected in Paul-Louis Couchoud, Sages et poètes d’Asie, Paris: Calmann-Lévy, 1916. This phrase appears on p. 7
63 ‘Recent Verse’, NA, 11 July 1908
64 Edward Storer, Mirrors of Illusion, London: Sisley’s, 1908, pp. 80, 81
65 ‘Recent Verse’, NA, 28 November 1908
66 EPC 518 (Canto 81)
67 Storer, Mirrors of Illusion, pp. 26, 71
68 Hulme 53, 51, 50–1. This time he gave the assemblage no overall name, though it has since been published as ‘Notes on Language and Style’
69 HULME 16
70 HULME 44
71 On Pound and de Gourmont, see Richard Sieburth, Instigations: Ezra Pound and Rémy de Gourmont, Cambridge, MA: Harvard University Press, 1978
72 Richard Aldington, ed., Selections from Rémy de Gourmont [1928], London: Chatto & Windus, 1932, p. 21
73 Ibid., p. 109
74 HULME 27, 31, 51
75 HULME 87
76 Henri Bergson, An Introduction to Metaphysics (first published in French in 1903), trans. T.E. Hulme (first published in 1912), Indianapolis/Cambridge: Hackett 1999, pp. 27–28
77 HULME 54
78 HULME 3
79 HULME 21
80 HULME 51
81 Harmer, Victory in Limbo, p. 21
82 UCD Letter from D. Fitzgerald to Mabel McConnell, 1910 or 1911, P80/1496(3)
83 ‘Looking Backwards: 1879–1900’, JIL, p. 60
84 Ibid., p. 66
85 Ibid.
86 Ibid., pp. 66–67 (second two sets of ellipses his)
87 ‘The Turn of the Century’, JIL, p. 79
88 Austin Clarke, ed., The Poems of Joseph Campbell, Dublin: Allen Figgis, 1963, p. 1
89 ‘Persons, Plays and Songs’, JIL, pp. 94–95
90 Norah Saunders and A.A. Kelly, Joseph Campbell, Poet and Nationalist: A Critical Biography, Dublin: Wolfhound, 1988, p. 32
91 Austin Clarke, ‘Joseph Campbell: A Personal Sketch and a Critical Assessment’, JIL, p. 21
92 Joseph Campbell, The Rushlight, Dublin: Maunsel, 1906, p. 7
93 ‘This Hulme Business’, The Townsman, 11/5, January 1939, reprinted in EPP&P7 417
94 Clarke, ‘Joseph Campbell’, 22
95 W.B. Yeats, Uncollected Prose, 1886–1896, Vol. 1, ed. John P. Frayne, London: Macmillan, 1970, pp. 272, 274
96 Ibid. See also WBY 131
97 Clarke, ‘Joseph Campbell’, p. 22
98 WBY 306
99 Clifford Bax, ed., Florence Farr, Bernard Shaw, W.B. Yeats: Letters, London: Home & Van Thal, 1946, p. v
100 Ibid., p. ix
101 Ibid., p. 33 (from a letter to Edward Dowden)
102 Ibid., p. 54
103 Ibid., p. 33
104 Josephine Johnson, Florence Farr: Bernard Shaw’s ‘New Woman’, Gerrards Cross: Colin Smythe, 1975, p. 144
105 Bax, Florence Farr, pp. 13, 34
106 Mary K. Greer, Women of the Golden Dawn: Rebels and Priestesses, Rochester, Vermont: Park Street Press, 1993, p. 85; Johnson, Florence Farr, p. 157
107 The Music of Speech, containing the words of poets, thinkers and musicmakers regarding the practice of the bardic art, together with fragments of verse set to its own melody by F. Farr, London: Elkin Mathews, 1909, p. 10. On Farr’s influence on the group, see Ronald Schuchard, ‘“As Regarding Rhythm”: Yeats and the Imagists’, in Yeats: an Annual of Critical and Textual Studies, 2, 1984
108 BL ADD 57725, Ezra Pound to Patricia Hutchins 7 November, 1957
109 UCD Introductory section of an account of his political awakening, p 80/1382
110 Garret FitzGerald, All in a Life: An Autobiography, Dublin: Gill & Macmillan, 1991, p. 3
111 Ibid., p. 5
112 In later life he displayed a deep knowledge of French literature and philosophy, an interest that perhaps began with his friendship with Flint. In the 1930s he was for a while a professor of philosophy at Notre Dame University in the United States. By that time he was concerned with French Catholic philosophers like Jacques Maritain, but in his more radical younger days his philosophical bent apparently led him elsewhere
113 Garret FitzGerald, personal communication
114 HULME 217
115 The Shanachie, an Irish Miscellany, Vol. 6, Winter 1907
116 UCD P80/1382
117 Vincent J. Cheng, Joyce, Race and Empire, Cambridge: Cambridge University Press, 1995, pp. 19, 33, 37–38; Desmond FitzGerald, Memoirs, 1913–16, London: Routledge, & Kegan Paul, 1968, p. 21. My grateful thanks to W.J. McCormack for telling me the poet and the politician were the same person, and for putting me in touch with his son
118 Garret FitzGerald, unpublished papers detailing family history. My warm thanks to Garret FitzGerald for letting me see these, and for all his help and kindness
119 UCD. Written on a spare space of a letter from Langdon Everard, dated 1908, on Labour Leader writing paper, P80/1156. It may of course have been written later, perhaps when coming across a letter whose date (Everard had written in ignorance of his bereavement) reminded him of his father’s death: yet even if later, it is revealing
120 UCD
121 CEP 214–215
122 UCD 27 February 1914 from Co. Kerry P80/1224(1)
123 F.W. Tancred, Poems, Edinburgh: William Blackwood, 1907 (no page number)
124 Ibid.
125 F.S. Flint, ‘A History of Imagism’, EG 2, 1 May 1915, p. 71. On Tancred see Harmer, Victory in Limbo, pp. 22–4
126 Ezra Pound’s ‘Harold Monro’, Polite Essays, London: Faber & Faber, 1937, p. 8
127 ‘A History of Imagism’, p. 71
128 Arthur Symons, The Symbolist Movement in Literature [1899], New York: AMS Press, 1980, p. 9
129 F.S. Flint, ‘Verse’, NA, 9 December, 1909. This is also quoted in Wallace Martin, ‘“The Forgotten School of 1909” and the Origins of Imagism’, in J. Howard Woolmer, A Catalogue of Imagist Poets with Essays by Wallace Martin and Ian Fletcher, New York: J. Howard Woolmer, 1966
130 The tanka is a slightly longer poem than the haiku, with 31 syllables rather than 17
131 Algernon Swinburne, in James McNeill Whistler, Mr Whistler’s ‘Ten O’Clock Lecture’ together with Mr Swinburne’s Comment and Mr Whistler’s Reply, Chicago: Old Dominion Shop, 1904, pp. 34, 52
132 Earl Miner, The Japanese Tradition in British and American Literature, Princeton: Princeton University Press, 1958, p. 74
133 In France, Judith Gautier’s translations of Chinese poems, Le Livre du jade, had been published to great acclaim in 1867, though none of her poems were translated into English until selections appeared in the Egoist in 1915. Judith Gautier’s French versions, however, made no attempt to convey anything of the Chinese form. She also published versions (adapted from literal translations) of Japanese tanka in 1885, also conventionally rhymed, as Poèmes de la libellule, but at the time these did not cause the same stir
134 Basil Hall Chamberlain, The Classical Poetry of the Japanese, London: Kegan Paul, Trench, Trübner, 1880, p. 117 (Japanese poem is attributed to Anon.)
135 Basil Hall Chamberlain, Japanese Poetry, London: John Murray, 1911, pp. 4–5, 19–20
136 Chamberlain, Japanese Poetry, pp. 149–150, 150–151. Paul-Louis Couchoud had read Chamberlain’s article when it was first published, and it had helped arouse his interest in the form
137 Carl Dawson uses Ronald Barthes’ phrase ‘fictive nation’ to describe Hearn’s picture of Japan in his book, Lafcadio Hearn and the Vision of Japan, Baltimore: Johns Hopkins University Press, 1992
138 See Helen Carr, ‘Imagism and Empire’, in Modernism and Empire, ed. Howard Booth and Nigel Rigby, Manchester: Manchester University Press, 2000, for a discussion of the influence of the haiku
139 Colin Rhodes, Primitivism and Modern Art, London: Thames & Hudson, p. 24
140 Translation mine, Couchoud, Sages et poètes, p. 8
141 F.S Flint, ‘Ripostes by Ezra Pound’, Poetry and Drama 1, March 1913, pp. 60–62; Pound, ‘Harold Monro’, p. 8
142 HULME 3
143 Joseph Campbell, The Mountainy Singer, Dublin: Maunsel, 1909, p. 50
144 HDCP 55 ‘Darkness’, The Mountainy Singer, p. 3
145 In the Net of the Stars, London: Elkin Mathews, 1909, p. 4
146 ‘A History of Imagism’, p. 71
147 Edward Storer, Mirrors of Illusion, London: Sisley’s, 1908, p. 101
148 ‘A History of Imagism’, p. 71. Ronsard was a sixteenth-century poet
149 PER 26–8. This troubadour is more often known as ‘Bertran’, but Pound uses the form ‘Bertrans’, so I follow him
150 YP 59/2660
151 The Gilly of Christ, Dublin: Maunsel, 1907, pp. 2–3
152 PER 31
153 YP 59/2660
154 See ‘How I Began’, T.P.’s Weekly, 6 June 1913, in EPP&P1 147. Pound does not mention his debt to Campbell. The figure of 150 cancelled subscriptions is given by Pound to his father; it may well have been an exaggeration
155 YP 59/2663
156 CEP 217
157 Robert R. Ross, The Georgian Revolt: Rise and Fall of a Poetic Ideal, 1910–22, London: Faber & Faber, 1967, p. 122
1 YP 59/2660
2 Ibid.
3 YP 59/2661
4 YP 59/2662
5 WBY 438
6 WBY 400
7 WBY 388
8 WBYCP 93.
9 P/W 14
10 SL 49
11 CH 60
12 NS 82
13 CH 6
14 YP 59/2660.
15 ‘Verse’, NA, 27 May 1909
16 CH 58–59
17 HC 391
18 PER 15–16
19 CH 55–57
20 CH 59
21 SP 115–116
22 PER 90: Peter Russell, ed., Ezra Pound: A Collection of Essays to be Presented to Pound on his Sixty-fifth Birthday, London: Peter Nevill, 1950, p. 262
23 EPK 68
24 YP 59/2661
25 SL 47
26 FY 108
27 FORD 367
28 SL 49
29 FY 108
30 Derek Stanford, ‘Introduction’, and Oscar Wilde, ‘The English Renaissance of Art’, in Derek Stanford, ed., Writing of the Nineties: From Wilde to Beerbohm, London: Dent, 1971, pp. xvii, 19
31 Ibid., p. 4
32 YP 59/2657.
33 SR2 9
34 YP 59/2663
35 YP 59/2664
36 YP 59/2662
37 NS 93
38 CH 61
39 ER 4, December 1909, pp. 160–161. David Moody suggests this review was by Flint, but it sounds far more Ford’s style than Flint’s, and Flint reviewed Exultations in quite different terms in the New Age. A. David Moody, Ezra Pound: Poet. A Portrait of the Man and his Work: Vol. I, The Young Genius 1885–1920, Oxford: Oxford University Press, 2007, p. 109
40 ‘Verse’, NA, 6 January 1910
41 CEP 121
42 CH 66
43 NS 95
44 SR2 67
45 ER 4, December 1909, p. 161
46 F.S. Flint, In the Net of the Stars, London: Elkin Mathews, 1909, p. 11
47 EP/DS 8
48 CEP 126
49 END 15, 54
50 EP/DS 42, CEP 98
51 ASPH 98
52 HC 396
53 Grace Lovat Fraser, In the Days of My Youth, London: Cassell, 1970, p. 3
54 Grace in her memoirs says September but Pound mentioned the visit in a letter home on 30 July
55 Fraser, In the Days of My Youth, p. 124
56 Ibid., p. 125
57 Ronald Schuchard, ‘“As Regarding Rhythm”: Yeats and the Imagists’, in Yeats: An Annual of Critical and Textual Studies, Vol. 2, 1984, p. 210
58 Fraser, In the Days of My Youth, pp. 127–128
59 JGF 6
60 John Gould Fletcher, Arkansas, Chapel Hill: University of North Carolina Press, 1947, p. 130
61 Ibid., pp. 118–119
62 JGF 7
63 LMS 7
64 Ibid., JGF 10
65 JGFP 90–91
66 JGFP 90
67 Michael North, The Dialectic of Modernism: Race, Language & Twentieth-Century Literature, New York: Oxford University Press, 1994, p. 78
68 JGF 19
69 LMS 21
70 JGF 20
71 LMS 22
72 LMS 19
73 JGF 21
74 JGF 27
75 UAF Box 1, File 17
76 LMS 11
77 LMS 23
78 LMS 8
79 LMS 5
80 LMS 25
81 JGF 29
82 Quoted in LE 364
83 UAF Box 2, file 25, ‘Inventory’, 1910 p. 16
84 LMS 26
85 LMS 31
86 UAF Box 2, diary for 2 June, 1909
87 Ibid. Box 2, file 25, ‘Inventory’, 1910, pp. 17, 29
88 Arthur Symons, The Symbolist Movement in Literature [1899], New York: AMS Press, 1980, p. 8
89 DHLL1 144
90 DHLL1 145
91 Ibid.
92 DHLL2 132–3
93 D.H. Lawrence, ‘Autobiographical Sketch’, in Phoenix II: Uncollected, Unpublished and Other Prose Works by D.H. Lawrence, ed. Warren Roberts and Harry T. Moore, London: Heinemann, 1968, pp. 593–594
94 Glenn Hughes, Imagism & the Imagists: A Study in Modern Poetry, California: Stanford University Press, 1931, p.170
95 Jessie Chambers (E.T.), D.H. Lawrence: A Personal Record, London: Jonathan Cape, 1935, pp. 164, 170–174, RTY 96, 97
96 Edward Nehls, ed., D.H. Lawrence: A Composite Biography: Vol. 1, 1885–1919, Madison: University of Wisconsin Press, 1957, p. 142
97 BP 81
98 Chambers, D.H. Lawrence, p. 57
99 John Worthen, D.H. Lawrence: The Early Years 1885–1912 [1991], Cambridge: Cambridge University Press, 1992, p. 222
100 Russell, Ezra Pound, pp. 258–259
101 Chambers, D.H. Lawrence, p. 96
102 RTY 392
103 Worthen, D.H. Lawrence: The Early Years p. 171. Lawrence and his friends were, however, probably given more space to discuss such subversive ideas in the Eastwood Debating Society, run by the Socialist Willie Hopkin, than in the Chapel
104 Fraser, In the Days of My Youth, p. 137. CH 63
105 Ibid., pp. 137, 143, 144
106 Phyllis Bottome, From the Life, London: Faber & Faber, 1944, p. 76
107 EP/DS 15
108 Fraser, In the Days of My Youth, p. 134
109 In Blasting and Bombardiering (BB 278), Lewis dated his meeting with Pound to 1910, but it was probably the year before
110 SL 40
111 FORD 247
112 FORD 279
113 Jeffrey Meyers, The Enemy: A Biography of Wyndham Lewis, London: Routledge & Kegan Paul, 1980, p. 1
114 Quoted in Gill Perry, ‘Primitivism and the Modern’, in Charles Harrison, Francis Frascina and Gill Perry, Primitivism, Abstraction, Cubism, New Haven: Yale University Press, 1993, p. 8
115 Meyers, The Enemy, pp. 23–24
116 Paul Edwards, Wyndham Lewis, Painter and Writer, New Haven: Yale University Press, 2000
117 Michael Holroyd, Augustus John: The New Biography [1996], London: Vintage, 1997, p. 259
118 Meyers, The Enemy, p. 23
119 Tarr: The 1918 Version, ed. Paul O’Keeffe, Santa Rosa: Black Sparrow Press, 1990, pp. 30, 31, 29, 60
120 BB 281
121 Ibid.
122 EPC 507 (Canto 80)
123 SL 39
124 BB 279
125 BB 280
126 Russell, Ezra Pound, pp. 257–258
127 Criterion, April 1935, p. 436
128 HC 140
129 YP 59/2663
130 Verna Coleman, The Last Exquisite: A Portrait of Frederic Manning, Melbourne: Melbourne University Press, 1990, p. 7
131 P/F 6
132 Manning’s poem published ER 4, December 1909, p. 6, Pound’s ER 4, January 1910, p. 193
133 James George Frazer, The Golden Bough: A Study in Magic and Religion: A New Abridgement from the Second and Third Editions, ed. Robert Fraser, Oxford: Oxford University Press, p. 405
134 Robert Fraser, ed., Sir James Frazer and the Literary Imagination, London: Macmillan, 1990, p. 121
135 LE 32
136 Frazer, Golden Bough, p. xx
137 Ibid., pp. 53–54
138 T.S. Eliot, ‘Ulysses, Order and Myth’, in Selected Prose of T.S. Eliot, ed. Frank Kermode, London: Faber & Faber, 1975, p. 178
139 Wilde, ‘The English Renaissance of Art’, p. 9
140 EPL 246
141 LE 194
1 BL ADD 57726, letter from Lucy Masterman to Patricia Hutchins, 9 February, 1965
2 CEP 98
3 YP 59/2664
4 Robert Ackerman, J.G. Frazer: His Life and Work, Cambridge: Cambridge University Press, 1987, p. 213
5 DRE 468
6 Ibid.
7 YP 59/2660
8 YP 59/2665
9 Ibid.
10 SR 13
11 YP 59/2664
12 YP 59/2665
13 EPC 471 (Canto 77). This is a reference to Swinburne’s poem, ‘Dolores’, whose subtitle is the Virgin Mary’s title of ‘Notre Dame de Sept Douleurs’
14 EP/MC 17
15 EP/MC 10, 11, 12, 31, 20
16 SR 239
17 YP 59/2665. This is a letter addressed to ‘Dear H’ which Noel Stock takes to be H.D. Possibly because it refers to the beauty of the place so eloquently, H.D. may have passed it on to his parents, hence its survival
18 EP/MC 31
19 Sirmione as the home of the gods reappears in Pound’s early versions of the Cantos in 1917
20 SR 97
21 P/J 57
22 SR 51
23 EP/DS 19
24 EP/DS 33–34
25 NS 86
26 CEP 150
27 EP/DS 8
28 YP 59/2661
29 CEP 322
30 BL ADD 57726, letter from Lucy Masterman to Patricia Hutchins, 9 February, 1965
31 EP/DS 23
32 EP/DS 24
33 DHLLI 165–166
34 EP/DS 26
35 END 15
36 PIT 7
37 HER 57
38 In what follows I shall make clear when I am drawing on the fiction, and readers can judge for themselves
39 PIT 39
40 William Carlos Williams, ‘A Letter from William Carlos Williams to Norman Holmes Pearson Concerning Hilda Doolittle and Her Mother and Father’ (11 July 1955) William Carlos Williams Newsletter, 2/2, Fall 1976, p. 2
41 PIT 7
42 END 48
43 This collection was probably the 1608 anthology collected by Ranulus Gherus, on which Pound had written in the Book News Monthly before he left the States, and from which he translated at least one poem while in Crawfordsville. See CEP, p. 299
44 AN 1
45 TRIB 153
46 END 8
47 PIT 8
48 Ibid.
49 Oliver Marlow Wilkinson, ed., The Letters of John Cowper Powys to Frances Gregg, Vol. 1, London: Cecil Woolf, 1994, p. xv
50 ‘Van Ness’ was John Cowper Powys’ spelling: Oliver Wilkinson, Frances’ son, spells it ‘Vanness’.
51 Louis Umbreville Wilkinson, ed., Letters of John Cowper Powys to Louis Wilkinson 1935–1956, London: Macdonald, 1958, p. 385
52 Frances Gregg, ‘Male and Female’, in That Kind of Woman: Stories from the Left Bank and Beyond, ed. Bronte Adam and Trudi Tate, London: Virago, 1991, p. 210
53 PIT 9, 16, 21
54 Richard Perceval Graves, The Brothers Powys, London: Routledge & Kegan Paul, 1983, p. 88
55 ASPH 50
56 Graves, Brothers Powys, p. 88
57 Oliver Wilkinson, Letters, p. xvi
58 Graves, Brothers Powys, p. 88
59 Ibid., pp. 89–90
60 TRIB 151
61 HDCP 5
62 Oliver Wilkinson, Letters, p. xvii
63 Graves, Brothers Powys, p. 94
64 ‘The Unknown Face’, in The Second American Caravan, ed. Alfred Kreymborg et al., New York: Macaulay, 1928
65 HER 178
66 See Rita Felski, The Gender of Modernity, Cambridge, MA: Harvard University Press, 1995. Gregg confessed in her memoir she used the role to pass on, according to her feelings about her listener, ‘whatever was wise and good, or kind, or unkind and malicious’, but was disconcerted by the way her predictions so often came true. When later she admitted this to Yeats, for whom she once acted as medium, she was disconcerted to have him tell her that even though she thought she was cheating, she could not know what powers were speaking through her. ML 90–91
67 Quoted in Susan Stanford Friedman and Rachel Blau Duplessis, ‘“I had two loves separate”: The Sexualities of H.D.’s Her’, in Signets: Reading H.D., ed. Susan Stanford Friedman and Rachel Blau Duplessis, Madison: University of Wisconsin Press, 1990, p. 228
68 Perdita Schaffner, ‘Afterword’, HER 237
69 PIT 11
70 PIT 11–12
71 END 36
72 HER 161–162
73 HER 145–146
74 HER 57–58
75 END 35–36
76 HER 58, 61
77 HER 58
78 ML 81
79 HER 95
80 HER 3, 15
81 ASPH 53
82 HER 202
83 HER 203 (H.D.’s ellipsis)
84 Oliver Wilkinson, Letters, p. xviii
85 Diane Chisholm, H.D’s Freudian Poetics: Psychoanalysis in Translation, Ithaca: Cornell University Press, 1992. Chisholm, like several other H.D. scholars, takes the Her Freudian uncle as literal
86 EP/MC 42
87 Jonathan Culler, ‘Introduction,’ in Charles Baudelaire, The Flowers of Evil, ed. and trans. Jerome McGowan, Oxford: Oxford University Press, 1993, p. xv
88 Algernon Charles Swinburne, ‘Charles Baudelaire’ [1862], in Poems and Ballads: Atalanta in Calydon, ed. Morse Peckham, Indianapolis: Bobbs-Merrill, 1970, pp. 309–310
89 Baudelaire, who wrote a poem about Sappho entitled ‘Lesbos’, was, according to Jonathan Culler, the first nineteenth-century author to depict Sappho as a lesbian.
90 Swinburne, ‘Notes on Poems and Reviews’ [1866], in Poems and Ballads, ed. Peckham, p. 328
91 AN 1
92 Oliver Wilkinson, quoted in Barbara Guest, Herself Defined: The Poet H.D. and her World, London: Collins, 1985, p. 24
93 END 12, HER 167
94 END 53
95 END 35–36
96 HER 149
97 Baudelaire, Flowers of Evil, ed. McGowan, p. xiv
98 Robert Crawford, The Savage and the City in the Work of T.S. Eliot, Oxford: Clarendon Press, 1987, p. 183
99 EP/MC 40
100 EP/MC 48
101 PM 55
102 EP/MC 41
103 EP/MC 41–42
104 SR2 97
105 EP/MC
106 WBY 434
107 CEP 96, SR vi
108 Friedrich Nietzsche, Twilight of the Idols/The Anti-Christ, trans. R.J. Hollingdale, Harmondsworth: Penguin, 1990, p. 93
109 YP 59/2664
110 HER 133
111 SR2 9
112 SR v
113 CH 67
114 SR 165, 234
115 She particularly liked the Dante chapter, which is perhaps why The Spirit of Romance appears as this ‘book on Dante’ in Her
116 SR 10
117 SR2 19. This last comment only appears in the revised version
118 SR 177
119 EP/MC 52
120 HER 30
121 HER 99
122 Gregg, ‘Male and Female’, p. 214
123 PM 27
124 EP/DS 38
125 HC 150
126 ASPH 34
127 Gregg, ‘Male and Female’, p. 210
128 PIT 32
129 She added, ‘Nothing has ever happened that bore any relation to that first kiss. Mr Pound … you had something – in those first kisses you scattered so widely like stars upon a cerulean field of flowering maidens’. ML 92
130 Gregg, ‘Male and Female’, p. 220
131 Ibid., pp. 217, 216
132 Quoted in Guest, Herself Defined, p. 26
133 H.D was at number 4
134 AN 1
135 Oliver Wilkinson, Letters, p. 163
136 EP/MC 93
137 YP 64/2777
138 PIT 37
139 Alyse Gregory, The Day is Done, New York: E.P. Dutton, 1948
140 PM 27
141 PM 27, 33
142 Douglas Tallack, Twentieth-Century America: The Intellectual and Cultural Context, Harlow: Longman, 1991, pp. 83–85
143 PM 41
144 PM 37
145 Ibid.
146 EP/MC 60, 51
147 EP/MC 93
148 David Frail, The Early Politics and Poetics of William Carlos Williams, Ann Arbor: UMI Research Press, 1987, p. 57
149 David Frail takes it that he did meet the Stieglitz group there, and wonders why he did not introduce them to Williams, but it is clear he did not make their acquaintance on this visit
150 PM 21 (This is the 1913 wording; it was slightly different in 1912)
151 Max Eastman, Enjoyment of Living: Autobiographical Reminiscences, New York: Harper, 1948, p. 409
152 CH 76
153 EP/MC 55, 57–58
154 YP 59/2664
155 Frail, The Early Politics and Poetics of William Carlos Williams, p. 51
156 EP/MC 63
157 CH 75
158 CH 70–72
159 Quoted in G. Thomas Tanselle, ‘Two Early Letters of Ezra Pound’, American Literature, 34, 1962, 117, 116, 118
160 CH 73
161 EP/MC 63, 64, 65
162 Jessie B. Rittenhouse, My House of Life: An Autobiography, Boston: Houghton Mifflin, 1934, p. 268
163 YP 59/2666
164 Marius de Zayas, ‘The New Art in Paris’, The Forum, 45, February 1911, pp. 187–188
165 EP/MC 64
166 AN 1
167 EP/MC 67
168 Ibid.
169 Michael Ingham, writing on ‘Ezra Pound and Music’ in The Cambridge Companion to Ezra Pound, ed. Ira Nadel, Cambridge: Cambridge University Press, 1999, is rather dismissive of Rummel as a composer, describing his work as being in ‘the rather sloppy emotional style appropriate to the Parisian salon’ (p. 242), but he was highly thought of by Pound and others at the time
170 Monthly Musical Record, November 1911, quoted in EP/MC 153
171 EP/MC 154
172 EP/MC 67
173 EP/MC 153–154
174 Tanselle, ‘Two Early Letters of Ezra Pound’, p. 116
175 EP/MC 67
176 WBY 439
177 ‘The Science of Poetry,’ Book News Monthly, 29/4 (December 1910), 282–283, in EPP&P1 40–41
178 EPT 18. On Pound and science, see Ian Bell, Critic as Scientist: The Modernist Poetics of Ezra Pound, London: Methuen, 1981. Bell is undoubtedly right that Pound took more from Maxim than he liked to admit, even if he rejected his nineteenth-century materialist basis
179 YP 59/2666
180 The letter in which Pound mentions the Salon Indépendant says Yeats has left, so must be late May or early June, though it is dated earlier by the Beinecke. See Rebecca Beasley for a more detailed discussion of his interest in the visual arts, though she suggests rather warmer interest at this stage than I find he evinces: Ezra Pound and the Visual Culture of Modernism, Cambridge: Cambridge University Press, 2007
181 YP 59/2666
182 HC 390
183 EP/DS 37–38
184 EP/DS 39, CEP 215. A ‘redondilla’ is an eight-syllable quatrain, much used by Lope da Vega, though only intermittently appearing here – much of it isn’t even, as the subtitle suggests, ‘Something of the Sort’
185 CEP 169, 168, 170
186 CEP 305
187 EP/DS 34
188 Ezra Pound, ‘Paris Letter’, Dial, 74, 1923, p. 89. See EPC 448 (Canto 74) and 480 (Canto 78)
189 YP 59/2667
1 William Carlos Williams, ‘A Letter from William Carlos Williams to Norman Holmes Pearson Concerning Hilda Doolittle and Her Mother and Father’ (11 July 1955), William Carlos Williams Newsletter, 2/2, Fall 1976 p. 3
2 ML 107
3 Barbara Guest, Herself Defined: The Poet H.D. and her World, London: Collins, 1985, p. 27. Barbara Guest gives few sources for her facts. Where I am quoting something from her book which I have not found corroborated elsewhere, I shall indicate that she provides the only evidence. She did quite a few interviews, so may be adding new information, but sometimes her interpretations seem strained
4 YHD 17/584 (all postcards to her mother catalogued under this)
5 AN 1
6 Blast, 1914, p. 132
7 LL 101
8 YP 59/2666
9 END 50
10 ASPH 31
11 ASPH 29–30
12 ASPH 30
13 END 3–4
14 ASPH 39
15 ASPH 35
16 Quoted in Stefan Jarocinski, Debussy: Impressionism and Symbolism [1966], trans. Rollo Mymes, London: Eulenberg Books, 1976, p. 95
17 AN 1
18 YHD 17/584
19 PIT 73
20 Nigel Jones, Rupert Brooke: Life, Death & Myth, London: Richard Cohen, 1999. See also Paul Delany, The Neo-Pagans: Friendship and Love in the Rupert Brooke Circle, London: Macmillan, 1987
21 PIT 14–15
22 PIT 15–16
23 HDCP 8, 25
24 PIT 17
25 ASPH 4
26 Date ascertained from a postcard to her mother
27 FORD 306
28 Richard M. Ludvig, ed., Letters of Ford Madox Ford, Princeton: Princeton University Press, 1965, p. 48
29 P/F 8; YP 59/2667
30 SP 431–432
31 Humphrey Carpenter says the poem was written there, though I have not been able to find independent proof for that myself. But given the high level of accuracy in Carpenter’s work, and the appropriateness of the poem to that period of decision-making about his future that Pound experienced during the 1911 visit to Sirmione, I have accepted the dating. HC 156
32 PER 60–61
33 G. Thomas Tanselle, ‘Two Early Letters of Ezra Pound’, American Literature, 34, 1962, p. 116
34 PER 63
35 PER 61–62. See Peter Brooker, A Student’s Guide to the Selected Poems of Ezra Pound, London: Faber & Faber, 1979, p. 69
36 YP 59/2666
37 EPC 3 (Canto 1)
38 CH 179
39 CH 78, 81, 83–84
40 EP/DS 46
41 EP/MC 85
42 EP/DS 49
43 Ibid.
44 EP/DS 47
45 EP/DS 55
46 PER 64. The link between this letter and the poem has also been made by A. David Moody: see his Ezra Pound: Poet. A Portrait of the Man and his Work: Vol 1, The Young Genius 1885–1920, Oxford: Oxford University Press, 2007, p. 162
47 EP/MC 89. Sapphics are a complex mixture of dactyls and spondees in a regular four-line stanza, of which three lines have five feet and the final one has two
48 EP/DS 63–64
49 ‘Imagisme’, PMV 1/6, March 1913, p. 199
50 EP/MC 88
51 EP/MC 101
52 CEP 174
53 Quoted in DRE 402
54 George Dangerfield, The Strange Death of Liberal England [1935], London: McGibbon & Kee, 1966, p. 191. See DRE 498–499 on the role of syndicalists after 1912
55 Virginia Woolf, ‘Mr Bennett and Mrs Brown’, in A Woman’s Essays: Selected Essays, Volume One, ed. Rachel Bowlby, Harmondsworth: Penguin, 1991, pp. 70–71
56 Douglas Goldring, Odd Man Out: The Autobiography of a ‘Propaganda Novelist,’ London: Chapman & Hall, 1935 p. 126
57 See E. J. Hobsbawn, The Age of Empire, 1875–1914 [1987], London: Cardinal, 1989
58 Valerie Steele, Fashion and Eroticism: Ideals of Beauty from the Victorian Era to the Jazz Age, Oxford: Oxford University Press, 1985, p. 227. ASPH 49
59 Frances Spalding, British Art since 1900, London: Thames & Hudson, 1986, p. 37
60 Quoted in DRE 432 (the comment appeared on 7 November 1910)
61 J.B. Bullen, ed., Post-Impressionists in England, London: Routledge, 1988, pp. 109–110
62 Peter Stanksy, On or About December 1910: Early Bloomsbury and its Intimate World, Cambridge, MA: Harvard University Press, 1996, p. 181
63 Paul O’Keeffe, Some Sort of Genius: A Life of Wyndham Lewis, London: Jonathan Cape, 2000, p. 101. James Beechey, ‘Defining Modernism’, in The Art of Bloomsbury, ed. Richard Shone, Tate Gallery, 1999, p. 40
64 Wilfrid Scawen Blunt, My Diaries: Being a Personal Narrative of Events, 1888–1914, London: Martin Secker, 1919, p. 343
65 Stansky, On or About December 1910, p. 7
66 Frances Spalding, Vanessa Bell, London: Weidenfeld & Nicolson, 1983, p. 91
67 ‘Post-Savages’, NA, 29 December 1910
68 Roger Fry, ‘Retrospect’, in Vision and Design, London: Chatto & Windus, 1920, p. 193. In Paris, there were considerable links between some avant-garde artists and political anarchists: see Mark Antliff, Inventing Bergson: Cultural Politics and the Parisian Avant-garde, Princeton: Princeton University Press, 1993
69 In Nation, 19 November 1910, quoted in Stansky, On or About December 1910, pp. 201–202
70 Spalding, Vanessa Bell, p. 92
71 ‘Picasso’, NA, 30 November 1911
72 EP/MC 95
73 EP/DS 44
74 Yoko Chiba, ‘Ezra Pound’s Versions of Fenollosa’s Noh Manuscripts and Yeats’s Unpublished “Suggestions and Corrections”’, Yeats Annual, 4, ed. Warwick Gould, Basingstoke: Macmillan, 1984, p. 122
75 AN 2
76 EP/DS 71
77 EP/DS 72. Actually from the draft in Hope’s office files; this was not a letter Pound kept
78 YP 59/2668
79 Ibid.
80 EP/DS 72, 75
81 YP 59/2668
82 EP/MC 101
83 END 9–10; Suzanne Raitt, May Sinclair: A Modern Victorian, Oxford: Oxford University Press, 2000, pp. 93–96
84 YP 64/2777
85 ML 145; Raitt, May Sinclair, p. 193
86 YP 64/2777
87 NS 194
88 James Gindin, John Galsworthy’s Life and Art: An Alien Fortress, London: Macmillan, 1987, p. 50
89 YP 64/2777
90 YHD 17/584; ML 151
91 ASPH 52, 53
92 ASPH 57
93 EP/MC 97
94 EP/MC 94
95 PIT 18, 20–21
96 PIT 18
97 YP 59/2668
98 The Greek Anthology is a collection of 4,000 poems, ranging from seventh century BC to the sixth century AD, assembled by Byzantine scholars. H.D. used J. W. Mackail’s 1890 selection, Select Epigrams from the Greek Anthology, the last edition of which appeared in 1911, which includes the original poems as well as prose translations and a lengthy introduction
99 END 30 (H.D.’s ellipses). In A. David Moody, Ezra Pound: Poet. A Portrait of the Man and his Work: Vol. I, The Young Genius 1885–1920, Oxford: Oxford University Press, 2007, p. 446, Moody suggests that when she wrote End to Torment, H.D. misremembered Pound’s renewal of his love-making in London, and says he knows of no independent evidence for it. But H.D. had recalled it long before in correspondence with Bryher; Pound’s attentions to her are confirmed by Gregg’s quite independent memoir. In the late 1950s Pound himself read the manuscript of End to Torment, much of which he thought had great beauty; he quibbles about some of her speculations towards the end about what was happening in his life at that period, but said there was nothing to question in the earlier part of the book, from which this recollection comes. So it is confirmed by Pound himself (Letter 6 November 1959, YHD 14/489)
100 ASPH 73
101 YHD 17/584; YP 64/2777
102 ASPH 71, 74
103 ASPH 71
104 YP 64/2777
105 YP 59/2668
106 EP/MC 97–98
107 PER 190
108 Ronald Schuchard, ‘“As Regarding Rhythm”: Yeats and the Imagists’, in Yeats: An Annual of Critical and Textual Studies, 2, 1984
109 Norah Saunders and A.A. Kelly, Joseph Campbell, Poet and Nationalist: A Critical Biography, Dublin: Wolfhound, 1988, p. 49
110 Ibid.
111 Ibid., p. 50
112 Ibid., p. 47
113 Ibid., p. 50
114 Ibid., p. 50. EP/DS 80
115 ‘Affirmations VII: the Non-Existence of Ireland’, NA, 25 February 1915
116 Information from Garret FitzGerald, All in a Life: An Autobiography, Dublin: Gill and Macmillan, 1991, and personal communication from the author
117 EP/DS 166–167
118 Edward Storer, William Cowper, London: Herbert & Daniel, 1912, p. vii
119 Florence Farr, A Calendar of Philosophy, London: Frank Palmer, 1910, p. 15. Those quoted included Montaigne, Lao Tzu, Blake, Yeats, Nietzsche, Douglas Jerrold, Goethe, Wagner, Mallarmé, Verlaine, Bergson and many more
120 HULME 158 from NA, 2 November 1911 (signed Thomas Gratton)
121 LE 162
122 Ford Madox Ford, The Critical Attitude, London: Duckworth, 1911, p. 190
123 CEP 218
124 Robert Ferguson, The Short Sharp Life of T.E. Hulme, London: Allen Lane, 2002, p. 143
125 J.C. Squire, The Honeysuckle and the Bee, London: Heinemann, 1937, p. 156
126 EP/MC 98
127 The three previous volumes had come out earlier in the year, the two-volume The Magic Art and the Evolution of Kings in March, and Taboo and the Perils of the Soul in May
128 PER 185
129 LE 159
130 EP/MC 101
131 See Gail McDonald, Learning to be Modern: Pound, Eliot and the American University, Oxford: Clarendon Press, 1993
132 YP 59/2668
133 EP/MC 102
134 YP 60/2699
135 Some Hulme scholars have suggested it was only the former, but even if that were the case, Pound no doubt heard Hulme’s views in conversation as well, and he was also following his articles in the New Age
136 HULME 189
137 The point about Burke is made by Sanford Schwarz, ‘Bergson and the Politics of Vitalism’, in The Crisis in Modernism: Bergson and the Vitalist Controversy, ed. Frederick Burwick and Paul Douglas, Cambridge: Cambridge University Press, 1992, p. 296
138 ‘I Gather the Limbs of Osiris: II; A Rather Dull Introduction’, NA, 7 December 1911. These articles, without the translations, are republished in SP 21–43
139 SR v
140 EP/DS 71; ‘I Gather the Limbs of Osiris: II’
141 ‘I Gather the Limbs of Osiris: II’
142 HULME 201
143 ‘I Gather the Limbs of Osiris: II’
144 ‘Modern Fiction’, in The Essays of Virginia Woolf, Volume IV, 1925–1928, London: Hogarth, 1994, p. 159. Many years later, in captivity in 1946, Pound would read Arnold Bennett for the first time, and bitterly regret he had denounced him earlier out of sheer ignorance. Bennett’s novels were a revelation, he said: ‘as good as the French – my damned snobbery deprived me of knowing it in 1910’: Robert Spoo and Omar Pound, Ezra and Dorothy Pound: Letters in Captivity, 1945–46, Oxford: Oxford University Press, 1999, p. 27
145 HULME 201
146 For Hulme, this is linked to his belief, again a crucial idea for Pound, that the artist does not create so much as discover a truth about the nature of reality, which has to be conveyed with precision and exactitude. Pound would write a couple of years later that a poet has to be more like a scientist than ‘an advertising agent for a new soap’: ‘the scientist does not expect to be acclaimed as a great scientist until he has discovered something.’ ‘A Few Don’ts by an Imagiste,’ PMV 1/6, March 1913, pp. 203–204. Later Pound would come to emphasise the need for the exact word in social, political and moral contexts as well, not just psychological
147 HULME 192
148 HULME 200
149 ‘I Gather the Limbs of Osiris: IX: On Technique’, NA, 25 January 1912
150 ‘I Gather the Limbs of Osiris: XI’, NA, 15 February 1912
151 Samuel Beckett is an example of a writer who shared Hulme’s view of the inadequacy of language without giving up writing: ‘you must go on. I can’t go on. I’ll go on,’ as he famously wrote at the end of The Unnamable. Samuel Beckett, The Unnamable (1958), London: Calder & Boyars, 1975, p. 132
152 ‘I Gather the Limbs of Osiris: IX’. Many of these ideas Hulme had taken from Rémy de Gourmont’s Le Problème du style, which has led some critics to suggest Pound was already reading that for himself: however, this must have been written in late 1911, and it was not till the second half of February 1912 that he discovered de Gourmont for the first time, and then at first only his poetry and his anthology of medieval Latin poetry. When he first wrote about de Gourmont in September 1913 he didn’t mention Le Problème, and that was an article he had difficulty making long enough; if he knew it then he would surely have mentioned it (see EP/DS 245). Later de Gourmont’s criticism would be immensely important to him. See Richard Sieburth, Instigations: Ezra Pound and Rémy de Gourmont, Cambridge, MA: Harvard University Press, 1978
153 ‘I Gather the Limbs of Osiris: VI: On Virtue’, 4 January 1912
154 ‘I Gather the Limbs of Osiris: XI’. The twelfth part consisted of three Arnaut Daniel canzoni
155 See Andrzej Sosnowski, ‘Pound’s Imagism & Emanuel Swedenborg’, Paideuma, 20/3, 1991, pp. 31–38
156 Pound’s starting point here was probably Blake and Yeats again; on the idea of Adamic language see Robert Essick, William Blake and the Language of Adam, Oxford: Clarendon Press, 1989, and Robert Kern, Orientalism, Modernism, and the American Poem, Cambridge: Cambridge University Press, 1996. Farr, according to Mary Greer, was intrigued by similar ideas
157 ‘I Gather the Limbs of Osiris: XI’
158 HULME 61
159 HULME 62
160 HULME 66
161 HULME 55
162 ‘I Gather the Limbs of Osiris: XI’
163 ‘Nel mezzo del cammin’ is a quotation from the opening of Dante’s Commedia, ‘in the middle of the road (of his life)’, i.e. in middle age
164 ‘Prologomena’, PR 1/2, February 1912, pp. 72–76 (reprinted as ‘Prolegomena’ in LE 8–9)
1 YP 64/2777
2 H.D., ‘Responsibilities’, unpublished review, written c. 1916, Agenda, 25, 3/4, 1988, pp. 51–52
3 Barbara Belford, Violet: The Story of the Irrepressible Violet Hunt and Her Circle of Lovers and Friends – Ford Madox Ford, H.G. Wells, Somerset Maugham, and Henry James, New York: Simon & Schuster, 1990, p. 185. But see FORD 354–5, which suggests that if there was a ceremony it was probably in Paris in September, or in October in Trier
4 DHLL1 315
5 DHLL1 339
6 DHLL1 362
7 DHLL1 363–364
8 DHLL1 335; YP 59/2668
9 EP/MC 98
10 EP/MC 100; NS 136
11 YP 60/2672
12 SL 68
13 FY 215
14 FY 216
15 BP 51
16 BP 48
17 BP 47
18 Derek Patmore, Private History: An Autobiography, London: Jonathan Cape, 1960, p. 16
19 BP 9
20 Patmore, Private History, p. 52
21 Ibid., pp. 16, 17
22 Ibid., p. 17. Barbara Guest suggests H.D. learnt Olivia was Yeats’s ‘Diana Vernon’ in the late 1930s, and quotes her comment on this to Aldington in 1961. See Barbara Guest, Herself Defined: The Poet H.D. and her World, London: Collins, 1985, p. 248
23 BP 58, 63.
24 END 4
25 BP 60
26 BP 59
27 BP 110
28 HC 336
29 AN 15
30 BP 64
31 BP 65
32 Ibid.
33 BP 66
34 SL 17
35 Douglas Goldring, Odd Man Out: The Autobiography of a ‘Propaganda Novelist’, London: Chapman & Hall, 1935, p. 105
36 UTA (Letter from T.S. Eliot to Flint dated 12 June 1925)
37 The Tramp, September 1910, p. 556
38 The Tramp. November 1910, p. 183; Cadences, p. 3 (in that version the punctuation is slightly different, and only the first lines of each short stanza begin with a capital letter)
39 Peter Jones, ed., Imagist Poetry, Harmondsworth: Penguin, 1972, p. 76
40 ‘Prologomena’, PR 1/2, February 1912, p. 72
41 EPC 433 C74
42 EP/MC 105
43 The Letters of Maurice Hewlett, ed. Laurence Binyon, London: Methuen, 1926, p. 118
44 EP/MC 105; EP/DS 82
45 BP 60
46 ASPH 70, 68
47 BL ADD 57725 Letter, 11 April 1958. Patricia Hutchins’ extensive correspondence with Pound and his friends, which was the basis of her book, Ezra Pound’s Kensington: An Exploration, 1885–1915, London: Faber & Faber, 1965, is now lodged at the British Library
48 HRAL, 20 November 1917. He does say in his letter that his father’s novel had ‘some measure of success’, but it seems most improbable
49 ASPH 63
50 Albert Aldington, The Queen’s Preferment, London: Digby, Long & Co., 1896, p. 227
51 Charles Doyle, Richard Aldington: A Biography, Basingstoke: Macmillan, 1989, p. 4
52 DH 15
53 DH 151
54 LL 56
55 DH 87
56 DH 159
57 CPRA 57
58 CPRA 56
59 LL 35
60 LL 37–38
61 LL 39
62 DH 77
63 HRAL (20 November 1917)
64 LL 45, 46
65 LL 46, 47
66 LL 54
67 LL 84; Norman T. Gates, The Poetry of Richard Aldington: A Critical Evaluation and an Anthology of Uncollected Poems, University Park: Pennsylvania State University Press, 1974, pp. 228, 227
68 LL 57
69 LL 61
70 LL 63
71 LL 65
72 Alister Kershaw and Frédéric Jacques Temple, eds, Richard Aldington: An Intimate Portrait, Carbondale: Southern Illinois University Press, 1965, p. 112
73 CZ 3
74 CZ2 90
75 LL 96
76 Ibid.
77 HRAL (20 November 1917)
78 CZ 43
79 CZ 8
80 YHD 1/22 (16 December 1950)
81 Dominic Hibberd, Harold Monro: Poet of the New Age, London: Palgrave, 2001, p.11
82 Ibid., p. 3
83 ‘Preface’, PR 1/1, January 1912, p. 3
84 Alida Monro, ed., The Collected Poems of Harold Monro, London: Cobden-Sanderson, 1933, pp. viii–ix
85 Hibberd, Harold Monro, p. 91
86 Ibid., p. 94
87 Ibid., p. 3
88 ‘Canzoni. By Ezra Pound’, PR 1/1, January 1912, pp. 28–29
89 UTA. Flint, according to Poetry in 1913, had published in the Nation, so something may have appeared there
90 YP 64/2777
91 Ibid.
92 A letter to Bryher many years later also places Walter’s revelation of the engagement that spring, and while again memories may play false, most evidence points to a date in March; the diary H.D. kept in Paris that summer suggests that she had known by April
93 PR 1/1, January 1912, p. 25
94 ER 9, October 1911, pp. 361–362
95 Quoted in Robert B. Ross, The Georgian Revolt: Rise and Fall of a Poetic Ideal, 1910–1922, London: Faber & Faber, 1967, p. 52
96 HRAL (20 November 1917)
97 Norman T.Gates, ed., Richard Aldington: A Biography in Letters, University Park: Pennsylvania State University Press, 1992, p. 7
98 ‘Prologomena’, p. 72
99 EP/DS 351
100 YP 60/2669
101 EP/DS 61
102 SR2 87
103 SR2 91, 90, 95, 96. Peire Vidal is how Pound spells it here, though he also has a poem, ‘Piere Vidal Old’, PER 28–30
104 EP/DS 61
105 SR2 94
106 ‘Translator’s Postscript’ (dated 21 June 1921) to The Natural Philosophy of Love, by Rémy de Gourmont, trans. Ezra Pound, London: Casanova Press, 1920, p. 169
107 Richard Ellmann, Eminent Domain, Oxford: Oxford University Press, 1967, p. 83
108 SR2 92–93, 95
109 LE 295
110 PM 33
111 LE 315. As Ronald Bush points out, Pound said he had adopted the style of the late Henry James for his quasi-autobiographical Indiscretions, and Bush suggests he may also have used late James as a narrative model for the Cantos: see Ronald Bush, The Genesis of Ezra Pound’s Cantos, Princeton: Princeton University Press, 1976, pp. 176–180
112 PER 85
113 EP/DS 87
114 EP/DS 90
115 EP/DS 89
116 Quoted in EP/DS 90
117 Lawrence Rainey, Institutions of Modernism: Literary Elites and Public Culture, New Haven: Yale University Press, 1998
118 LL 121
119 ‘Prologomena’, pp. 75, 73–74
120 According to Flint (in his review of Ripostes in Poetry and Drama in March 1913), Epstein came along sometimes to the Tour Eiffel group, but Pound may not have met him, and certainly didn’t seem to see his work then
121 YP 60/2669
122 Ibid.
123 ‘Approach to Paris: II’, NA, 11 November 1913
124 ‘Copper-coloured rose, more fraudulent than our joys, copper-coloured rose, embalm us in your lies, hypocritical flower, flower of silence./Rose, with your face painted like a whore, rose with a prostitute’s heart, you pretend to be pitiable, hypocritical flower, flower of silence’ (my translation)
125 HDCP 25
126 ‘Psychology and the Troubadours’, The Quest: A Quarterly Review, 4/1, October 1912
127 René Taupin, The Influence of French Symbolism on Modern American Poetry [first published in French 1929], trans. William Pratt and Anne Rich Pratt, New York: AMS Press, 1985, p. 128
128 SR2 90
129 ‘Then I said: Here are flutes and baskets; Bite into the fruit … I said again: Listen’ (my translation). ‘Les Médailles d’argile’ from Henri de Régnier, Les Médailles d’argile, Paris: Société du Mercure de France, 1890, p. 2. See also the discussion of this poem and the de Régnier poem in William Pratt, ‘“To Have Gathered from the Air a Live Tradition”: Pound’s Poetic Legacy’, in Ezra Pound and Poetic Influence, ed. Helen M. Dennis, Amsterdam: Rodopi, 2000
130 PER 70
131 He would also compare it to Gaudier-Brzeska’s ‘Boy with Coney’, which he said looked like an ancient Chinese work
132 ‘Introduction’ to Oxford Book of Modern Verse: 1892–1935, ed. W.B. Yeats, Oxford: Oxford University Press, 1936
133 ‘Vorticism’, Fortnightly Review 96 (NS) 1 September 1914, p. 404. GIFT 84
134 BP 66
135 DH 125
136 END 18
137 END 17
138 ASPH 96
139 ASPH 74
140 END 8
141 PIT 32
142 There were actually two other Powys brothers, and three sisters, but these three were the writers and the friends of Louis
143 Brenda Humfrey, ed., Recollections of the Powys Brothers: Llewelyn, Theodore and John Cowper, London: Peter Owen, 1980, p. 21
144 Oliver Marlow Wilkinson, ‘Introduction’ to Seven Friends, by Louis Marlow, Thame: Mandrake Press, 1991, p. 10
145 Quoted in Humfrey, Recollections, p. 174
146 Kenneth Hopkins, The Powys Brothers: A Biographical Appreciation [1967], Southrepps, Norfolk: Warren House Press, 1972, p. 28
147 Others: An Anthology of the New Verse, ed. Alfred Kreymborg, New York: Knopf, 1916, p. 45
148 Louis Umfreville Wilkinson, The Buffoon, New York: Knopf, 1916, p. 211
149 Janet Beer and Katherine Joslin, ‘Diseases of the Body Politic: White Slavery in Jane Addams’ A New Conscience and an Ancient Evil and Selected Stories by Charlotte Perkins Gilman’, Journal of American Studies, 33/1, 1999, p. 4
150 Louis Marlow (the name under which most of Louis Wilkinson’s books appeared), Swan’s Milk, London: Faber & Faber, 1934, p. 316
151 John Cowper Powys, Autobiography [1934], London: Picador, 1967, p. 266
152 Oliver Marlow Wilkinson, ed., Letters of John Cowper Powys to Frances Gregg, Vol. 1, London: Cecil Woolf, 1994 p. xxvii
153 See Oliver Marlow Wilkinson, ‘A Rival to Jack’, in Recollections of the Powys Brothers, pp. 180–187
154 Marlow, Swan’s Milk, p. 318; Richard Perceval Graves, The Brothers Powys, London: Routledge & Kegan Paul, 1985
155 AN 2
156 END 8–9 (First ellipsis H.D.’s)
157 END 9
158 AN 2
159 PIT, 9, 35
160 Powys, Autobiography, pp. 266, 406, 410, 411
161 Ibid., p. 406
162 Louis Marlow, Seven Friends, London: Richards Press, 1953, pp. 67–68
163 EP/DS 94
164 YHD 47/1197. All quotations in this section from the diary are located here
165 ASPH 98, 97
166 H.D., ‘Letter to Norman Pearson, 1937 ("A Note on Poetry")’ (first published in 1937, re-edited for this publication by Diana Collecott), Agenda, 25/3&4, Autumn/Winter 1987/1988, p. 73
167 PIT 60
168 EP/MC 135
169 PIT 59
170 YP 60/2669
171 Ibid.
172 WT xi
173 YP 60/2669
174 EP/MC 111. Pound had already left Poitiers, so the letter was returned
175 EP/MC 117
176 EP/MC 114
177 EP/MC 117
178 ASPH 9
179 EP/MC 3
180 EP/MC 127
181 EP/MC 2
182 EP/MC 131
183 EP/MC 118–119. In an early letter, Pound did write to her, ‘As one artist to another, my congratulations,’ but even there he is referring to her as an artist in the way she handles her patronage, not her music. EP/MC 23
184 ASPH 103, 105
185 EP/DS 108; EP/MC 119
186 EP/DS 109
187 EP/MC 118
188 H.D. in The Cantos of Ezra Pound: Some Testimonies, Ernest Hemingway et al, New York: Farrar & Rinehart, 1933, p. 19
189 EP/DS 118
190 YHD 14/489 (6 November 1959)
191 EP/DS 113
1 WT 35
2 WT 3
3 In this letter words are occasionally illegible, but the drift is clear
4 YP 17/743. As far as I am aware, no Pound scholars have commented on this letter, which is misdated in the Beinecke, being put in a folder marked 1928–1960
5 See, for example, May McKisack, The Oxford History of England: The Fourteenth Century, 1307–1399, Oxford: Oxford University Press, 1959, pp. 138–140
6 EPC 515 (Canto 80)
7 WT 84
8 SR v
9 EPC 510, C80. Pound visited Excideuil again in 1919 with T.S. Eliot, as he recalls in Canto 29, though there he identifies it only by the wave pattern (EPC 145)
10 WT xvi, xi
11 For example, when speaking of adventures, he comments that ‘the kind that make good telling are usually very fatiguing & uncomfortable while they last, & even then, if one plays anything like a role, a laudable role, this modern, false modern self consciousness keeps one from boasting of it’. WT 48
12 Eric Hobsbawm, The Age of Empire: 1875–1914 [1987], London: Cardinal, 1989, pp. 226–227
13 WT 31
14 WT 22
15 WT 53
16 WT 26
17 WT 30
18 YHD 47/1196
19 EP/DS 131
20 WT 57 (words in fact deleted)
21 EP/DS 131
22 EP/DS 116
23 WT 39
24 YP 60/2670
25 WT 48, 50
26 WT 38
27 WT 48, 50, 51, 52
28 EPC 794, C115
29 WT 50
30 WT 53
31 WT 58 (Pound’s ellipsis)
32 WT 60–61
33 Ibid.
34 EP/DS 131
35 EP/DS 137
36 EP/DS 136
37 EP/DS 137
38 EP/DS 103, 104
39 George Dangerfield, The Strange Death of Liberal England [1935], London: McGibbon & Kee, 1966, p. 249
40 DRE 496
41 EP/DS 111
42 Richard Cork, Art Beyond the Gallery: In 20th Century England, New Haven: Yale University Press, 1985, p. 61
43 Paul O’Keeffe, Some Sort of Genius: A Life of Wyndham Lewis, London: Jonathan Cape, 2000, p. 112
44 ‘Imaginary Letters’, Little Review, 6/1, May 1918, p. 55
45 EP/DS 136
46 WBY 476–477
47 WT 61
48 Josephine Johnson, ‘Florence Farr: Letters to W.B. Yeats, 1912–17’, in Deirdre Toomey, ed., Yeats and Women [1992], Basingstoke: Macmillan, 1997, p. 295
49 Johnson, ‘Florence Farr’, pp. 300–301
50 Harrison’s warm review of Farr’s performance in Hippolytus in 1904 was republished in The Music of Speech, containing the words of poets, thinkers and musicmakers regarding the practice of the bardic art, together with fragments of verse set to its own melody by F. Farr, London: Elkin Mathews, 1909
51 Johnson, ‘Florence Farr’, p. 293
52 EP/DS 130
53 PER 57–58
54 YP 60/2670
55 LE 32
56 PM 77
57 ‘The Serious Artist’, NFW 1/9, 15 October 1913, p. 162, reprinted LE 45. ‘Prologomena’, PR 1/2, February 1912, p. 76
58 PER 89
59 By 1917 he also belonged to the London Library: much more convenient given his long hours, as he could borrow the books. Whether he did in 1912 I am not sure
60 See Cyrena N. Pondrom, ed., The Road from Paris: French Influence on English Poetry, 1900–1920, Cambridge: Cambridge University Press, 1974, p. 22
61 Ibid., p. 74 (my translation)
62 Michael Levenson, ed., The Cambridge Companion to Modernism, Cambridge: Cambridge University Press, 1999, p. 2
63 ‘Les aînés’, as Flint called them, had had some limited coverage, mainly in the New Age, but not much interest was provoked: see Pondrom, Road from Paris, p. 18
64 Le Roy C. Breunig, ‘F.S. Flint, Imagism’s “Maître d’Ecole”’, Comparative Literature, 4, 1952, p. 133
65 ‘Contemporary French Poetry’, PR 1/8, August 1912, p. 355; Pondrom, The Road to Paris, p. 84
66 Ibid., p. 357
67 Ibid., pp. 357–358
68 Ibid., p. 358. Flint’s argument that imagism is the continuation of symbolism is the central theme of Frank Kermode’s Romantic Image [1957], London: Fontana, 1971
69 LE 12
70 ‘Contemporary French Poetry’, p. 360
71 Breunig, ‘F.S. Flint’, p. 134
72 EP/DS 161
73 SP 340
74 EP/DS 142
75 HULME 201, 200
76 HULME 198, 196
77 HULME 95, 201.
78 P/LR 155
79 PMV 11/5, February 1918, p. 273. Harriet Monroe, A Poet’s Life: Seventy Years in a Changing World, London: Macmillan, 1938, p. 222
80 Ibid., p. 223
81 Ibid., p. 234
82 Ibid., p. 239
83 Harriet Monroe, Poets and their Art [1926], New York: Macmillan (enlarged edn), 1932, pp. 14, 13
84 EP/MC 132
85 P/ACH 2
86 EP/MC 133
87 See the discussion by Cyrena N. Pondrom in ‘H.D. and the Origins of Imagism,’ in Signets: Reading H.D., ed. Susan Stanford Friedman and Rachel Blau Duplessis, Madison: University of Wisconsin Press, 1990
88 All quotations from this letter EPL 43–44
89 PM 50, 51
90 ‘To Whistler, American’, PMV 1/1, October 1912, p. 7
91 EP/DS 161
92 EP/DS 155
93 EP/DS 142
94 PER 266
95 J.B. Harmer, Victory in Limbo: Imagism 1908–1917, London: Secker & Warburg, 1975, p. 17
96 ‘A Few Don’ts by an Imagiste’, PMV 1/6, March 1913, pp. 202–203
97 YP 60/2670. Paul Selver, another occasional visitor, describes the manuscript as the ‘proof sheets’; very likely true, as the poems would be published in October. Paul Selver, Private Life, London: Jarrolds, 1929
98 EP/DS 155
99 PER 120
100 A Lume Spento and Other Early Poems, New York: New Directions, 1965, p. 7
101 LL 122
102 LL 123, 121, 122
103 END 18
104 END 40
105 TRIB xi
106 YHD 38/1012; ‘Compassionate Friendship’, pp. 24, 23
107 Pondrom, ‘H.D. and the Origins of Imagism’
108 Monroe, A Poet’s Life, p. 267
109 EPL 45
110 T.S. Eliot, ‘Hamlet and his Problems’, in The Sacred Wood [1920], London: Methuen, 1960, p. 100
111 Pound’s letter to Monroe is simply dated October, without specifying a day, but as he refers in it to a letter dated 13 October, it must be after then
112 LL 125
113 ‘Choricos’, PMV 1/2, November 1912, pp. 40–41
114 ‘Notes and Announcements’, PMV 1/1, October 1912, p. 31
115 There is a slightly ambiguous comment in Norman Holmes Pearson’s 1969 interview about this, which could be taken to imply that she published some poems in New York in 1910–11 as well as the short stories, but nothing has to my knowledge come to light, and all H.D.’s own comments suggest this was her first publication: see ‘Norman Holmes Pearson on H.D.: an Interview’, Contemporary Literature, 10/4, 1969, p. 437
116 See note 98 in Part 6
117 In J. W. Mackail’s translation, the poem goes: ‘I, Hermes, stand here by the windy orchard in the cross-ways nigh the grey sea-shore, giving rest on the way to wearied men; and the fountain wells forth cold stainless water’. Select Epigrams from the Greek Anthology, London: Longmans, Green, 1890, p. 193. By the time Anyte wrote in the third century BC, the epigram may not have literally been an inscription, but ‘epideictic’, written as if it were an inscription. See The Greek Anthology and Other Ancient Epigrams [1973], ed. Peter Jay, Harmondsworth: Penguin, 1981, p. 13
118 ‘Norman Holmes Pearson on H.D.: an Interview’, p. 441
119 W.B. Yeats, Essays & Introductions, London: Macmillan, 1961, p. 509
120 Jane Ellen Harrison, The Religion of the Ancient Greeks, London: Archibald Constable, 1905, pp. 18, 19
121 Jane Ellen Harrison, Prolegomena to the Study of Greek Religion, Cambridge: Cambridge University Press, 1903, p. 630
122 Quoted in Susan Stanford Friedman, Penelope’s Web: Gender, Modernity, H.D.’s Fiction, Cambridge: Cambridge University Press, 1990, p. 219
123 HDCP xi
124 HDCP 37–39. In the original Poetry version every line begins with a capital letter, but these had vanished by the time of the poem’s republication in 1916
125 Timothy Materer, Modernist Alchemy: Poetry and the Occult, Ithaca: Cornell University Press, 1995, p. 89
126 PM 44
127 PM 42, 43
128 There has been much critical work now on modernist marketing, the most influential being Lawrence Rainey, Institutions of Modernism: Literary Elites and Public Culture, New Haven: Yale University Press, 1998
129 YP 60/2670
130 Ibid.
131 PM 38
132 PM 82
133 See Stephen J. Greenblatt, Renaissance Self-Fashioning: From More to Shakespeare, Chicago: University of Chicago Press, 1980, PM 43.
134 See Pierre Bourdieu, The Field of Cultural Production: Essays on Art and Literature, ed. Randal Johnson, Oxford: Polity Press, 1993
135 Matthew Arnold, Culture and Anarchy [1869], in Selected Prose, Harmondsworth: Penguin, 1970, passim, but see for example, pp. 215–216
136 See Peter Bürger, Theory of the Avant-Garde, trans. Michael Shaw, Minneapolis: University of Minnesota, 1984. PM 42
137 ‘Patria Mia: V’, NA, 3 October 1912. This footnote was cut from the book version.
138 EPL 46–47
139 YP 60/2670
140 EP/DS 145
141 EP/DS 154
142 EP/DS 153, 157
143 PER 101
144 YP 60/2670
145 Ibid.
146 Ibid.
147 Ibid.
148 PM 54 (NA, 31 October, 1912)
149 ‘Through Alien Eyes: 1’, NA, 16 January 1913, ‘Through Alien Eyes: 2’, NA, 23 January 1913, and ‘Through Alien Eyes: 3’, NA, 30 January 1913
150 EP/DS 162–163
151 EPL 44
152 His interest in Indian art, it is said, stemmed from the time as a young man in Paris when he saw a statue of Hindu goddess Apsaras in Degas’ studio
153 She had previously, in 1903, provided the money that launched the National Art Collections Fund, one of whose early purchases was the Rokeby Venus
154 Mary Lago, Christiana Herringham and the Edwardian Art Scene, London: Lund Humphries, 1996, p. 228
155 Mary Lago, ed., Imperfect Encounter: Letters of William Rothenstein and Rabindranath Tagore, 1911–1914, Cambridge, MA: Harvard University Press, 1972, p. 5
156 Ibid., p. 5. See also William Rothenstein, Men and Memories: Recollections: Vol. 2, 1900–1922, London: Faber & Faber, 1932
157 WBY 48
158 Rabindranath Tagore, ‘W. B. Yeats’, in Rabindranath Tagore and William Butler Yeats: The Story of a Literary Friendship, Delhi: Department of Modern Indian Languages, University of Delhi, 1965, pp. 2, 5
159 W.B. Yeats in Rabindranath Tagore, Gitanjali (Song Offerings): A Collection of Prose Translations made by the Author, London: Macmillan, 1913, pp. viii–xi
160 Richard Ellmann, Eminent Domain, New York: Oxford University Press, 1967, p. 63
161 Lago, Imperfect Encounter, p. 15
162 Tagore, Gitanjali, pp. x, xi, xii, xiv
163 Ibid., p. xv
164 NFW, 1 November, 1913, pp. 187–188
165 ‘Tagore’s Poems’, PMV 1/3, December 1912, pp. 92, 93
166 SC 25
167 SR2 94. ‘Rabindranath Tagore’, Fortnightly Review, 93 (N.S.), 1 March 1913, pp. 571–579
168 ‘Tagore’s Poems’, p. 93
169 Tagore, ‘W.B. Yeats’, p. 4
170 YP 60/2670
171 Simon Gikandi, ‘Race and the Modernist Aesthetic’, in Writing and Race, ed. Tim Youngs, London: Longman, 1997, p. 155
172 Suzanne Raitt, May Sinclair: A Modern Victorian, Oxford: Oxford University Press, 2000, p. 194
173 ‘Rabindranath Tagore’, p. 577