1 LL 99
2 EP/DS 161
3 According to Caroline Zilboorg (CZ 12), H.D. had had a short holiday in Paris, where Pound also was briefly staying, on her journey to Genoa, but it seems most unlikely that Pound could have spared the time to be there. He was sending frequent advice and poems to Harriet Monroe, meeting Tagore, organising Walter Rummel to come to London to play Debussy to Tagore, and writing articles for New Age and reviews for Poetry. I think Zilboorg is misled by Barbara Guest, who displaces the whole May–July visit to October.
4 AN 3
5 Ibid.
6 YHD 48/1202. All quotations from this diary are located here. The English friends probably included Phyllis Bottome, actually half-American and a writer acquaintance of Pound’s, whom she describes very entertainingly in her book From the Life, London: Faber & Faber, 1944
7 LL 110–111
8 PIT 28
9 AN 2
10 PIT 58–59
11 LL 116–117
12 ‘Notes and Announcements’, PMV 1/2, November 1912, p. 65
13 CPRA 40
14 ‘Letters from Italy: III. – Rome: First Days’, NA, 27 February 1913, p. 404
15 Edith Wharton, Italian Backgrounds, London: Macmillan, 1905, p. 177
16 ‘Letters from Italy: I – En Route’, NA, 13 February 1913, p. 356
17 ‘Letters from Italy: III’
18 Ibid., p. 404, and ‘Letter from Italy: VIII – A Sentimental Letter’, NA, 3 April 1913, p. 531
19 ‘Letters from Italy: I’, p. 355
20 ‘Letters from Italy: V – “Is of nothing, and of nothing worth”’, NA, 13 March 1913, p. 454
21 ‘Letters from Italy: II – Firenze’, NA, 20 February 1913, p. 386
22 ‘Letters from Italy: XXII – Old Painters in Florence’, NA, 10 July 1913, p. 296
23 ‘Letters from Italy: IV – Two Classic Beauties’, NA, 6 March 1913, p. 430
24 ‘Letters from Italy: XII – Cava–Corro di Cava–Paestum’, NA, 1 May 1913, p. 14
25 ‘Letters from Italy: XVI – Sorrento’, NA, 22 May 1913, p. 87, and ‘Letters from Italy: XVIII – Theocritus on Capri’, NA, 12 June 1913, p. 176
26 Richard Cork, Vorticism and its Allies, London: Arts Council of Great Britain, 1974, p 7
27 JGFL 47
28 UAF Box 2, file 25, ‘Inventory’, 1910, p. 29
29 NS 163–164
30 P/W 19
31 ‘A Selection from The Tempers. By William Carlos Williams [Introductory Note by Ezra Pound]’, PR 1/10, October 1912, p. 481
32 EPL 46
33 EPL 47
34 LL 96
35 John Cournos, Autobiography, New York: G.P. Putnam’s Sons, 1935, p. 235
36 LL 95
37 ‘Reviews’, PR 1/2, February 1912, p. 82
38 HULME xxviii. The review appeared in a philosophical journal called The Monist
39 ‘To T.E. Hulme’, PR 1/12, December 1912, p. 537
40 PMV 1/2, November 1912, p. 65
41 P/ACH 4
42 ‘Priapus’ may have been Pound’s title. When this poem came out later in book form, in Sea Garden, H.D. would simply call it ‘Orchard’
43 PMV 1/4, January 1913
44 Ibid., pp. 123–127
45 EP/DS 161, P/ACH 17–18
46 Robert H. Ross, The Georgian Revolt: Rise and Fall of a Poetic Ideal, 1910–22, London: Faber & Faber, 1965, p. 119
47 Hibberd, Harold Monro, p. 97
48 DHLL2 104
49 Quoted in James Reeves, ed., Georgian Poetry, Harmondsworth: Penguin, 1962, p. xiv
50 Derek Patmore, Private History: An Autobiography, London: Jonathan Cape, 1960, p. 181. Alan Pryce-Jones quoted in Ross, The Georgian Revolt, p. 108
51 Herbert Palmer, Post-Victorian Poetry, London: Dent, 1938, p. 77
52 LL 100
53 Ross, The Georgian Revolt, p. 181
54 EP/DS 167
55 EP/DS 168
56 Alida Monro, ed., The Collected Poems of Harold Monro, London: Cobden-Sanderson, 1933, p. xi
57 Richard Cork, Vorticism and its Allies, London: Arts Council of Great Britain, 1974, p. 41
58 EP/DS 177
59 EP/DS 178
60 EP/DS 180
61 EP/DS 179
62 P/ACH 18
63 EP/DS 182
64 ‘Imagisme’, PMV 1/6, March 1913, pp. 198–199. The content here is all Flint’s, though the wording is made more impersonal
65 Lawrence Rainey, Institutions of Modernism: Literary Elites and Public Culture, New Haven: Yale University Press, 1998. ‘Imagisme’, p. 200
66 ‘Imagisme’, p. 199
67 ‘A Few Don’ts by an Imagiste’, PMV 1/6, March 1913, p. 203
68 Christopher Middleton, ‘Documents on Imagism from the Papers of F.S. Flint’, The Review, 15, 1965, p. 37. Flint had ‘we’ instead of ‘they’, and ‘cause’ instead of ‘provoke’
69 ‘Imagisme’, p. 199
70 EP/DS 343. See the discussion of H.D.’s ‘mytho-poetic’ writing in A. D. Moody’s ‘H.D., “Imagiste”: An Elemental Mind’, Agenda, 25/3–4, 1987/88, pp. 77–96
71 ‘Imagisme’, p. 200
72 Bernard Hart, ‘Chapter Six: The Conception of the Subconscious’, in Hugo Münsterberg et al., Subconscious Phenomena, London: Rebman, 1911, pp. 129–130
73 Ibid., p. 133
74 Frances Spalding, Vanessa Bell, London: Weidenfeld & Nicholson, 1983, p. 92. This quotation appears here in Part Six, p. 368
75 David Kadlec, Mosaic Modernism: Anarchism, Pragmatism, Culture, Baltimore: Johns Hopkins University Press, 2000
76 LE 3
77 F.S. Flint, In the Net of the Stars, London: Elkin Mathews, 1909
78 PMV 2/4, July 1913, p. 138
79 Ibid., pp. 136–139
80 EPL 52
81 YP 51/2309
82 EPL 55
83 PER 86–87
84 ‘The Serious Artist: 1’, NFW 1/9, 15 October 1913, p. 162
85 EPL 54
86 CH 98–99
87 EPL 55
88 EPL 53. PMV 2/1, April 1913, p. 12
89 ‘How I Began’, T.P.’s Weekly, London 21/552, 6 June 1913, p. 707, reprinted EPP&P1 147. The original experience must have been in 1911, because he refers to going on to Italy. In a second account, he says that six months later he wrote a 30-line poem about this experience, but rejected it as of ‘second intensity’. GB 86–9
90 Seamus Heaney, ‘The Pathos of Things’, The Guardian, 24 November 2007, reprinted from Our Shared Japan, ed. Irene de Angelis and Joseph Woods, Dublin: Dedalus, 2007
91 PMV 1/5, February 1913, pp. 165
92 P/ACH 22
93 WBY 139
94 ‘The Approach to Paris: 1’, NA, 4 September 1913
95 ‘The Approach to Paris: V’, NA, 2 October 1913; ‘Paris’, PMV 3/1, October 1913, pp. 26–30
96 YP 60/2671
97 LMS 50
98 ‘The Evening Clouds’, DC 11
99 FG 14
100 DC 31
101 DC 23
102 VE 3
103 LMS 56. This is what Fletcher says; the review by Edward Thomas in Poetry & Drama 1, September 1913, pp. 363–364, though also very sympathetic, doesn’t use these words – perhaps he reviewed it elsewhere as well. Thomas also wrote to Fletcher after reviewing his work, so this quotation may be from the letter
104 Fletcher says in his autobiography he went to Paris in May, but it must have been earlier, or he would not then have met Pound
105 LMS 57. Fletcher remembered him as a fellow-Southerner, but Pound describes Cannell as a Philadelphian (EPL 57). In Poetry, he is described as having been born in Philadelphia, but educated at the University of Virginia (PMV 2/5, 1913 p. 190)
106 LMS 59
107 LMS 60
108 PMV 3/3, December 1913, p. 111–112
109 LMS 65
110 Christopher Butler, Early Modernism: Literature, Music, Painting in Europe, 1900–1916, Oxford: Oxford University Press, 1994, p. 117
111 Ibid., p. 116
112 LMS 68
113 Ibid.
114 UAF Box 3, file 38, p. 193
115 ‘Letters from Italy: XV – Sorrento’, NA, 22 May 1913 (misnumbered in the original as XVI), p. 87
116 END 5
117 ‘Letters from Italy: XVI – Capri’, NA, 29 May 1913, p. 117
118 SIU Box 9/5
119 LL 117
120 ‘Letters from Italy: XVIII – Theocritus on Capri’, 12 June 1913, p. 176
121 AN 5
122 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
123 ‘Theocritus in Capri’, in Literary Studies and Reviews, London: George Allen & Unwin, 1924, p. 242
124 EP/DS 207
125 EP/DS 208
126 EP/DS 199
127 EP/DS 204–205
128 EP/DS 211, 207
129 EP/DS 213
130 ASPH 125
131 EP/DS 217
132 AN 5
133 EP/DS 220
134 AN 3, 5
135 EP/DS 220
136 EP/DS 224, 226
137 END 5–6
138 ASPH 125
139 LL 108. Aldington inaccurately calls him ‘Slonimski’. He also implies they met him in 1912 but H.D. places it on this visit as 1913
140 EP/DS 230, 231
141 EP/DS 232–233
142 EP/DS 235
143 YP 60/2671
144 FORD 376
145 Suzanne Raitt, May Sinclair: A Modern Victorian, Oxford: Oxford University Press, 2000, p. 147
146 FORD 377
147 FORD 376
148 FY 243
149 SL 106–107
150 EP/DS 190
151 FORD 382
152 LMS 70
153 YP 60/2671
154 DHLL1 145
155 Harriet Monroe, A Poet’s Life: Seventy Years in a Changing World, London: Macmillan, 1938, p. 275
156 SFD 96
157 AMY 41
158 SFD 65
159 AMY 43
160 AMY 40, 41
161 Peter Russell, ed., Ezra Pound: A Collection of Essays to be Presented to Pound on his Sixty-fifth Birthday, London: Peter Nevill, 1950, p. 29
162 AMY 79
163 Edith Wharton, A Backward Glance [1934], London: Constable, 1972, p. 68
164 AMY 76
165 AMY 92
166 SFD 64–65
167 AMY 94
168 AMY 123
169 AMY 92
170 Amy Lowell, A Dome of Many-Coloured Glass, Boston: Houghton Mifflin, 1912
171 SFD 190
172 AMY 109
173 SFD 192
174 Lowell, A Dome, p. 6
175 ‘The silence is so great that my heart shivers/only the noise of my footsteps sounds on the pavement’ (my translation)
176 Monroe, A Poet’s Life, p. 254
177 ‘Memories of Amy Lowell’, PMV 26/4, July 1925, p. 209
178 AMY 117
179 NS 176
180 EPL 58, YP 60/2672
181 NFW 1/6, 1 September 1913, p. 114
182 EP/DS 245
183 LMS 91
184 JGF 58
185 LMS 99
1 PMV 2/4, July 1913, p. 136
2 BL ADD 57725, Ezra Pound to Patricia Hutchins, September 14, 1953
3 Jane Marcus, ed., The Young Rebecca: Writings of Rebecca West 1911–17, Bloomington: Indiana University Press, 1982, pp. 4–5
4 Les Garner, A Brave and Beautiful Spirit: Dora Marsden, 1882–1960, Aldershot: Avebury, 1990, p. 79
5 Ibid., p. 56
6 Ibid., p. 60
7 Marcus, Young Rebecca, p. 5
8 Garner, Brave and Beautiful Spirit, p. 77
9 Ibid., p. 103
10 Ibid., p. 115
11 ‘Views and Comments’, NFW 1/1, 15 June 1913, p. 5
12 The Freewoman, 5 September 1912, pp. 306–307
13 EP/DS 238
14 Garner, Brave and Beautiful Spirit, p. 115
15 ‘Imagisme’, NFW 1/5, 15 August 1913, p. 86
16 Garner, Brave and Beautiful Spirit, p. 115
17 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. 221
18 On likenesses between their thought, see Andrew Thacker, ‘Dora Marsden and The Egoist: “Our War is with Words”’, English Literature in Transition, 1880–1920, 36, 1993 for one of the first discussions of the similarities. Some critics have argued for a more consciously shared programme. See Bruce Clarke, Dora Marsden and Early Modernism: Gender, Individualism, Science, Ann Arbor: University of Michigan Press, 1996, and Rebecca Beasley, Ezra Pound and the Visual Culture of Modernism, Cambridge: Cambridge University Press, 2007.
19 Edward Carpenter, ‘The Status of Women in Early Greek Times’, NFW 1/5, 15 August 1913, p. 68
20 Sitalkis is, according to Eileen Gregory, a version of Apollo as protector of the corn (see Eileen Gregory, H.D. and Hellenism: Classic Lines, Cambridge: Cambridge University Press, 1997, pp. 237–238), though H.D. herself many years later told Norman Holmes Pearson she had thought Sitalkis an autumn sun god – not incompatible, of course: Apollo was the sun god, and by autumn the corn has been harvested
21 Pound reviewed Williams’ book in the New Freewoman that December
22 William Carlos Williams, The Tempers, London: Elkin Mathews, 1913, p. 31
23 P/W 23
24 Robert Ferguson, The Short Sharp Life of T.E. Hulme, London: Allen Lane, 2002, p. 147
25 LMS 80
26 LMS 76
27 LMS 78
28 LMS 65
29 LMS 79
30 LMS 79–81
31 JGFL 3
32 EPL 70
33 YP 60/2672
34 FY 245
35 FORD 472
36 EPL 59
37 EPL 60
38 PMV 3
39 EPL 59
40 EPL 52
41 ‘In Metre’, NFW 1/6, 1 September 1913, p. 113
42 DHLL2 26
43 DHLL2 53
44 Lawrance Thompson, Robert Frost: The Early Years, 1874–1915, New York: Holt, Rinehart, 1966, p. 407
45 Ibid., p. 408
46 Ibid., p. 410
47 EPL 49–50, 51–52
48 Thompson, Robert Frost: The Early Years, p. 423
49 PMV 2/2, May 1913, pp. 72–4
50 Thompson, Robert Frost: The Early Years, p. 422
51 Lawrance Thompson, Robert Frost: The Later Years, 1938–1963, New York: Holt, Rinehart, 1976, p. 49
52 UTA
53 LMS 46, JGF 46, LMS 58
54 JGF 61
55 JGF 267
56 JGFL 131
57 ‘Approach to Paris II’, NA, 11 September 1913
58 ‘Approach to Paris VII’, NA, 16 October 1913
59 Peter Russell, ed., Ezra Pound: A Collection of Essays to be Presented to Pound on his Sixty-fifth Birthday, London: Peter Nevill, 1950, p. 31
60 EP/DS 256
61 Zhaoming Qian, Orientalism and Modernism: The Legacy of China in Pound and Williams, Durham, NC: Duke University Press, 1995, p. 57
62 ‘Rabindranath Tagore: His Second Book into English’, NFW 1/10, 1 November 1913, pp. 187–188
63 Harold Hurwitz, ‘Ezra Pound and Rabindranath Tagore’, American Literature, 38, 1964, p. 58
64 YP 60/2672
65 Michael Sheldon, ‘Allen Upward: Some Biographical Notes’, Agenda, 16/3–4, Autumn/Winter 1978–79, p. 114
66 Kenneth Cox, ‘Allen Upward’, Agenda, 16/3–4, Autumn/Winter, 1978–79, p. 92
67 ‘The Divine Mystery’, NFW 1/11, 15 November 1913, pp. 207–208
68 EPL 59
69 EPL 258
70 EP/DS 264, 267
71 Qian, Orientalism and Modernism, p. 27
72 PER 111
73 Qian points out that Pound saw further likenesses between the Greeks and the Chinese. Qian, Orientalism and Modernism, p. 45
74 EP/DS 264 (Pound misspells both names)
75 Elleke Boehmer, ‘East is East and South is South’, Women: A Cultural Review, 11/1–2, p. 62
76 Pound mentioned this work when he told his parents about meeting Mary Fenollosa. Whether he actually read it or not he does not say, but there is in the first volume a very striking photograph entitled ‘A heap of broken statues found by Ernest Fenollosa’; possibly the origin of his famous phrase in Hugh Selwyn Mauberley, ‘two gross of broken statues’
77 Donald Hall, ‘Ezra Pound’, Writers at Work: The Paris Review Interviews, ed. George Plimpton [1963], Harmondsworth: Penguin, 1977, p. 49
78 PER 111
79 P.D. James, ‘Preface’, The Letters of Dorothy L. Sayers: 1899–1936: The Making of a Detective Novelist, ed. Barbara Reynolds, London: Hodder & Stoughton, 1995, p. xv
80 John Cournos, The Mask, London: Methuen, 1919, p. 111
81 Alfred Satterthwaite, ‘John Cournos and “H.D.”’ Twentieth-Century Literature, 22, 1976, pp. 397, 396
82 Satterthwaite, ‘John Cournos and “H.D”’, pp. 397, 398
83 GB 45, 46
84 Jacob Epstein, An Autobiography, London: Hulton Press, 1955, p. 44
85 John Cournos, Autobiography, New York: G.P. Putnam’s Sons, 1935, p. 257
86 EPL 65
87 Cournos, Autobiography, p. 260
88 EPL 65
89 GB 38
90 Timothy Materer, Vortex: Pound, Eliot and Lewis, Ithaca: Cornell University Press, 1979, p. 68
91 Ibid., p. 67
92 LL 151
93 YP 60/2672
94 Ibid.
95 SC 26
96 WBY 521
97 ‘This Hulme Business’, Townsman, 2/5, January 1939, reproduced in EPP&P7 418. Pound’s parallel association with them both, playing tennis with Ford in the day and attending Yeats’ evenings, prefigures in a strange way his two-stranded domestic arrangements in Rapallo in the late 1930s, when he spent the days with Dorothy and the evenings with Olga Rudge
98 EPL 58
99 EPL 57
100 EPL 50
101 EPL 62
102 EP/DS 250
103 SC 37
104 WBY 506–507
105 EPL 64
106 GB 46
107 PMV 3/4, January 1914
108 Marcus, Young Rebecca, p. 162
109 Garner, Brave and Beautiful Spirit, p. 109
110 BL ADD 57725 Ezra Pound to Patricia Hutchins, 19 September 1933
111 Garner, Brave and Beautiful Spirit, p. 116
112 Ibid., p. 117
113 ‘Views and Comment’, NFW 1/7, 15 December, 1913, p. 244
114 Garner, Brave and Beautiful Spirit, pp. 117–118
115 NS 182–183
116 WBY 476
117 ‘The Later Yeats’, PMV 4/2, May 1914, p. 65
118 ‘The Tradition’ PMV 3/4, January 1914, p. 137. The ideas about tradition he puts forward are probably taken from Rémy de Gourmont’s Le Problème du style. Aldington would publish a translation of the relevant sections the following year in the Egoist. Pound must have read the book since his September article on de Gourmont when he says nothing about the book. See Part Six, note 152
119 EPT 222, 236
120 The translation was first published in Poetry in May 1914
121 Quoted in Hugh Witemeyer, The Poetry of Ezra Pound: Forms and Renewals, 1908–1920, Berkeley: University of California Press, 1969, p. 148
122 EP/DS 277–278. Published in the Cerebralist, of which there was only one issue. ‘Ikon’ is described in the NFW advertisement as a brief note
123 WBY 494
124 WBYCP 108
125 ‘Affirmations II: Vorticism’, NA, 14 January 1915
126 WBY 501
127 ‘The Bourgeois’, EG 1, 2 February 1914, p. 53
128 ‘John Synge and the Habit of Criticism’, EG 1, 2 February 1914, p. 54
129 Wilfrid Scawen Blunt, The Secret History of the English Occupation of Egypt, London: Fisher Unwin, 1907, p. 5.
130 Wilfrid Scawen Blunt, The Shame of the Nineteenth Century. A Letter addressed to the ‘Times’, December 24, 1900, London: no publisher, 1901, p. 3
131 Elizabeth Longford, A Pilgrimage of Passion: The Life of Wilfrid Scawen Blunt, London: Weidenfeld & Nicolson, 1979, p. 343
132 EP/DS 297
133 ‘Homage to Wilfrid Blunt’, PMV 3/6, March 1914, p. 222
134 Longford, A Pilgrimage of Passion p. 394
135 Ibid.
136 Flint would also write a report on the visit for Poetry & Drama
137 ‘Presentation to Mr W.S. Blunt’, EG 1, 2 February 1914, pp. 56–57
138 Longford, A Pilgrimage of Passion, p. 394
139 EPL 73
140 ‘Homage to Wilfrid Blunt’, p. 221
141 EPC 522 C81
142 ‘Homage to Wilfrid Blunt’, p. 222
143 P/J 18
144 Ibid.
145 ‘Affirmations VII: The Non-existence of Ireland’, NA, 25 February 1915
146 P/F 44
147 SP 425
1 YP 60/2673
2 Paul O’Keeffe, Some Sort of Genius: A Life of Wyndham Lewis, London: Jonathan Cape, 2000, pp. 106, 109, 115
3 Paul Edwards suggests Lewis was probably also attracted by Timon’s profligate generosity in the first part of the play. Paul Edwards, Wyndham Lewis, Painter and Writer, New Haven: Yale University Press, 2000, pp. 86, 98. Most accounts of this incident defend Fry, but Edwards thinks Lewis was in the right
4 HULME 264, 266, 267. Hulme says he will not discuss Picasso, André Derain and others who were also exhibited there, as they are not part of the group. He also singles out Gaudier-Brzeska and William Roberts, also there, as doing good work
5 ‘The New Sculpture’, EG 1, 16 February 1914
6 HULME 257. Worringer’s book, whose title in English is Abstraction and Empathy: A Contribution to the Psychology of Style, was published in 1908 and was already in its third edition
7 HULME 273–275
8 HULME 273
9 T.E. Hulme, Speculations, ed. Herbert Read [1924], London: Routledge & Kegan Paul, 1960, p. 73. This is in fact a translation from Worringer
10 Wilhelm Worringer, Abstraction and Empathy: A Contribution to the Psychology of Style [1908], trans. Michael Bullock, London: Routledge & Kegan Paul, 1953, p. 18
11 HULME 277–280
12 ‘The New Sculpture’, p. 67
13 ‘Presentation to Mr W.S. Blunt’, EG 1, 2 February 1914, p. 57; ‘The New Sculpture’, p. 68
14 ‘The New Sculpture’, pp. 67–68
15 Poetry & Drama 2/1, March 1914, p. 21
16 YP 60/2673
17 LL 137
18 ‘Mr Hueffer and the Prose Tradition in Verse’, PMV 4/3, June 1914, p. 114
19 FORD 398, JGFL 19
20 Richard M. Ludwig, ed., The Letters of Ford Madox Ford, Princeton: Princeton University Press, 1965, p. 88; FORD 397
21 EP/DS 293
22 EG 1, 15 January 1914, p. 36
23 ‘Anti-Hellenism: A Note on Some Modern Art’, EG 1, 15 January 1914, p. 35
24 ‘Poetry’s Banquet’, PMV 4/1, April 1914, p. 27
25 SC 70
26 EG 1, 16 March 1914 p. 105
27 EP/DS 304
28 EP/DS 306
29 EP/DS 310
30 John Harwood, Olivia Shakespear and W.B. Yeats: After Long Silence, Basingstoke: Macmillan, 1989, p. 151
31 EP/DS 332
32 EP/DS 99
33 Interestingly, however, Richard Cork points out that, when she exhibited, it was as Dorothy Shakespear. Richard Cork, Vorticism and its Allies, London: Arts Council of Great Britain, 1974, p. 33
34 Hugh Kenner, ‘D.F.P. Remembered’, Paideuma, 2/3, 1973, pp. 485–493
35 Iris Barry, ‘The Ezra Pound Period’, The Bookman (New York), 74/2, October 1931, p. 165
36 Harwood, Olivia Shakespear, p. 146
37 PER 176
38 HC 239
39 HC 241
40 EP/DS 337
41 EP/DS 333
42 YP 60/2673
43 Ibid.
44 EP/DS 307
45 EP/DS 309
46 EP/DS 308
47 PM 56
48 END 5
49 EP/DS 337
50 YP 1/22: only dated Sunday
51 LL 123, EP/DS 325
52 ‘Modern Poetry and the Imagists’, EG 1, 1 June 1914, p. 202
53 LL 124
54 ‘Modern Poetry and the Imagists’, pp. 202–203
55 Margaret Anderson, My Thirty Years’ War: An Autobiography, New York: Covici, Friede, 1930, p. 36
56 ‘Exhibition at the Goupil Gallery’, EG 1, 16 March 1914, p. 109
57 ‘Wyndham Lewis’, EG 1, 15 June 1914, p. 233
58 HULME 296
59 ‘M. Marinetti’s Lectures’, NFW 1/12, 1 December 1913, p. 226
60 YP 1/22. This is the same letter as that about the reviews of Des Imagistes
61 LL 98
62 Christopher Nevinson, quoted in Cork, Vorticism and its Allies, p. 8
63 BB 36
64 Richard Cork, Vorticism and Abstract Art in the First Machine Age: Vol. 1, Origins and Development, London: Gordon Fraser Gallery, 1976, p. 235
65 Richard Cork, the chief historian of the movement, points out that nearly all the references to Vorticism are at the front or the end of the magazine
66 Cork, Vorticism and its Allies, p. 5
67 P/W 23
68 EP/DS 251
69 See Timothy Materer, Vortex: Pound, Eliot and Lewis, Ithaca: Cornell University Press, 1979, pp. 15–16, 134
70 SR2 92–3
71 Cork, Vorticism and its Allies, p. 5. Paul Edwards does however see a Gnostic element in Lewis’ play, The Enemy of the Stars, so perhaps he would have had some sympathy with Pound’s approach. See Edwards, Wyndham Lewis, pp. 143–144
72 30.5 by 24cm, in metric
73 SL 67; O’Keeffe, Some Sort of Genius, p. 157
74 Cork, Vorticism and its Allies, p. 20
75 See William C. Wees, Vorticism and the English Avant-Garde, Manchester: Manchester University Press, 1972
76 Paul O’Keeffe intriguingly suggests the latter was really cover for ‘Chocolate Box Fry’, i.e. the despised Roger Fry
77 Wees, Vorticism, p. 40
78 GB 53
79 RA 135
80 See his chapter ‘The Modernism of The Enemy of the Stars’, in his book Wyndham Lewis (this quotation p. 142)
81 Blast, pp. 64, 67
82 Blast, p. 154
83 ‘Blast’, EG 1, 14 July 1914, p. 272
84 EG 1, 1 July 1914, p. 248
85 DRE 317
86 DRE 206
87 ‘Suffragettes’, EG 1, 1 July 1914, p. 255. This article has been interpreted as showing Pound in sympathy with the anarchist left (though his reference to ‘the undergraduate’ in itself seems to tell against that), but I would argue that Pound’s anti-democratic stance was consistently elitist. See David Kadlec, Mosaic Modernism: Anarchism, Pragmatism, Culture, Baltimore: Johns Hopkins University Press, 2000, p. 2
88 Blast, p. 151
89 YP 60/2674
90 ‘Suffragettes’, p. 256
91 Blast, pp. 30, 32, 15, 36, 41
92 O’Keeffe, Some Sort of Genius, p. 157
93 EPL 72
94 Les Garner, A Brave and Beautiful Spirit: Dora Marsden, 1882–1960, Aldershot: Avebury, 1990, p. 132
95 EPL 73
96 SFD 237
97 P/ACH 138. (‘Charmer’ is actually Henderson’s word, but Pound agrees she has ‘charm’)
98 See Peter Brooker, Bohemia in London: The Social Scene of Early Modernism, Basingstoke: Palgrave Macmillan, 2004
99 LMS 84
100 SFD 231
101 ‘Blast’, pp. 272–273
102 Hugh Kenner, The Pound Era [1971], London: Pimlico, 1991, p. 243
103 Blast, p. 45. Pound very slightly revised this later: see PER 75–76
104 David Trotter, Paranoid Modernism: Literary Experiment, Psychosis, and the Professionalization of English Society, Oxford: Oxford University Press, 2001, p. 54
105 SFD 232
106 ‘Henri Gaudier’, ER 29, 1919, pp. 297–304
107 In fact first used by Witter Bynner. See Melissa Bradshaw, ‘Remembering Amy Lowell’, ALAM, p. 171
108 AMY 127
109 GB 22–23
110 LMS 151
111 John Cournos, Autobiography, New York: G.P. Putnam’s Sons, 1935, p. 271
112 LMS 151
113 ‘Miscast I’, EG 1, 1 August 1914, p. 288. Lowell’s unhappiness after these dinners and her changed attitude, towards Allen Upward for example, emerges in a letter dated 20 July 1914 to Harriet Monroe, quoted in Ellen Williams, Harriet Monroe and the Poetic Renaissance: The First Ten Years of Poetry, 1912–1922, Urbana: University of Illinois Press, 1977. Williams has a very hostile account of Lowell, as often at that period
114 LMS 145
115 ‘Vorticism’, Fortnightly Review, 96, September 1914, pp. 461–471
116 SFD 240
117 LL 124
118 ‘Some Recent French Poets’, EG 1, 15 June, 1914, p. 221
119 SFD 236
120 Jayne E. Marek, ‘Amy Lowell and the Context of the New Poetry’, ALAM, p. 157
121 SFD 238
122 Ibid.
123 LL 127
124 SFD 223
125 ‘Affirmations, VII. The Non-existence of Ireland,’ NA, 25 February 1915
126 DHLL2 191
127 DHLL2 196
128 Aldington says Fletcher was there, but Lawrence was not to meet Fletcher until 1917
129 LL 127–128
130 LL 128
131 DHLL2 203
132 BID 140. Frieda (Elsa) does not in fact seem to have been at that first dinner; nor had the war actually begun
133 SFD 242; Little Review 1, 6–9 October 1914
134 EPL 77–78
135 NS 280
1 Douglas Goldring, Odd Man Out: The Autobiography of a ‘Propaganda Novelist’, London: Chapman & Hall, 1935, p. 127
2 Ibid., p. 134
3 Siegfried Sassoon, ‘Songbooks of the War’, Georgian Poetry 1918–1919, London: Poetry Bookshop, 1919, p. 135. Hilaire Belloc, The Modern Traveller, London: Edward Arnold, 1898
4 Dora Marsden, ‘Views and Comment’, and Richard Aldington, ‘In the Arena’, EG 1, 1 August 1914, pp. 284 & 287
5 John Cournos, Autobiography, New York: G.P. Putnam’s Sons, 1935, p. 276
6 PIT 45
7 Robert Ferguson, The Short Sharp Life of T.E. Hulme, London: Allen Lane, 2002, p. 183
8 LL 148
9 Damon says there were no liner tickets available, but it surely is inconceivable that a Lowell could not have got one if she desired
10 AMY 136; LL 129
11 ‘Six French Poets’, EG 3, 1 January 1916, pp. 9–10
12 HLFL (29 December, 1915)
13 EPL 78–79
14 DHLL2 206. The collected correspondence of Lawrence and Lowell has been published in The Letters of D. H. Lawrence and Amy Lowell 1914–1925, Santa Barbara: Black Sparrow Press, 1985
15 David Garnett, The Flowers of the Forest, London: Chatto & Windus, 1955, p. 4
16 SFD 246
17 Glenn Hughes, Imagism & the Imagists: A Study in Modern Poetry, California: Stanford University Press, 1931, p. 169
18 DHLL2 210
19 DHLL2 211
20 HFL (24 September, 1914)
21 Ibid.
22 HRAL (21 September 1914)
23 EPL 80
24 AMY 8
25 FORD 471
26 P/F 28
27 HRAL (7 December 1914)
28 ‘Two Poets’, EG 1, 16 November 1914, p. 422
29 HHDL (23 November, 1914). Barbara Guest, Herself Defined: The Poet H.D. and her World, London: Collins, 1985, p. 72
30 ASPH 113
31 London-based artists (the future Vorticists Wyndham Lewis and Frederick Etchells, and the Bloomsbury artists, Vanessa Bell, Duncan Grant and Roger Fry) were included in the 1912 exhibition
32 BB 39
33 Amy Lowell, Sword Blades and Poppy Seed, London: Macmillan, 1914, p. ix
34 ‘Two Poets’, EG 1, 16 November 1914, p. 423
35 SFD 262
36 HRAL (21 October 1914)
37 DHLL2 223
38 DHLL2 234
39 AMY 144. Amy Lowell, Sword Blades and Poppy Seed, London: Macmillan, 1914 (earlier published as ‘Poems’, EG 1, 1 August 1914, p. 288)
40 DHLL2 235
41 The advertisement does not appear in the bound copies of Poetry that I have seen, but an example can be found in the Little Review, 1/7, October 1914, p. 59, and it also can be seen on the online version of Poetry provided by the Modernist Journals Project on the Brown University website: http://dl.lib.brown.edu:8081exist/mjp/show_issue.xq?id=1201882375609375/ (PMV 5/1, no page number but would be 55)
42 HRAL (8 October 1914)
43 EPL 84
44 EPL 84–85
45 Little Review, 1/7, October 1914, p. 59
46 SP 354
47 HRAL (6 November 1914)
48 P/ACH 89, 91
49 HLP (3 November 1914)
50 Ibid.
51 HHDL (23 November 1914)
52 HDCP 36
53 HRAL (12 November 1914)
54 HRAL (21 December 1914)
55 ‘London (May, 1915)’, in Images, London: Poetry Bookshop, 1915, p. 30
56 EPL 88
57 Ibid.
58 ‘Preliminary Announcement of the College of Arts’, EG 1, 2 November 1914, p. 413
59 George Dangerfield, The Strange Death of Liberal England [1935], London: McGibbon & Kee, 1966. BB 40
60 HLRA (25 November 1914)
61 HRAL (7 December 1914)
62 HLRA (6 November 1914), SFD 275–276
63 ‘Those American Publications’, EG 1, 15, October 1914, p. 390
64 HLRA (11 November 1914), SFD 276
65 HLRA (24 December 1914), SFD 283
66 HRAL (1 February 1915)
67 SFD 287
68 HRAL (14 December 1914)
69 ‘Affirmations IV: As for Imagisme’, NA, 28 January 1915 ‘Affirmations II: Vorticism’, NA, 14 January 1915
70 ‘Imagisme and England: A Vindication and an Anthology’, T.P.’s Weekly 25, 20 February 1915, p. 641, reproduced in EPP&P2 19
71 HHDL (17 December 1914)
72 HLRA (19 January 1915)
73 HFLL (24 January 1915)
74 JGFL 24
75 Blast, p. 147
76 Blast, p. 153. ‘Vorticism’, Fortnightly Review, 96 (NS), 1 September 1914, p. 471
77 Blast, 2, p. 82
78 SL 65
79 Blast, p. 33
80 Ibid., pp. 134, 136
81 Blast, 2, p. 9
82 ‘Affirmations, V: Gaudier-Brzeska’, NA, 4 February 1915
83 Timothy Materer, Vortex: Pound, Eliot and Lewis, Ithaca: Cornell University Press, 1979, p. 31
84 ‘Affirmations I: Arnold Dolmetsch’, NA, 7 January 1915
85 BB 258
86 Jacob Epstein, An Autobiography, London: Hulton, 1955, p. 46
87 HRAL (3 September 1915)
88 EPL 89
89 HRAL (3 October 1914)
90 Blast, p. 34; Ford, quoted in William C. Wees, Vorticism and the English Avant-Garde, Manchester: Manchester University Press, 1972, p. 195
91 Paul Overy, ‘Vorticism’, in Concepts of Modern Art, ed. Nikos Stangos, London: Thames & Hudson, rev. edn, 1981, p. 109
92 Richard Cork, Vorticism and its Allies, London: Arts Council of Great Britain, 1974, p. 24
93 Epstein, Autobiography, p. 57
94 Cork, Vorticism and its Allies, p. 74
95 Ibid., p. 24
96 EPL 86
97 The New Age had been moving in this direction for a while; significantly their previous art critic, Huntly Carter, who had welcomed Fry’s First Post-Impressionist Exhibition, had moved to the New Freewoman and was replaced by the much more reactionary Anthony Ludovici, witheringly denounced in his turn by Hulme: see Rebecca Beasley, Ezra Pound and the Visual Culture of Modernism, Cambridge: Cambridge University Press, 2007
98 AMY 152
99 HLRA (25 November 1914)
100 HLRA (24 December 1914)
101 See Andrew Thacker, ‘Unrelated Beauty: Lowell, Polyphonic Prose and the Imagist City’, in ALAM.
102 JGFL 14
103 JGFL 15.
104 JGFL 17 (16 December 1914)
105 JGFL 19
106 EPL 95
107 JGFP 89
108 JGFL 17
109 Margaret Anderson, My Thirty Years’ War: An Autobiography, New York: Covici, Friede, 1930, pp. 60–61
110 HRAL (1 February 1915)
111 YHD 1012; ‘Compassionate Friendship’, p. 12
112 EG 2, May 1915, p. 74
113 WBY2 6
114 SC 146
115 PER 126–127
116 Ezra Pound, ‘The Renaissance: 1. The Palette’, PMV 5/5, p. 228. Rémy de Gourmont, ‘Tradition and Other Things’, trans. Richard Aldington, EG 1, 15 July 1914, p. 261
117 EPL 94
118 Jane Marcus, ‘Amy Lowell: Body and Sou-ell’, in ALAM, p. 192
119 EPL 92
120 ‘Affirmations III: Jacob Epstein’, NA, 21 January 1915
121 EPL 99
122 ‘Affirmations VI: Analysis of this Decade’, NA, 11 February 1915
123 ‘Six French Poets’, Little Review, January/February 1916, pp. 16–17
124 Lawrance Thompson, Robert Frost: The Years of Triumph, 1915–1938, New York: Holt, Rinehart & Winston, 1970, p. 18
125 Lawrance Thompson, Robert Frost: The Early Years, 1874–1915, New York: Holt, Rinehart & Winston, 1966, p. 474
126 JGF 84
127 SFD 292
128 Some Imagist Poets, Boston: Houghton Mifflin, 1915, p. 81
129 ‘Poems’, EG 2, 1 May 1915, p. 78
130 SFD 312
131 Zhaoming Qian, Orientalism and Modernism: The Legacy of China in Pound and Williams, Durham, NC: Duke University Press, 1995, p. 114
132 Hugh Kenner, The Pound Era [1971], London: Pimlico, 1991, p. 202. Ronald Bush, ‘Pound and Li Po: What Becomes a Man’, in G. Bornstein, ed., Ezra Pound among the Poets, Chicago: University of Chicago Press, 1985 pp. 42–43. ‘Webster Ford’, EG 2, 1 January 1915, p. 11; GB 63
133 PER 136–137
134 CH 109
135 PER 137
136 PER 139
137 SC 21
138 CZ2 46
139 P/L xiv
140 Robert H. Ross, The Georgian Revolt: Rise and Fall of a Poetic Ideal, 1910–22, London: Faber & Faber, 1965, p. 162
141 ‘The Soldier’, PMV 6/1, April 1915, p. 19
142 The final piece was to be on Masters (it was the advocacy of his free verse to which Orage objected), and was in fact published in May in St Louis, by the paper that had originally printed the poems, so Pound’s effort was not wasted
1 HRAL (4 April 1915)
2 Ibid.
3 ‘Poems’, EG 2, 1 May 1915, p. 77. She would first be published in Poetry that same month
4 H.D., ‘Letters to Marianne Moore’, in The Gender of Modernism, ed. Bonnie Kime Scott, Bloomington: Indiana University Press, 1990, p. 137
5 Dominic Hibberd, Harold Monro: Poet of the New Age, London: Palgrave, 2001, p. 148
6 ‘The Imagists Discussed’, EG 2, 1 May 1915, pp. 77–80
7 ‘The Poetry of H.D.’, EG 2, 1 May 1915, p. 72
8 SFD 307–308
9 Ibid.
10 ‘Poems’, EG 2, 1 May 1915, p. 75
11 SFD 307–308
12 SFD 348
13 AMY 243
14 Some Imagist Poets: An Anthology, Boston: Houghton Mifflin, 1915, p. 78
15 Ibid., p. vii. Michael Levenson, A Genealogy of Modernism: A Study of English Literary Doctrine, 1908–1922, Cambridge: Cambridge University Press, 1984
16 JGF 80
17 DHLL2 390
18 Trudi Tate, Modernism, History and the First World War, Manchester: Manchester University Press, 1998, p. 43
19 H.D., Kora and Ka, with Mira-Mare [1934], New York: New Directions, 1996, p. 36. Robert Spoo in the introduction notes that a correction by H.D. of the original published text changed ‘fed out belching mothers’ to ‘fed our’ (p. xv)
20 HRAL (21 May 1915)
21 TRIB 40
22 Susan Stanford Friedman, Psyche Reborn: The Emergence of H.D., Bloomington: Indiana University Press, 1981, pp. 29, 301
23 ASPH 108
24 ASPH 107–109
25 HRAL (26 May 1915)
26 AN 5
27 Tate, Modernism, History and the First World War, pp. 10–40
28 ASPH 113
29 BID 24–25
30 James Whitall, English Years, London: Jonathan Cape, 1936, p. 55
31 Richard Aldington, ‘The Poetry of Amy Lowell’, EG 2, 1 July 1915, p. 110
32 ‘Chinese Poems’, EG 2, 2 August 1915, p. 122
33 Whitall, English Years, pp. 55–57
34 ‘Young America’, EG 2, 1 November 1915, p. 177
35 Suzanne W. Churchill, ‘Making Space for Others’, Journal of Modern Literature, 22/1, 1998, p. 63
36 Ibid., p. 48
37 Ibid., p. 54
38 ‘Two Notes’, EG, 1 June 1915, p. 88
39 YP 60/2676
40 YP 60/2672
41 P/J 42
42 There had been a Vorticist section in the earlier London Group exhibition that March, in which Epstein’s Rock Drill was included, and there would be a Vorticist exhibition in New York in 1917, but London would have to wait until the 1974 Vorticism and its Allies exhibition to see their work brought together again, and by then much of it was lost
43 Richard Cork, Vorticism and its Allies, London: Arts Council of Great Britain, 1974, p. 25
44 ‘Affirmations II. Vorticism’, NA, 14 January 1915
45 YP 60/2676
46 HC 280
47 HRAL (9 September 1915). ‘Cuistre’ can mean ‘prig’ or ‘pedant’, or alternatively ‘lout’ or boor’; perhaps Aldington was intending to convey both meanings
48 P/ACH 118
49 YP 60/2676
50 EPL 108
51 NS 228
52 ‘The Net American Loss’ [written 1915], in ‘“Ezra Pound On America and World War I”, presented by Timothy Materer’, Paideuma, 18/1&2, 1989, pp. 208–209
53 Robert Ferguson, The Short Sharp Life of T.E. Hulme, London: Allen Lane, 2002, p. 211
54 ‘Diary from the Trenches’ (1914–15), in HULME 313, 319, 326
55 Ferguson, Short, Sharp Life, p. 214
56 Jacob Epstein, An Autobiography, London: Hulton, 1955, pp. 59–60
57 Blast, 2, pp. 85–86
58 Blast, 2, p. 5
59 Blast, 2, p. 24
60 Blast, 2, p. 9
61 Blast, 2, pp. 33–34
62 ‘Et Faim Saillir le Loup des Boys’, Blast, 2, p. 22
63 BB 281
64 WBY2 5
65 LL 95
66 EP/DS 260. Orage had in fact been very critical of his 1913 ‘Approach to Paris’ articles. It seems unlikely that this was because they promoted the French, as has been suggested – the New Age had done so for many years – more perhaps the manner in which they promoted the French by insulting the English, and also because of their support for vers libre, of which Orage disapproved, the reason why the Masters piece was cut. Orage’s dislike of the ‘Approach to Paris’ articles may have been why Pound did not publish at all in the New Age in 1914, but he might just have been too busy launching Vorticism
67 P/ACH 129
68 Reed Way Dasenbrock, The Literary Vorticism of Ezra Pound and Wyndham Lewis: Towards the Condition of Painting, Baltimore: Johns Hopkins University Press, 1985, and Ronald Bush, The Genesis of Ezra Pound’s Cantos, Princeton: Princeton University Press, 1976. Ronald Bush argues both for the influence of Vorticist form and for Pound’s mythopoetic vision
69 HRAL. Both the letters of Pound I quote from here are held with Flint’s papers at the University of Texas at Austin
70 F. S. Flint, ‘A History of Imagism’, EG,2, 1 May 1915, pp. 70–71
71 Christopher Middleton, ‘Documents on Imagism from the Papers of F.S. Flint’, The Review, 15 April 1965, p. 41. Middleton’s article paraphrases Pound’s letters. In this chapter I quote direct from the letters at UTA
72 Ibid., p. 42
73 Ibid.
74 Ibid., p. 39
75 Ibid., p. 40
76 Ibid., p. 43
77 Ibid., p. 44
78 The first of Pound’s letters is dated 2 July, the second 7 July
79 Middleton, ‘Documents’, p. 43
80 Levenson, A Genealogy of Modernism, p. 137
81 PER 58
82 Middleton, ‘Documents’, p. 39
83 ‘Affirmations IV: As for Imagisme’, NA, 28 January 1915
84 Middleton, ‘Documents’, p. 43
85 UTA
86 Glenn Hughes, Imagism & the Imagists: A Study in Modern Poetry, California: Stanford University Press, 1931, p. 166. Middleton, ‘Documents’, p. 41
87 FORD 473
88 RTY 418
89 FORD 484
90 Cyrena N. Pondrom, ed., ‘Selected Letters from H.D. to F.S. Flint: A Commentary on the Imagist Period’, Contemporary Literature, 10/4, 1969, p. 563
91 UTA
92 P/ACH 118–119
93 NS 230
94 JGFL 30
95 P/ACH 142
96 ‘The Discarded Imagist’, EG 2, 1 June 1915, p. 98
97 Timothy Materer, Vortex: Pound, Eliot and Lewis, Ithaca: Cornell University Press, 1979, p. 26. Whether Gaudier did write to Pound so near his death is uncertain; Pound was anxious to claim this, but the letter was in fact dated a month earlier; according to Pound, this was in error
98 Materer, Vortex, p. 26. For Gaudier’s links with Murry and Fry, see also Paul O’Keeffe, Gaudier-Brzeska: An Absolute Case of Genius, London: Allen Lane, 2004
99 ‘Gaudier-Brzeska’s Art’, EG 2, September 1915, pp. 137–138
100 Levenson, Genealogy of Modernism, pp. 141–142
101 RA 138
102 As Timothy Materer, who writes perceptively about the relationship between Pound and Gaudier, observes, in this way Gaudier is very different from Hulme and Lewis who, like Worringer, saw fear as the constitutive emotion behind such art; see his chapter ‘Gaudier-Brzeska Vortex’ in Materer, Vortex.
103 GB 75
104 P/ACH 120
105 EPL 109–110
106 NS 239
107 Catholic Anthology 1914–1915, London: Elkin Mathews, 1915, p. 60
108 P/ACH 120
109 GB 151
110 Peter Ackroyd, T.S. Eliot [1984], London: Cardinal, 1988, p. 24. For his comment on Eliot and Bloomsbury, see p. 74
111 Ronald Bush, The Genesis of Ezra Pound’s Cantos, Princeton: Princeton University Press, 1976, p. 5
112 T.S. Eliot, Collected Poems, 1909–1935, London: Faber & Faber, 1936, p. 26
113 JGFP 127
114 DHLL2 331
115 DHLL2 323
116 DHLL2 283
117 DHLL2 285
118 DHLL2 365
119 DHLL2 392
120 DHLL2 442, 470
121 Miranda Seymour, Lady Ottoline Morell: Life on a Grand Scale [1992], London: Sceptre, 1998, p. 299
122 SR2 92
123 D.H. Lawrence, Kangaroo [1923], Harmondsworth: Penguin, 1950, p. 240
124 Harry T. Moore, The Priest of Love: A Life of D.H. Lawrence [1974], Harmondsworth: Penguin, 1976, p. 311
125 Lawrence, Kangaroo, p. 240
126 DHLL2 386, 405
127 Lawrence published a revised version of ‘The Crown’ essays in Reflections on the Death of a Porcupine in 1925
128 HRAL (29 October 1915)
129 Moore, The Priest of Love, p. 306; Paul Delany, D.H. Lawrence’s Nightmare: The Writer and his Circle in the Years of the Great War, Hassocks: Harvester Press, 1979, p. 156
130 DHLL2 349
131 Keith Sagar, The Life of D.H. Lawrence, London: Eyre Methuen, 1980, p. 90
132 John Worthen, D.H. Lawrence: The Life of an Outsider, London: Allen Lane, 2005, p. 164
133 Suzanne Raitt, May Sinclair: A Modern Victorian, Oxford: Oxford University Press, 2000, p. 141
134 HHDL (4 October 1915, though mistakenly ascribed by Houghton to 1916); Sagar, Life of D.H. Lawrence, illustrated opposite p. 128
135 HRAL (29 November 1915, in H.D.’s handwriting and filed with her letters)
136 HRAL (29 November 1915)
137 HLRA (23 November 1915)
138 HLRA (30 December 1915)
139 ‘In Trouble and Shame’, in Some Imagist Poets, 1916: An Annual Anthology, Boston: Houghton Mifflin, 1916, p. 73
140 Sagar, Life of D.H. Lawrence, p. 75
141 HHDL (7 November 1915)
142 DHLL2 386, 486
143 BID 65
144 Worthen, D.H. Lawrence, p. 163
145 HHDL (7 November 1914)
146 ‘In the Tube’, EG 2, 1 May 1915, p. 74
147 Richard Aldington, D.H. Lawrence, London: Chatto & Windus, 1930, p. 17
148 SIU Unpublished lecture on ‘H.D. and Lawrence’ given in the USA in 1939, Box 19/6
149 BID 66; Some Imagist Poets, 1916, pp. 25–26 (HDCP 36–37)
150 DHLL2 364–365
151 Delany, D.H. Lawrence’s Nightmare, p. 119
152 DHLL2 493
153 ASPH 10
154 LL 127
155 DHLL2 502–503. Dollie Radford, a poet and wife of the former Rhymer, Ernest Radford, was then in her fifties; she and her husband were always supportive of Lawrence
156 DHLL2 541
157 BID 66
158 BID 162–163
159 ‘Choruses from Iphigenia in Aulis’, EG 2, 171, 1 November 1915, and HDCP 73–74
160 ‘Euripides’, pp. 2, 3 (one of some largely unpublished essays on Greek writers), YHD 43/1116
161 Amy Lowell, Six French Poets: Studies in Contemporary Literature, New York: Macmillan, 1915, pp. 120–121
162 Amy Lowell, Men, Women and Ghosts, New York: Macmillan, 1916, pp. 3–9. Some Imagist Poets, 1916, pp. 77–81
1 ‘Sunsets’, in Some Imagist Poets, 1916: An Annual Anthology, Boston: Houghton Mifflin, 1916, p. 10
2 HULME 350, 397
3 HULME 375, 376, 377, 380
4 HULME 392, 411, 332, 414
5 HHDL (February 1916)
6 HLHD (6 February 1916)
7 HLHD (12 January 1916)
8 HHDL (24 January 1916)
9 Cyrena N. Pondrom, ed., ‘Selected Letters from H.D. to F.S. Flint: a Commentary on the Imagist Period’, Contemporary Literature 10/4, 1969, p. 566
10 HLHD (12 January 1916)
11 HLRA (15 December 1915)
12 SFD 339, 341
13 A. J. P. Taylor, English History, 1914–1945, Oxford: Clarendon Press, 1965, p. 1
14 SC 197
15 WBY2 39
16 EPL 110
17 WBY2 39
18 WBY2 41
19 EPT 213–214
20 P/Q 94
21 Peter Russell, ed., Ezra Pound: A Collection of Essays to be Presented to Pound on his Sixty-fifth Birthday, London: Peter Nevill, 1950, pp. 25, 29
22 See Michael Levenson, A Genealogy of Modernism: A Study of English Literary Doctrine, 1908–1922, Cambridge: Cambridge University Press, 1984, p. 29
23 P/ACH 140
24 P/Q 66
25 See the chapter on ‘Daemonic Images’ in Timothy Materer, Modernist Alchemy: Poetry and the Occult, Ithaca: Cornell University Press, 1995
26 He also published a book of translations of the poet, Jean de Bosschère, one of the many Belgian refugees in London, who had translated the work of the imagists for the Mercure de France. (Jean de Bosschère is not much remembered now, but Flint also translated his poems, and Conrad Aiken said that he thought de Bosschère was an important influence on T.S. Eliot.) Pound had also written an account of contemporary literature, to be called ‘This Generation’, but that was never published; he generously withdrew it from its American publisher so that they would publish Joyce’s Portrait instead, but they published neither
27 EPL 114, 118
28 ‘The Last Gift’, EG3, March 1916, p. 35, HDCP 18. BID 41–42. The ancient Eleusinian Mysteries were associated with the mother and daughter goddesses, Demeter and Persephone, and also with the cult of Dionysus, the dark god of ecstasy and wine
29 Walter Pater, The Renaissance: Studies in Art and Poetry (1873), London: MacMillan, 1902
30 Richard Aldington, ‘Anti-Hellenism’, EG 1, 15 January 1914
31 ‘The Poems of Richard Aldington’, ER 32, May 1921, pp. 400–401
32 ASPH 169
33 Pater, The Renaissance, p. 207
34 SFD 364–365
35 HLHD (23 November 1915)
36 DHLL2 610
37 John Cournos, Autobiography, New York: G.P. Putnam’s Sons, 1935, p. 249
38 LL 161
39 LL 160
40 Cournos, Autobiography, pp. 288–289
41 EG 2, 1 June 1915
42 AN 5
43 Pound had, however, no sympathy with Casement and came near to quarrelling with Quinn over whether or not he was a traitor, and is likely to have argued about this with Yeats
44 AN 6
45 BID 58
46 HRAL (6 May 1916)
47 HRAL (11 June 1916)
48 CZ 24
49 Cournos, Autobiography, p. 289
50 Ibid.
51 YHD 17/581–583. All quotations in the letters from H.D. to Cournos come from here
52 CZ 22
53 H.D. would spell it ‘Korshune’
54 HLRA (28 June 1916)
55 CZ 116
56 YHD 38/1012. ‘Compassionate Friendship’, pp. 72, 74
57 EG 3, August 1916, p. 118
58 In Sea Garden, ‘The Last Gift’ appears as ‘The Gift’
59 HDCP 20–21
60 JGFP 116
61 JGFL 35
62 ‘Mr Aldington’s Images’, PMV 8/1 April 1916, pp. 49, 5
63 JGFL 41, 43
64 HDCP xviii–xix
65 HDCP 319–320
66 HDCP 314
67 HRAL (August 1916)
68 Glenn Hughes, Imagism & the Imagists: A Study in Modern Poetry, California: Stanford University Press, 1931, p. 165
69 HFLL (8 October 1916)
70 ‘Soldiers’, in Some Imagist Poets 1917: An Annual Anthology, Boston: Houghton Mifflin, 1917, pp. 61–62
71 JGFL 48
72 HFLL (8 October 1916)
73 DHLL3 37
74 DHLL3 21
75 DHLL3 24
76 BID 138, 80
77 DHLL2 645
78 DHLL3 25–26
79 DHLL3 24
80 HHDL (14 August 1916)
81 DHLL3 32
82 DHLL3 30–31
83 Eileen Gregory, H.D. and Hellenism: Classic Lines, Cambridge: Cambridge University Press, 1997, p. 112
84 William Carlos Williams, ‘A Sort of Song’, Selected Poems, New York: New Directions, 1968, p. 109. It appears in the poem as ‘No ideas/but in things’
85 H.D. quotes this in a letter to Cournos
86 William Carlos Williams, ‘Prologue’ (1918), Kora in Hell, in Imaginations, ed. Webster Schott, New York: New Directions, 1970, pp. 12–13
87 P/W 37
88 JGFL 50. He knew the ‘Rhythmist’ painter J.D. Fergusson through his friend Horace Holley
89 R. Herdman Pender, ‘John Gould Fletcher’, EG 3, November 1916, pp. 173–174
90 HDCP 59–68
91 EPL 169
92 H.D., ‘Responsibilities’, Agenda, 25/3–4, Autumn & Winter, 1987/88, pp. 51–3
93 ‘Status Rerum – The Second’, PMV 8/1, April 1916, pp. 39–40
94 HDCP 41
95 DHLL3 48
96 DH 18
97 DHLL3 105
98 BID 123–126. H.D. in the 1930s took a keen interest in the Mass Observation project, which was dedicated to learning more about the experiences of ordinary people: see Georgina Taylor, H.D. and the Public Sphere of Modernist Women Writers 1913–1946, Oxford: Clarendon Press, 2001, p. 149
99 John Gould Fletcher, ‘“Amores” by D.H. Lawrence’, and H.D., ‘Goblins and Pagodas’, EG 3, December 1916, pp. 182, 183
100 JGF 108
101 Cournos, Autobiography, p. 211
102 D.H. Lawrence, Aaron’s Rod [1922], Harmondsworth: Penguin, 1950, p. 143
103 ‘The Death of Futurism’, EG 4, January 1917, p. 6
104 RA 138. See also the discussion in Timothy Materer, Vortex: Pound, Eliot and Lewis, Ithaca: Cornell University Press, 1979, pp. 117–118
105 Blast, p. 134
106 P/ACH 187
107 See Alfred Satterthwaite, ‘John Cournos and “H.D.”’, Twentieth-Century Literature, 22, 1976
108 ‘Aboriginal Poetry, 1 & 2’, PMV 9/5, February 1917, pp. 251, 255. ‘Poetry of the North American Indian’, PMV 14/1, April 1919, pp. 2, 46
109 Michael Castro, Interpreting the Indian: Twentieth-Century American Poets and the Native American, Albuquerque: University of New Mexico Press, 1983, p. 240
110 Harriet Monroe, Poets and their Art [1926], New York: Macmillan (enlarged ed.), 1932, p. 93. Even Jonathan Cape, when it published H.D.’s Heliodora and Other Poems in 1924, advertised it with the comment: ‘Her work blends European suavity with a kind of red-Indian terseness, nerve and barbarity of phrase.’ Barbara Guest, Herself Defined: The Poet H.D. and her World, London: Collins, 1985, p. 168
111 PMV 11/6, March 1918, p. 339
112 HLFL (14 July 1917)
113 HLHD (14 July 1917)
114 HFLL (4 October 1917)
115 T.S. Eliot, ‘Reflections on Vers Libre’ [first published New Statesman, 3 March 1917], in Selected Prose, ed. Frank Kermode, London: Faber & Faber, 1975, pp. 31, 32, 36
116 ‘Harold Monro’, Polite Essays, London: Faber & Faber, 1937, p. 14
117 ‘Vers Libre and Arnold Dolmetsch’, EG 4, July 1917, pp. 90–91
118 PER 229, 232
119 P/ACH 206
120 T.S. Eliot, Collected Poems, 1909–1935, London: Faber & Faber, 1936, p. 41
121 ‘Reflections on Vers Libre’, pp. 33, 36
122 P/LR xxiv
123 HC 333
124 EPL 231
125 YB 16/612. Letter to Bryher, 13 October 1948
126 YHD 14/489 (13 November 1959)
127 HULME xxviii
128 Flint was asked to do so first, but refused
129 ‘Short Reviews’, EG 4, December 1917, pp. 172–173
130 As far as one can tell, these poems were all written rather later than the Tour Eiffel period, as they have much more flexible forms than the early poems, though they probably date from before 1919. None of those preserved in manuscripts with his London address are included, and in both style and subject-matter the poems in the book are more finished and mature than those early ones
131 According to the Western dates, the February Revolution took place in March, just as what we know as the October revolution occurred in November. DHLL3190
132 Amy Lowell, Tendencies in American Poetry, New York: Houghton Mifflin, 1917, pp. 276, 279, 275
133 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, pp. 73, 71–72
134 LL 197
135 DH 297
136 BID 47
137 These words appear in one of Aldington’s letters (20 May 1918): ‘The truth is: I love you & I desire – l’autre’, CZ 57, BID 56;
138 BID 102
139 BID 49, 71
140 CZ 89
141 BID 51, 62
142 DHLL3 180. BID 52
143 BID 78, 81
144 BID 139, 140
145 END 5–6
146 Bryher, The Heart to Artemis: A Writer’s Memoirs, London: Collins, 1963, p. 193
147 CZ2 17
148 YHD 1/22, 16 December 1950
149 YHD 14/489, 8 September 1959