- Letters, 310–11, emphasis mine. Cf. Eliot’s letter of 17 June 1919 to his niece
Eleanor Hinkley. Here he describes at length the petty jealousies and endless gossip
of Bloomsbury, where “A. gets in a funk lest I hear of this and trace it to her, and
anxiously con¤des in Vivien. A. you see hates B. and also is jealous of her. She there-
fore repeats my remarks to D” (Letters, 304–05). And so on. Such a dinner party, Eliot
tells Eleanor, is harder to manage than “the best fencing match or duel” (305). - For the sordid story of Vivien Haigh-Wood’s affair with Russell, which went
on intermittently from 1915 to 1918, see Ray Monk, Bertrand Russell: The Spirit of Soli-
tude, 1872–1921 (New York: Free Press, 1996), 432–50, 487–91; Carole Seymour-Jones,
Painted Shadow: The Life of Vivienne Eliot, First Wife of T. S. Eliot, and the Long-
Suppressed Truth about Her In®uence on His Genius (New York: Nan A. Talese, Double-
day, 2001), 93–106 and passim. Seymour-Jones, whose sympathies are always with
Vivien, may be exaggerating Russell’s treachery, but her basic story accords entirely
with Monk’s. - See Collected Poems, 57–59, and cf. Seymour-Jones, Painted Shadow, 308–10.
- According to the OED: “Scapegoat (1530). ‘Goat sent into the wilderness on
the Day of Atonement, symbolic bearer of the sins of the people,’ coined by Tyndale
from scape (M.E. aphetic form of escape) + goat, to translate L. caper emissarius,
mistranslation in Vulgate of Heb. ‘azazel (Lev. xvi.8, 10, 26), which was read as ‘ez
ozel ‘goat that departs,’ but is actually the proper name of a devil or demon in Jewish
mytholog y (sometimes identi¤ed with Canaanite deity Aziz). Meaning ‘one who is
blamed or punished for the mistakes or sins of others,’ ¤rst recorded 1824.” - In Eliot in Perspective, A Symposium, ed. Graham Martin (New York: Hu-
manities Press, 1972), 83–101, Gabriel Pearson points out that the plural ending of
rocks “is disturbed by being echoed by the singular ‘moss’ to be pluralled in its own
turn by the initial s of ‘stonecrop.’... Though one gets images, a landscape of sorts,
one hardly reads past and through the words to a world without” (85). - In the typescript and in Ara vos prec, these two lines were set off from the
rest; see Ricks, March Hare, 349. - John Crowe Ransom, “Gerontion,” in Allen Tate, ed., T. S. Eliot: The Man
and His Work; A Critical Evaluation by Twenty-six Distinguished Writers (New York:
Delacorte, 1966), 151.
Chapter 3
- Sanehide Kodama, “Cathay and Fenollosa’s Notebooks,” Paideuma 11 (fall
1982): 207–40. The Fenollosa manuscript in question is File #20 in the Yale Collection
of American Literature, Beinecke Library, Yale University. The poem itself may be
found in Ezra Pound, Personae: The Shorter Poems of Ezra Pound, a revised edition
prepared by Lea Baechler and A. Walton Litz (New York: New Directions, 1990), 134. - See Ronald Bush, “Pound and Li Po: What Becomes a Man,” in Ezra Pound
among the Poets, ed. George Bornstein (Chicago: University of Chicago Press, 1985),
35–62; Wai-Lim Yip, Ezra Pound’s Cathay (Princeton, NJ: Princeton University Press,
274 Notes to Pages 29–39