Part I
, l. 37, 48.
138. Cf. the game of chess in Middleton’s _Women beware Women_.
III. THE FIRE SERMON
176. V. Spenser, _Prothalamion_.
192. Cf. _The Tempest_, I. ii.
196. Cf. Marvell, _To His Coy Mistress_.
197. Cf. Day, _Parliament of Bees_:
“When of the sudden, listening, you shall hear, “A noise of horns and hunting, which shall bring “Actaeon to Diana in the spring, “Where all shall see her naked skin . . .” 199. I do not know the origin of the ballad from which these lines are taken: it was reported to me from Sydney, Australia.
202. V. Verlaine, _Parsifal_.
210. The currants were quoted at a price “carriage and insurance free to London”; and the Bill of Lading etc. were to be handed to the buyer upon payment of the sight draft.
210. “Carriage and insurance free”] “cost, insurance and freight”-Editor.
218. Tiresias, although a mere spectator and not indeed a “character,” is yet the most important personage in the poem, uniting all the rest. Just as the one-eyed merchant, seller of currants, melts into the Phoenician Sailor, and the latter is not wholly distinct from Ferdinand Prince of Naples, so all the women are one woman, and the two sexes meet in Tiresias. What Tiresias _sees_, in fact, is the substance of the poem. The whole passage from Ovid is of great anthropological interest:
‘. . . Cum Iunone iocos et maior vestra profecto est Quam, quae contingit maribus,’ dixisse, ‘voluptas.’ Illa negat; placuit quae sit sententia docti Quaerere Tiresiae: venus huic erat utraque nota. Nam duo magnorum viridi coeuntia silva Corpora serpentum baculi violaverat ictu Deque viro factus, mirabile, femina septem Egerat autumnos; octavo rursus eosdem Vidit et ‘est vestrae si tanta potentia plagae,’ Dixit ‘ut auctoris sortem in contraria mutet, Nunc quoque vos feriam!’ percussis anguibus isdem Forma prior rediit genetivaque venit imago. Arbiter hic igitur sumptus de lite iocosa Dicta Iovis firmat; gravius Saturnia iusto Nec pro materia fertur doluisse suique Iudicis aeterna damnavit lumina nocte, At pater omnipotens (neque enim licet inrita cuiquam Facta dei fecisse deo) pro lumine adempto Scire futura dedit poenamque levavit honore.
221. This may not appear as exact as Sappho’s lines, but I had in mind the “longshore” or “dory” fisherman, who returns at nightfall.
253. V. Goldsmith, the song in _The Vicar of Wakefield_.
257. V. _The Tempest_, as above.
264. The interior of St. Magnus Martyr is to my mind one of the finest among Wren’s interiors. See _The Proposed Demolition of Nineteen City Churches_ (P. S. King & Son, Ltd.).
266. The Song of the (three) Thames-daughters begins here. From line 292 to 306 inclusive they speak in turn. V. _Götterdämmerung_, III. i: the Rhine-daughters.
279. V. Froude, _Elizabeth_, Vol. I, ch. iv, letter of De Quadra to Philip of Spain:
“In the afternoon we were in a barge, watching the games on the river. (The queen) was alone with Lord Robert and myself on the poop, when they began to talk nonsense, and went so far that Lord Robert at last said, as I was on the spot there was no reason why they should not be married if the queen pleased.”
293. Cf. _Purgatorio_, v. 133:
“Ricorditi di me, che son la Pia; Siena mi fe’, disfecemi Maremma.”
307. V. St. Augustine’s _Confessions_: “to Carthage then I came, where a cauldron of unholy loves sang all about mine ears.”
308. The complete text of the Buddha’s Fire Sermon (which corresponds in importance to the Sermon on the Mount) from which these words are taken, will be found translated in the late Henry Clarke Warren’s _Buddhism in Translation_ (Harvard Oriental Series). Mr. Warren was one of the great pioneers of Buddhist studies in the Occident.
309. From St. Augustine’s _Confessions_ again. The collocation of these two representatives of eastern and western asceticism, as the culmination of this part of the poem, is not an accident.
V. WHAT THE THUNDER SAID
In the first part of