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.