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188 THIS DIFFICULT INDIVIDUAL of their nervous and privacy-loving temperament. Being on the ground floor, they were at the mercy of anyone who chose to stroll in or knock. Hordes came. So when they got back from their winters in Italy, they would beg us to keep their return a secret for as long as possible. But in Rapallo, when we went to visit them, we found them in a sixth floor flat with a big terrasse, overlooking the harbor, and although the house was new, the lift was permanently disabled. Anyone who wanted to see them had six long flights to climb and with no guarantee that they would find anyone at home when they got to the top. This eminently satisfactory arrangement enabled Ezra to write his Cantos undisturbed and to devote himself to his immense correspondence, which consisted mainly of the wildest abuse of everyone who did not agree with him, conveyed in highly impressionist typescript. This gave him immense satisfaction, and meanwhile Dorothy applied herself to the composition of abstract water-colours. When disposed for conversation Pound would place himself on the quaiside terrasse of the cafe above which he lived, and conversation would come to him. It was an excellent system, which included one meal a day at the cafe-restaurant and the minimum of household chores." 41 Pound's furious efforts on behalf of his fellow writers, artists, and musicians did not slacken during his years in Rapallo. In 1929, Douglas Goldring, whom he had met in London in 1909, at the office of The English Review, paid tribute to him as follows: "Pound, like Ford, has a pure, passionate, disinterested love of good writing. He is one of the few men living who has a sense of team-work. So long as good literature continues to be produced, it does not so much matter to him who produces it or where it crops up. When I used to see a good deal of him, it seemed to me that he camouflaged extraordinary generosity of outlook in regard to other writers under a mask of rather amusing self-assertion. As a literary foster-mother Ezra has had few equals in our time. Let us look towards Rapallo and drink his health!" 42 Of these years, Desmond Chute wrote, in 1955, "Had he not found here the freedom he sought: freedom to be a poet? (At Rapallo he was universally and spontaneously called 'il poeta': people still stop me in the street to ask for news of 'il Signor
EZRA POUND 189 Poeta'.) He saw himself, and was, a man of letters. What matter if he looked the part so long as he lived it? On the Riviera of the 20s and the 30s, besides writing poetry he could work out untrammelled that vital and cultural synthesis which gave it consistency. Here he could, with brusque delicacy, befriend promise. Thus he provided one sculptor, Henges, with stone and the chance to carve it; musicians with the possibility to be heard, poets to write, talent to think. (So great indeed was his kindness of heart that I still remember how distressed and generous he was over local orphans lacking milk for breakfast, how outraged at the spectacle of cats mutilated by traps.) Educative activities led easily to a kindred discipline, which was also one of his main interests: the anatomy of Culture. An element herein sticks in my mind—Frobenius, to whom curiously enough Pound bore so marked a somatic likeness. Another, the most important after Poetry, was Music. "Fanned by his disinterested and unflagging enthusiasm, rare and unforgettable little concerts sprang up according to the frequency and incidence of performers. One remembers blocks of music. Block in this context was a great word with Ezra; not only did he insist at rehearsals on 'blocks' of light and shade in the performance of old music, he also demanded integrated and consecutive programs. The Rapallo musical seasons started as weeks, begun under the sign of Mozart, all of whose violin sonatas were played at least once by Olga Rudge and Gerhart Munch. One wonders when the whole series had last, if ever, been heard in its entirety. There followed all Bach's and all Pergolesi's. In a similar spirit, though more informally in a private house, Munch gave a reading on three consecutive afternoons of the complete Wolhtemperierte Clavier. Meanwhile the weeks went on with Purcell's Twelve Sonatas in Three Parts (with basso continuo, 1683) and William Young's for strings and bass ('the first printed English Sonatas, 1653'). For the latter, absolute priority of execution may be claimed for Rapallo, actually in advance of the 'first' performance under the editor, W. Gillies Whittaker, at Oxford. In the 1930s Ezra Pound developed an intense interest in the vast unpublished output of Antonio Vivaldi, much of which, largely
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188 THIS DIFFICULT INDIVIDUAL<br />
of their nervous and privacy-loving temperament. Being on the<br />
ground floor, they were at the mercy of anyone who chose to stroll<br />
in or knock. Hordes came. So when they got back from their<br />
winters in Italy, they would beg us to keep their return a secret for<br />
as long as possible. But in Rapallo, when we went to visit them,<br />
we found them in a sixth floor flat with a big terrasse, overlooking<br />
the harbor, and although the house was new, the lift was permanently<br />
disabled. Anyone who wanted to see them had six long<br />
flights to climb and with no guarantee that they would find anyone<br />
at home when they got to the top. This eminently satisfactory<br />
arrangement enabled Ezra to write his Cantos undisturbed and to<br />
devote himself to his immense correspondence, which consisted<br />
mainly of the wildest abuse of everyone who did not agree with<br />
him, conveyed in highly impressionist typescript. This gave him<br />
immense satisfaction, and meanwhile Dorothy applied herself to<br />
the composition of abstract water-colours. When disposed for conversation<br />
Pound would place himself on the quaiside terrasse of<br />
the cafe above which he lived, and conversation would come to<br />
him. It was an excellent system, which included one meal a day<br />
at the cafe-restaurant and the minimum of household chores." 41<br />
Pound's furious efforts on behalf of his fellow writers, artists,<br />
and musicians did not slacken during his years in Rapallo. In<br />
1929, Douglas Goldring, whom he had met in London in 1909,<br />
at the office of The English Review, paid tribute to him as follows:<br />
"Pound, like Ford, has a pure, passionate, disinterested love<br />
of good writing. He is one of the few men living who has a sense<br />
of team-work. So long as good literature continues to be produced,<br />
it does not so much matter to him who produces it or where it<br />
crops up. When I used to see a good deal of him, it seemed to me<br />
that he camouflaged extraordinary generosity of outlook in regard<br />
to other writers under a mask of rather amusing self-assertion. As<br />
a literary foster-mother Ezra has had few equals in our time. Let<br />
us look towards Rapallo and drink his health!" 42<br />
Of these years, Desmond Chute wrote, in 1955, "Had he not<br />
found here the freedom he sought: freedom to be a poet? (At<br />
Rapallo he was universally and spontaneously called 'il poeta':<br />
people still stop me in the street to ask for news of 'il Signor