4pQonT

EZRA POUND 373
Excursion, New York, Harcourt, Brace and Company, 1933, p. 287.
12. Harold Munro, Some Contemporary Poets, London, Leonard
Parsons, Ltd., 1920, p. 93.
13. Oliver St. John Gogarty, As I Was Walking Down Sackville
Street, New York, Reynal & Hitchcock, Inc., 1937, p. 59.
14. Fletcher, op. cit., p. 103.
15. Ibid., p. 239.
16. S. Foster Damon, Amy Lowell, Boston, Houghton Mifflin Company,
1935, p. 237.
17. Ibid., p. 238.
18. Ibid., p. 239.
19. Fletcher, op. cit., p. 151.
20. The Letters of Ezra Pound, p. 44.
21. Damon, op. cit., p. 238.
22. Amy Lowell, A Critical Fable, Boston, Houghton Mifflin Company,
1922, pp. 90-1.
23. Ibid., p. 91.
24. Ibid., p. 94.
25. Damon, op. cit., pp. 635-8.
26. Ezra Pound, A Collection of Essays, edited by Peter Russell,
Peter Nevill, Ltd., 1950, p. 29.
27. Pound, Personae, p. 112.
28. Graves, The Common Asphodel, London, Hamish Hamilton,
Ltd., 1949, p. 148.
V
1. Wyndham Lewis, Blasting and Bombardiering, London, Eyre
& Spottiswoode, Ltd., 1937, pp. 254-55.
2. Ibid., p. 255.
3. Ibid., pp. 280-81.
4. Pound, Instigations, New York, Boni & Liveright, 1920, p. 215.
5. Pound, Gaudier-Brzeska, A Memoir, London, The Bodley
Head, 1916, pp. 45-46.
6. Aldington, Life for Life's Sake, pp. 165-66.
7. Ibid., pp. 165-66.
8. Jacob Epstein, Let There Be Sculpture, New York, G. P.
Putnam's Sons, 1940, p. 37.
9. Hunt, I Have This To Say, p. 114.
10. Ford, No Enemy, New York, The Macaulay Company, 1929,
pp. 206-12.
11. Ford, New York Essays, p. 59.
12. Gaudier explained to Frank Harris how he had financed a
period of art studies in Munich. He had turned out fake Rembrandt
drawings, which were yellowed with tea extract, and sold them to