Not only the title, but the plan and a good deal of the incidental symbolism of the poem were suggested by Miss Jessie L. Weston’s book on the Grail legend: From Ritual to Romance (Macmillan, Cambridge) Indeed, so deeply am I indebted, Miss Weston’s book will elucidate the difficulties of the poem much better than my notes can do; and I recommend it (apart from the great interest of the book itself) to any who think such elucidation of the poem worth the trouble. To another work of anthropology I am indebted in general, one which has influenced our generation profoundly; I mean The Golden Bough; I have used especially the two volumes Adonis, Attis, Osiris. Anyone who is acquainted with these works will immediately recognise in the poem certain references to vegetation ceremonies.

I. THE BURIAL OF THE DEAD

Line 20. Cf. Ezekiel 2:1.

23. Cf. Ecclesiastes 12:5.

31. V. Tristan und Isolde, i, verses 5-8.

42. Id. iii, verse 24.

46. I am not familiar with the exact constitution of the Tarot pack of cards, from which I have obviously departed to suit my own convenience. The Hanged Man, a member of the traditional pack, fits my purpose in two ways: because he is associated in my mind with the Hanged God of Frazer, and because I associate him with the hooded figure in the passage of the disciples to Emmaus in Part V. The Phoenician Sailor and the Merchant appear later; also the “crowds of people,” and Death by Water is executed in Part IV. The Man with Three Staves (an authentic member of the Tarot pack) I associate, quite arbitrarily, with the Fisher King himself.

60. Cf. Baudelaire:

63. Cf. Inferno, iii. 55-7.

64. Cf. Inferno, iv. 25-7:

68. A phenomenon which I have often noticed.

74. Cf. the Dirge in Webster’s White Devil.

76. V. Baudelaire, Preface to Fleurs du Mal.

II. A GAME OF CHESS

77. Cf. Antony and Cleopatra, II. ii., l. 190.

92. Laquearia. V. Aeneid, I. 726:

98. Sylvan scene. V. Milton, Paradise Lost, iv. 140.

99. V. Ovid, Metamorphoses, vi, Philomela.

100. Cf. Part III, l. 204.

115. Cf. Part III, l. 195.

118. Cf. Webster: “Is the wind in that door still?”

126. Cf. 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:

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:

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:

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 Part V three themes are employed: the journey to Emmaus, the approach to the Chapel Perilous (see Miss Weston’s book) and the present decay of eastern Europe.

357. This is Turdus aonalaschkae pallasii, the hermit-thrush which I have heard in Quebec County. Chapman says (Handbook of Birds of Eastern North America) “it is most at home in secluded woodland and thickety retreats. . . . Its notes are not remarkable for variety or volume, but in purity and sweetness of tone and exquisite modulation they are unequalled.” Its “water-dripping song” is justly celebrated.

360. The following lines were stimulated by the account of one of the Antarctic expeditions (I forget which, but I think one of Shackleton’s): it was related that the party of explorers, at the extremity of their strength, had the constant delusion that there was one more member than could actually be counted.

366-76. Cf. Hermann Hesse, Blick ins Chaos:

“Schon ist halb Europa, schon ist zumindest der halbe Osten Europas auf dem Wege zum Chaos, fÄhrt betrunken im heiligem Wahn am Abgrund entlang und singt dazu, singt betrunken und hymnisch wie Dmitri Karamasoff sang. Ueber diese Lieder lacht der BÜrger beleidigt, der Heilige und Seher hÖrt sie mit TrÄnen.”

401. “Datta, dayadhvam, damyata” (Give, sympathize, control). The fable of the meaning of the Thunder is found in the Brihadaranyaka—Upanishad, 5, 1. A translation is found in Deussen’s Sechzig Upanishads des Veda, p. 489.

407. Cf. Webster, The White Devil, v. vi:

411. Cf. Inferno, xxxiii. 46:

Also F. H. Bradley, Appearance and Reality, p. 346:

“My external sensations are no less private to myself than are my thoughts or my feelings. In either case my experience falls within my own circle, a circle closed on the outside; and, with all its elements alike, every sphere is opaque to the others which surround it. . . . In brief, regarded as an existence which appears in a soul, the whole world for each is peculiar and private to that soul.”

424. V. Weston, From Ritual to Romance; chapter on the Fisher King.

427. V. Purgatorio, xxvi. 148.

428. V. Pervigilium Veneris. Cf. Philomela in Parts II and III.

429. V. Gerard de Nerval, Sonnet El Desdichado.

431. V. Kyd’s Spanish Tragedy.

433. Shantih. Repeated as here, a formal ending to an Upanishad. ‘The Peace which passeth understanding’ is a feeble translation of the content of this word.