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 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.

  367-77. 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."

  402.  "Datta, dayadhvam, damyata" (Give, sympathize,
  control). The fable of the meaning of the Thunder is found
  in the