BK. Ezra Pound

89. Miscellaneous. In A Guide to Ezra Pound and Ernest Fenollosa’s Classic Noh Theatre of Japan (201), 1994.

Includes transcription of Pound’s typescripts of NISHIKIGI (8), Sotoba Komachi (17c), Kayoi Komachi (17d), and Tsunemasa (17j), his rough outline of Kumasaka (17g), and his edited versions of other Fenollosa manuscripts at Yale (see 90a).

a. To Homer Pound, 7 April 1916 (p. 305). In Miyake’s notes to Yeats’s introduction to Certain Noble Plays (BL11) she quotes this letter in reference to Yeats’s comment that he has ‘studied certain [nô] dances, with Japanese players’, suggesting that they would be those Pound mentions here, ‘Koumé [Kume, Ap] and Fujita, ‘two very charming and high-up Japs’ who ‘contribute to one’s enjoyment of life’: ‘Koumé [is] of Daimio family. His father has two Noh stages in the back yard, etc. He is a fine chap. . . . Fujita, evidently son of a much used general, judging from family photos. He is a satirist with no end of humour and great talent. Koumé did the Hagoromo [see 13d], the tennin part, before the Mikado at the age of seven. Vide my translation Quarterly Review [13]. The flying movements are most exquisite’. Miyake believes that Fujita must be ‘Tsuguji’ Fujita (1886-1968), by which she must mean Tsuguharu Fujita, a painter later associated with the School of Paris, who after the Second World War took French nationality as Léonard Fujita. The letter quoted is no. 415 at the Yale archive (90a).