Notes and References

The majority of Lawrence Durrell's manuscripts and other private papers are located at the Special Collections, Morris Library, Southern Illinois Uni­ versity at Carbondale: they were largely acquired in two tranches, the first having been catalogued as Collection 42: references to this part of the Dur­ rell Archive will be made as follows: SIUC: 42/00/0, where the second set of digits indicates the box number and the third digit indicates the folio number within the box. Readers pursuing this material should also follow the catalogue of the collection made by Ian MacNiven, A Descriptive Cata­ logue of the Lawrence Durrell Collection at Southern Illinois University (Carbon­ dale, 1975), and, where necessary, supplemented by reference to Shelley Cox, The Lawrence Durrell Papers at Southern Illinois University Carbondale: Exhibit and Catalog (Carbondale 1988). In the case of the second, more recently acquired, part of the Archive, which includes a large portion of Durrell's working library, cataloguing had not been completed at the time of my research, and reference has been msade to SIUC/LD/ Accession II. In the case of items held by the Centre d'Etudes et de Recherches Lawrence Durrell at Sommieres, reference is made to the inventory entry as follows: CERLD: inv. 000 or, where the item is uncatalogued, to CERLD (uncata­ logued item), followed by a short description of the item. The pages in most notebooks are unnumbered, or have been numbered incorrectly during cataloguing; references to page numbers have been included only where there is no possibility of confusion as to the page intended: in most instances, these are Durrell's own markings.

Notes to the Introduction

1. Durrell used this expression in the introduction to Balthazar, the second volume of The Alexandria Quartet (London: Faber and Faber, 1958) p. 5. 2. R. Pine, The Dandy and the Herald: Manners, Mind and Morals from Brummell to Durrell (London: Macmillan Press; New York, StMartin's Press, 1988). 3. S. Rushdie, quoted by T. Brennan, Salman Rushdie and the Third World (New York: StMartin's Press, 1989) p. 116. 4. SIUC: 42/12/2: 'Quarry [for] Justine ... France '57'. 5. Sappho Durrell, 'Journals and Letters' in B. Buford (ed.), Granta, no. 37, 'The Family' (Autumn 1991) pp. 55-92. 6. Ibid. 7. T. S. Eliot, Complete Poems and Plays (London: Faber and Faber, 1969) p.198. 8. CERLD uncatalogued item contained in a publisher's dummy (no marking on spine) labelled on title-page: 'Lawrence Durrell/Corfu­ A8r]va[Athens]-Paris/Rome-Verona-London/1937-1938-1939'. 9. G. Steiner, Extraterritorial: Papers on Literature and the Language Revolution (Harmondsworth: Penguin, 1975) pp. 66-109. 388 Notes and References 389 10. CERLD inv. 1345. 11. Cf. R. Browning, 'Ah, but a man's reach should exceed his grasp I Or what's a heaven for?', Poetical Works 1833-1864, ed. I. Jack (London: Oxford University Press, 1970) p. 632. 12. G. S. Fraser, Lawrence Durrell: A Study (London: Faber and Faber) 1968, p.12. 13. SIUC: 4211918. 'Quarry [for] Tunc-Nunquam'. 14. SIUCILDI Accession II, box 1, folder 5. 15. SIUC: 42119110. 16. Margaret McCall, 'The Lonely Roads: notes for an Unwritten Book', in I. MacNiven and C. Pierce (guest eds), Twentieth Century Literature vol. 33, no. 3 (Fall1987) p. 385 [hereafter cited as TCL 33/3]. 17. SIUC: 4211918: there is, however, a suggestion that a child of Julian might, in fact, be suffocated; other prospective plots include: Capodistria: work into J the themes for Capodistria - a fantasy death at carnival party- hat pin through the eye - Selim offers her evidence in exchange for a fuck ... After Pursewarden's death his wife arrives - a big drunk raw-boned girl - she finds he has been going to the Arab quarter to look after a small child by some prosti­ tute of his. She accepts the child explaining:'! made him miserable. He loved me. Everyone he fucked was me. . .. He gave me this child in the person of another.' (SIUC 4211111) 18. G. Simenon, in Writers at Work, ed. M. Cowley (London: Penguin Books, 1958) p. 132. 19. CERLD, uncatalogued typescript of an interview, 'Entretien avec LAWRENCE DURRELL ... propos recueillis par fean-Luc Moreau et fean­ Didier Wagneur' shortly after the completion of The Avignon Quintet [hereafter cited as CERLD Moreau/Wagner]. 20. Ibid. 21. I\10>81 OECXU'tOV [gnothi seauton - know thyself) is most widely attributed to Plato (Protagoras 343b, trans. W. R. M. Lamb [London: Heinemann, 1924] pp. 196-7. 22. CERLD I Moreau/Wagner. 23. G. S. Fraser, collection in SIUC, 841112. 24. G. S. Fraser, Lawrence Durrell, p. 10. 25. There are considerable similarities between the early careers of Durrell and Richard Aldington: see in particular C. Doyle, Richard Aldington (Basingstoke: Macmillan Press, 1989) pp. xvi, xvii, xviii, 4, 5, 7, 10, 86, 91, 120, 131 and 281-305 on their later friendship. See also I. MacNiven and H. T. Moore (eds), Literary Lifelines: The Richard Aldington-Lawrence Durrell Correspondence (London: Faber and Faber, 1981) and R. Pine, The Dandy and the Herald, especially pp. 151--6, on Durrell's indebtedness to Death of a Hero and All Men are Enemies. It is also worth noting that Durrell owed something of his knowledge of rectory life to Aldington's The Colonel's Daughter (London: Chatto and Windus, 1931) especially pp. 35,306. 26. There are also considerable (but less likely) parallels between the early years of Durrell and William Gerhardie: see D. Davies, William 390 Notes and References Gerhardie (Oxford: Oxford University Press, 1990), especially the passages dealing with Gerhardie as an expatriate (cf. p. 22) and the question of indeterminacy (cf. p. 24); see also pp. 23, 26, 65, 78, 114, 142-3, 164, 176, 281, 284, 364, 370; and R. Pine, The Dandy and the Herald, pp. 156-61, for a discussion of Durrell's relationship to Futility and The Polyglots. 27. There is evidence in the Fraser collection at SIUC (84/1/2) that Faber and Faber were not entirely satisfied with the study. 28. F. R. Leavis, The Great Tradition (London: Chatto and Wmdus, 1962) p. 26: it is true that we can point to the influence of Joyce in a line of writers to which there is no parallel issuing from Lawrence.... In these writers, in whom a regrettable (if minor) strain of Mr Eliot's influence seems to me to join with that of Joyce we have, in so far as we have anything significant, the wrong kind of reaction to liberal idealism. I have in mind writers whom Mr Eliot has expressed an interest in strongly favourable terms: Djuna Barnes of Nightwood, Henry Miller, Lawrence Durrell of The Black Book. In these writers - at any rate in the last two (and the first seems to me insignificant)­ the point of what we are offered affects me as being entirely a desire in Lawrentian phrase, to 'do dirt' on life. The remark about Durrell being 'not one of us' is attributed by R. W. Dasenbrock to Ray Morrison in 'Centrifugality: An Approach to Lawrence Durrell', in L. W. Markert and C. Pierce (eds), On Miracle Ground II (Baltimore, Md.: University of Baltimore, 1984) p. 210 [here­ after cited as OMG2]. 29. In a letter to the author, published in The Dandy and the Herald, PP· 7-8. 30. SIUC: 42/11/6: typescript 'The Minor Mythologies' [hereafter cited as MM/ts]. 31. V. Havel, Disturbing the Peace (London: Faber and Faber, 1990) pp. lQ- 11. 32. Quoted by G. Steiner, Real Presences (London: Faber and Faber, 1989) p. 27, translated by him as 'the harsh, demanding desire for durance'. 33. SIUC: 42/8/1. The note is marked 'Macon': for a remark on this phenomenon, seen. 35 (page 401 below). 34. Durrell referred on several occasions to these 'uncles' including the occasion of a lecture in Trinity College, Dublin, in 1972; and in 'From the Elephant's Back', Fiction Magazine, vol. 2, no. 3 (Winter 1983). 35. G. Steiner, After Babel: Aspects of Language and Translation (Oxford: Oxford University Press, 1975) p. 58. 36. CERLD inv. 1344, p. 86. 37. CERLD inv. 1346, p. 12. 38. CERLD uncatalogued typescript referring to the interview known as 'The Kneller Tape', which appears in H. Moore (ed.), The World of Lawrence Durrell (Carbondale, Ill.: Southern Illinois University Press, 1962); in this typescript Durrell says: a series of answers to a brilliant questionnaire by a young Austrian Jewish (I think) journalist which sought to uncover the background Notes and References 391 influences behind the Alexandria Quartet and its author's intellec­ tual intentions. On the whole, though executed off the cuff in some­ what haphazard fashion [there are in fact many variations between the typescript(s) and the printed version] it holds up tolerably well'. This note is dated '84'.

39. L. Durrell, introduction to Poet to Poet: Wordsworth Selected by Lawrence Durrell (Harmondsworth: Penguin, 1973) p. 10. 40. Conversation with the author. 41. SIUC: 42/19/9: 'The Placebo' typescript, p. 223 [hereafter cited as 'Placebo' ts 1. 42. Derrida, Writing and Difference, trans. A. Bass (Chicago: University of Chicago Press, 1978). 43. P. Ricoeur: The Rule of Metaphor: Multi-disciplinary Studies in the Creation of Meaning in Language, trans. R. Czerny (London: Routledge and Kegan Paul, 1978). 44. E. Said, Orientalism (London: Routledge and Kegan Paul, 1978). 45. G. Josipovici, The World and the Book, 2nd edn (London: Macmillan, 1979). 46. G. Steiner, 'Lawrence Durrell and the Baroque Novel', in Language and Silence (London: Faber and Faber, 1967) originally published in The Yale Review, xlix/ 4 47. Steiner, Extraterritorial, op. cit. 48. Steiner, Real Presences, op. cit. 49. In his lectures at CalTech, preserved in both manuscript and typescript form at SIUC/LD/ Accession Il/box 2 [hereafter cited as CalTech notes]. 50. Cf. B. Bettelheim, The Uses of Enchantment: The Meaning and Impor­ tance of Fairy Tales (London: Penguin Books, 1978) p. 53: 'at the age when these stories are the most meaningful to the child, his major problem is to bring some order into the inner chaos of his mind so that he can understand himself better- a necessary preliminary for achieving some congruence between his perceptions and the exter­ nal world'. 51. Cf R. Tymms, Doubles in Literary Psychology (Cambridge: Barnes and Barnes, 1949) p. 55: 'the split personality ... is a man whose conflicting inclinations have become almost incompatible, and at last announce their presence to his consciousness as distinct, and alternate, entities'. Cf. also Gerard de Nerval, Journal to the Orient (New York: New York University Press, 1972) ed. Norman Glass: 'In Voyage en Orient Nerval affirms his own particular genre, one which is at once a novel yet a tale, an autobiography yet a poem' (p. 17). 52. Magazine Litteraire, no. 210, September 1984, interview with Jean Montalbetti, 'Lawrence Durrell mouvements'; it should be noted that in 1935 Alexandra David-Neel, jointly with Lama Yon Ldan, pub­ lished Le Lama aux cinq sagesses: roman tibetain. 53. J. Denton. 'Image and History' in Age of Chivalry: Art in Plantagenet England 1200-1400, ed. J. Alexander and P. Binski (London: Weidenfeld and Nicolson, 1987) p. 23. 392 Notes and References Notes to Chapter 1: 'Une Vie Artistique'

1. L. Durrell, 'From the Elephant's Back', op. cit. 2. B. Disraeli, Tancred, as paraphrased by E. Said, Orientalism (London: Penguin Books, 1985) p. 5; cf. Disraeli, Tancred or, The New Crusade (London: Bodley Head, 1927) p. 360. 3. G. Durrell, The Garden of the Gods (London: William Collins, 1978) p.113. 4. Cf. Said, Orientalism, pp. 1, 2, 11,20-1,41, 157. 5. 'From the Elephant's Back', op. cit., pp. 59, 60; cf. also Ian MacNiven, 'The Durrells of India', conference paper delivered at the VIIth International Lawrence Durrell Society Conference, Avignon, 1992. The fact that in The Alexandria Quartet the deceased Brigadier Maskelyne is reported to have been the grandson of 'this now forgot­ ten Suffolk farm-boy' who had enlisted in the army, and that 'of Maskelyne's own father there was no record among his effects' (Quartet 835) has a strongly autobiographical flavour. 'Darjiling' was Durrell's preferred spelling. 6. 'From the Elephant's Back', op. cit., p. 60. 7. Ian MacNiven informs the author (from personal information from Lawrence Durrell) that Lawrence Samuel Durrell visited his son while he was at school at Canterbury, but that this may have been his only visit to England. 8. SIUC: 42/15/6; 'notebook for Clea ... France 1958'. 9. H. Miller, 'Introduction' to Selected Prose of Henry Miller (London: McGibbon and Kee, 1965) vol. 1. 10. K. Brown, British Writers: Supplement 1, Graham Greene to Tom Stoppard, ed I. Scott-Kilvert (New York: Scribner's, 1987) pp. 95, 97. 11. L. Durrell, original interview with J. Fanchette, Two Cities, repr. in Labrys no. 5 (1979) p. 41. 12. The phrase was invented by Sir Henry Wotton and is repeated in AC 13; L. Durrell, 'Writers at Work', 2nd series, ed. G. Plimpton (London: Penguin Books, 1977) p. 268; L. Durrell, 'Propaganda and Impropaganda' in Blue Thirst (Santa Barbara: Capra Press, 1975) p. 38. 13. SIUC: 42/19 /10; notebook dated '1962 Nimes'. 14. SIUC: 42/19/8; 'quarry for Tunc-Nunquam'. 15. SIUC: 42/19/10. 16. SIUC: 42/11/1; 'Belgrade, Yugoslavia, 1952 ... Kyrenia, Cyprus'. 17. SIUC: 42/15/6; notebook for Clea. 18. Magazine Litteraire, op. cit. 19. In conversation with the author. 20. Les nouvelles Iitteraires, no. 2629, 30 March--6 April 1978, 'Les Vies Singulieres de Lawrence Durrell'. 21. Steiner, Extraterritorial, p. 10. 22. Richard Aldington, quoted in A. Thomas (ed.), SP 11. 23. J. Unterecker, Lawrence Durrell (New York: Columbia University Press, 1964) p. 15. 24. Steiner, Extraterritorial, p. 37. 25. Magazine Litteraire, op. cit. Notes and References 393 26. Les nouvelles litteraires, op. cit. 27. Conversation with the author. 28. CERLD, uncatalogued typescript of address to the Cercle Pompidou [1 April 1981?], eventually published as 'From the Elephant's Back' [hereafter cited as Cercle/ts] and also published in French in Revue Parlee, edition dated March 1981. 29. Cf. Brown, op. cit., p. 93; cf. SME 19: One day while passing the Jesuit school chapel [in Darjiling] I found the door ajar and tiptoed inside, curious as children are. In the deep gloom I came upon a life-size figure of Christ crucified hanging over the altar, liberally blotched with blood and perfectly pig-sticked and thorn-hatted. An indescribable feeling of horror and fear welled up in me. So this was what those austerely garbed and bearded priests worshipped in this dense gloom among the flowers and candles! It was hardly a logical sequence of feelings and sentiments - it was quite spontaneous and unformulated. But the horror remained with me always; and later on, when my father decreed that I must go to England for my education. I felt that he was delivering me into the hands of these sadists and cannibals. 30. 'Placebo' ts, p. 103 31. Magazine Litteraire, op. cit. 32. R. Kipling, The Jungle Book (London: Macmillan, 1894); The Second Jungle Book (London: Macmillan, 1895). 33. Conversation with the author. 34. Les nouvelles litteraires op. cit. 35. Apart from one early title (published in 1905) Alexandra David-Neel's first widely circulated title appears to have been My Journey to Lhasa (London: Heinemann, 1927), when Durrell would had been fifteen years old. 36. Conversation with the author. 37. 'From the Elephant's Back', op. cit., p. 59 and Cercle/ts: 'I have a special relation to elephants- an animal suspended by enormous ears between two pendulums. It is a happy animal, a philosopher-king of the forest, which can smile as well as tip-toe.' 38. R. Williams, Border Country (London: Chatto and Windus, 1960). 39. Steiner, Extraterritorial, p. 31. 40. Conversation with the author. 41. But see L. Durrell, 'Propaganda and Impropaganda' in Blue Thirst, op. cit., for Durrell's mixed feelings about the profession of diplo­ mat. In R. Green, 'Lawrence Durrell: The Spirit of Winged Words', Aegean Review [n.d.] Durrell said: 'I've been progressively dis­ gusted with our double-facedness in politics .... I refused a CMG [Commander of the Order of St Michael and StGeorge] on those grounds, though I didn't want to make an issue out of it, and I don't want to- I'm conservative, I'm reactionary and right wing­ so I don't want to embarrass anybody. But the reason I made a polite bow-out of the whole thing [the offer of an official decora­ tion after his posting in Cyprus] was that I didn't want to be 394 Notes and References decorated by people who had bits of the Parthenon lying about in their backyard.' 42. Information from Ian MacNiven. 43. Les nouvelles litteraires, op. cit. 44. SIUC: 42/21/3. 45. 'Writers at Work', op. cit., p. 261. 46. Les nouvelles litteraires, op. cit. 47. An expression Durrell used in an address on Shakespeare which he appears to have given to a meeting of UNESCO in 1970 [letter to Durrell from Alexandre Blokh, 24 Novembre 1970], CERLD uncata­ logued typescript, 5 pp. 48. 'Two Dance Tunes for the Blue Peter Night Club Band ... Sung by little Dixie Lee ... 1935' [clearly Durrell was employing his mother's maiden name]- SIUC: 42/9/3- dated'Argentina 1948'; see also PPL 370-71, where Walsh writes songs with such titles as 'To Be or Not to Be', 'Hold Your Woman' and 'Never Come Back': "'Never Come Back" is our epitaph, our requiem, our good-bye'. 49. Cf. DML 121, 125. 50. Redonda is an island in the Caribbean, 25 miles south-west of Antigua, which was annexed on behalf of Britain by the father of the Irish novelist M. P. Shiel, who in tum bequeathed his claim to the property (unpopulated but rich in phosphate) to Terence Fitton Armstrong, better known by his pen-name John Gawsworth. Gawsworth created several 'dukedoms', thus honouring friends such as Lawrence and Gerald Durrell, Richard Aldington, Victor Gollancz, Arthur Machen, Frank Swinnerton, Arthur Ransome, A. E. W. Mason, Henry Miller, Bertram Rota, John Heath-Stubbs, Dorothy Sayers, Martin Seeker, Derek Patmore, Jon Wynne-Tyson (the present 'King'), Rupert Croft-Cooke, J. B. Priestley, Rebecca West, Stephen Potter and L. G. Pine (the father of the present author). 51. SIUC/LD/ Accession II/: box 6. 52. Ten Poems (London: Caduceus Press, 1932); Bromo Bombastes: a Fragment from a Laconic Drama by Gaffer Peeslake (London: Caduceus Press, 1933); Transition (London: Caduceus Press, 1934). In a copy of Transition inscribed to the Wilkinsons, Durrell wrote: 'Its [sic] a sign, my sweets, that the delightful genius which I derive from an holy age of colonial warblers, still spates in an unbroken torrent of capricious continuity' (CERLD reserve no.1705). The caduceus, a rod entwined by two serpents, was a symbol of power and one of the attributes of Mercury, the messenger of the gods: as a device for Durrell's early poems it is an interesting herald of his later interest in the phenom­ enon of ophitism as manifested particularly in The Avignon Quintet. In his copy of The Worship of the Dead or The Origin and Nature of Pagan Idolatry and its Bearing Upon the Early History of Egypt and Babylonia by Colonel J. Gamier (London: Chapman and Hall, 1909), Durrell marked the following passage: All the Pagan gods were eventually identified with the Serpent, which was also regarded, like the Sun, as the Great Father, and was Notes and References 395 a symbol of the Sun. The Serpent, in short, was regarded both as the source of life, and also of wisdom and knowledge, and as the instructor of men [p. 108] .... Worship of the Sun and Serpent ... by means of which the idolaters were eventually led, by a gradual process of development, to worship the Prince of the demons him­ self [p. 213] .... The [Serpent was] the form which the Prince of the Demons took when he persuaded Eve to eat. ... and the Serpent was thus represented in paganism to be the bestower of knowledge and wisdom on man [p. 216]. Durrell's copy is held in SIUC/LD/ Accession II; cf. also SME 13. 53. Theodore Stephanides, 'First Meeting with Lawrence Durrell', Deus Loci, vol. 1 no. 1 (September 1977). 54. Durrell's ticket for the reading room of the British Museum, contained in a notebook of 1938 inscribed'Lawrence Durrell, human being', is numbered B52750 (SIUC: 42/9 /2}. 55. Cf. M. Haag, obituary notice of Lawrence Durrell, Independent, 9 November 1990. 56. Information from Ian MacNiven; Sappho Durrell thought that her grandfather had died of a heart attack (S. Durrell, op. cit., p. 61). 57. G. Durrell, My Family and Other Animals (London: Rupert Hart-Davis, 1956) pp. 15-16. 58. Stephanides, 'First Meeting', op. cit. 59. G. Durrell, The Garden of the Gods, p. 27. 60. Ibid., p. 29. 61. Cf. SP 104-5; DML 29, 36; the reference in The Black Book (p. 47) to Lobo who 'said good day with the frigidity of a Castilian gentleman dismissing a boring chambermaid' perhaps owes something to Unamuno's Mist, a work with which, as we shall see, Durrell had been familiar since the 1930s. 62. Cf. G. Durrell, Garden of the Gods, p. 66. 63. Cf. T. Stephanides, Island Trails (London: Macdonald, 1973) pp. 54-8. Another source for The Dark Labyrinth is a play sketch (SIUC 42/7/35 -possibly written in Paris in 1937}, 'The Maze: the guide dies while conducting a tour of the maze: leaving the dramatis personae lost in it: a boy, a girl, a parson, a policeman, a thief, an undertaker, a whore, an old lady: the stranger' -in fact, the stock characters who constitute, and enact, life itself in his novels. 64. SIUC/LD/ Accession II: box 4: miscellaneous items. 65. SIUC/LD/ Accession II: typescript 'answers to questionnaire by a Paris journal' [1973?) 6 pp. 66. For example an apparently unpublished typescript 'Maiden Over' (4 pp.) which begins: 'What is so peculiarly magical about cricket if it isn't its strange appropriateness to the landscape in which, and probably from which, it has sprung?', CERLD uncatalogued ts. 67. Cf. Steiner, Real Presences, pp. 30, 60-1. 68. SIUC: 42/21/4 contains an appreciation of Hans Reichel in which Durrell recalled the painter saying: '"You must work the paint into the pores of the paper as if it were kisses penetrating human skin with the 396 Notes and References idea of love." Then he added a little sadly "But the idea always falls short of reality"'; published as a preface to H. Miller, Order and Chaos chez Hans Reichel (Tucson, Ariz., 1966). 69. Durrell's poetry notebook for 1938 (SIUC: 42/7 /2) is inscribed 'Jan. 1st 1938 Innsbruck/ Austria' and is followed by the quotation [sic]:

tt~ tTJV Greece stands for. The most ardent philhellene could find no fault with this appointment.' It is not unlikely that Durrell himself was the author of this piece: contained in 'Diary and Rough Notes 1955' kept in a publisher's dummy labelled 'The Cantos of Ezra Pound': CERLD uncatalogued item. Durrell was in the habit of ordering dummy volumes for use as notebooks. 106. 'The Rosy Crucifixion' was the collective title given to Miller's trilogy: Sexus (1949), Plexus (1953) and Nexus (1960). 107. SIUCILDI Accession II: box 1: 'Book of Travels'. Psalm 75 begins: 'Unto thee, 0 God, do we give thanks ... for that thy name is near thy wondrous works declare.' 108. Stephanides, Island Trails, pp. 104-10. An uncatalogued typescript in CERLD dated 'Corfu 1940' refers to 'Abandoned Ms.' of 'Island Trails [by T. Stephanides and L. Durrell)': an explanatory note in Durrell's hand, dated 2312189, reads: 'he [Stephanides] would provide the scholarship and I the written text'. 109. The error in the published version of Mountolive is presumably due to the failure of the copy-editor at Faber to spot Durrell's characteristic mis-spelling of 'ootjlovoc;' (Durrell frequently transposed adjacent letters, suggesting that he was almost dyslexic in this regard). The error arose in Durrell's having wrongly noted 'a-ya9ou otajlovoc;' from p. 207 of his copy of E. Rhode, Psyche: The Cult of Souls and Belief in Immortality among the Greeks (London: Kegan Paul Trubner Trench, 1925), which discusses 'the a-yaeoc; OatjlffiV' in relation to its chthonic powers and says that 'on a snake on a talisman the words are written to ovojla tou a-yaeou Oatjlovoc;': Durrell's copy is now in SIUCILD I Accession II. 110. Cf. Pine, The Dandy and the Herald, pp. 151-ii. 111. SIUC: 4211313; the article was published in Holiday (October 1966) as 'Oil for the Saint; Return to Corfu', and reprinted in SP 286-303. 112. SIUCILDI Accession II: box 1 (catalogue item no. 3), notebook inscribed on cover 'Notebook on Avignon book 1971' and, below this inscription, 'Notebook. Geneva. New Year 1967'. 113. SIUCILD I Accession II: box containing material relating to 'Ulysses' also contains a letter to Durrell from Juliet O'Hea, of Curtis Brown, dated 26 June 1972, referring to the 169-page version of Judith and the 38-page scenario and saying 'Just let me know when you would like it published', suggesting that, beyond the already serialised version which had appeared in Woman's Own between February and April1966 (and, in French, in Elle in the same year as 'le nouveau roman de Lawrence Durrell') a fuller publication in volume form was anticipated. 114. W. B. Yeats, Explorations (London: Macmillan, 1962) p. 263. 115. SIUC: 4211315, letter to 'Mr Wanger' dated 28 March 1961. 116. Cf. letter from Durrell to Aldington, c. February 1960, in Literary Lifelines, p. 129. Notes and References 399 117. Conversation with the author. 118. L. Durrell, 'The Poetic Obsession of Dublin', Travel and Leisure (Autumn 1972) pp. 33-70. 119. Conversation with the author; cf. also Nunquam 138: 'I really have no foyer, no hearth of my own', and the passages in the Quintet, particularly pp. 1091-2, where the need for an informal, congenial locale for those without a home is reiterated; cf. also L. Durrell, letter to A. Perles, in Art and Outrage (London: Village Press, 1973) p. 7: 'to walk in this milky dusk with the smoke rising from the bistro. Click of billiard balls, clink on the zinc of white wine glasses ... ' 120. The first essay, 'Tao and Its Glozes', was, according to a note in SIUC: 42/712, 'conceived as a 12,000 [word] critical essay' and was published in The Aryan Path, vol. X, no. 12 (December 1939). 121. Wildeis credited with having made this remark in connection with speedily produced biographies of Rossetti by Hall Caine and William Sharp. 122. Letter from Durrell to Perles, undated: SIUCILDI Accession II. 123. Conversation with the author. 124. Manuscript notes clearly made during or shortly after Mrs Durrell's funeral (cremation?) and subsequent reception (at a 'Basil St. hotel with its resemblance to the Planters' Club in Darjiling') are contained in notebook in CERLD inv. 1349, pp. 50-2. The details noted were introduced into Durrell's writing in the passage in Livia describing the funeral of Blanford's mother (Quintet 478--80). 125. Construire, no. 4 (23 Janvier 1985). 126. Sunday Telegraph Magazine, 18 November 1984 'Lamas in a French Forest'; Durrell wrote on behalf of the Tibetan community to the President of France, inviting him to attend the official opening of the lamasery on 22 August 1978 (letter, uncatalogued, in CERLD; text of printed appeal, written by Durrell and listing Durrell, Jacques Lacar­ riere and Gerald Durrell as the 'comitt?', in SIUCILDI Accession II). 127. Several versions of another poem, addressed to 'F. K.' ('I'm dying more slowly since we met ... For me the last love was the very best I You set the boundaries of my art apart I And gifted me a wideawake old heart') are contained in a notebook in CERLD inv 1359, pp. 67ff. 128. SIUCILDI Accession II. 129. SIUCILDI Accession II: box 1 (catalogue item no. 3) 130. A. Burgess, obituary notice of Durrell, Independent on Sunday, 11 November 1990. 131. Haag, op. cit. 132. Obituary notice [anonymous] in The Times, 9 November 1990. 133. P. Howard, The Times, 9 November 1990. 134. Haag, op. cit.

Notes to Chapter 2: 'Quests, Confessions and Puzzles' 1. SIUC 42119 18; the expression appears, in a slightly different version, in Nunquam (p. 52) -there are several variants of the phrase in the notebooks for The Revolt. 400 Notes and References 2. Cf. in particular F. Prokosch, The Asiatics (1935) (repr. New York: Farrar Straus Giroux, 1983) and The Seven Who Fled (1937) (repr. New York: Farrar Straus Giroux, 1984) [cf. also DML 157]. 3. D. Barnes, Nightwood (1936 repr. in Selected Works of Djuna Barnes (New York: Farrar Straus Giroux, 1980). 4. Conversation with the author. 5. Writers at Work: The Paris Review Interviews, 2nd series, ed. George Plimpton (Harmondsworth: Penguin, 1977) p. 282. In the publisher's dummy 'The Cantos of Ezra Pound' already referred to (CERLD uncatalogued item) Durrell had pasted in a newspaper cutting: "'Writing is a neurosis" says Dr Bergler, "like alcoholism and homo­ sexuality. It is the symptom of an illness that goes back to the earliest stage of pre-natal life".' 6. 'Placebo' ts, p. 100. 7. M. Alyn, Lawrence Durrell: The Big Supposer (London: Abelard­ Schuman, 1973) p. 67. 8. Cf. Ibsen's Rosmersholm. 9. CERLD inv. 1344, p. 15. 10. SIUC: 42/8/1. 11. CERLD inv. 1345, p. 36. 12. E. Levi, Transcendental Magic, Its Doctrine and Ritual, trans. A. E. Waite (London: Rider [Hutchinson], 1958) p. 1589; copy in SIUC/LD/ Acces­ sion II. 13. CERLD: Cercle/ts. 14. Cf. A. Nin, The Novel of the Future (London: Peter Owens, 1953) PP· 118-9. 15. SIUC: 42/8/1. 16. G. Groddeck, The Book of the It (1949) repr. with intro. by Lawrence Durrell (London: Vision Press, 1961) p. 14. 17. 'Placebo' ts, p. 149. 18. Ibid., p. 145. 19. Cf. Unterecker, Lawrence Durrell, p. 32. 20. Rank, Art and Artist, p. xlvii. 21. Ibid. p. xliii; the complete passage marked by Durrell reads as follows: While art and culture-history are, quite rightly, interested in the succession in time of the phenomena and the different influences under which they come into being, we, on the other hand, regard it as our task to establish, not the spatial 'whence' or the temporal 'since when' but the spiritual why. 22. Alyn, op. cit., p. 45; cf. also F. Pessoa, The Book of Disquiet, trans. I. Watson (London: Quartet, 1991) p. 6: 'each one of us is multiple in our unique selves, is myriad, is a proliferation of ourselves'. 23. W. D. Buchan, 'The Four Most Important Elements in Lawrence Durrell's Chart', in OMG/2, p. 221. 24. SIUC: 42/19/8. 25. W. B. Yeats, 'Per Arnica Silentia Lunae' in Mythologies (London: Macmillan, 1959) p. 328; cf. also M. de Unamuno, Abel Sanchez, op. cit., Notes and References 401 p. 346: 'this is the human tragedy, and like Job, every man is a child of contradictions'. 26. Encyclopaedia Britannica, 14th ed (1932) vol. 2, p. 575. 27. A. Nin, The Diary of Anais Nin, vol. 2: 1934-1939 (New York: Swallow Press and Harcourt, Brace & World, 1967) p. 260. 28. Groddeck, op. cit., p. vi. 29. Writers at Work, op. cit., p. 275. 30. C. Moricand, 'Astrological Portrait of Lawrence Durrell', in Alyn, op. cit., pp. 153--7. 31. Buchan, op. cit. 32. Cf. V. Volkoff, Lawrence le magnifique: essai sur Lawrence Durrell et le roman relativiste (Paris: Juillard/l'Age d'Homme, 1984): there is an ironic note in the author's ambiguous remark (p. 95) 'Durrell est un ingenieur'; cf. also ibid., 'aussi deliberement cosmopolite qu'imper­ turbablement britiche', p. 13. 33. A. Gauntlett, 'Interpretation of the Horoscope 375/A Mr Durrell': SIUC/LD/ Accession II: box 1, folder 4. 34. There is also within the same SIUC folder a manuscript 'Constella­ tion' by Durrell which, with references to his own and his siblings' relationships to each other and to their parents, is of very significant biographical interest. 35. SIUC: 42/8/1. To several entries in this notebook, Durrell added the remark 'Macon' or 'Macon's notes', sometimes spelling the name 'Macon' and at other times 'Ma<;on'. A typical example is: 'The embryo in the womb knows time but not space; dreams are reality (time) minus causality. The confusion is due to a missing dimension' or 'What is to be learned is method. The great negative; the paradox of advancing by retreating, choosing both among opposites; enduring all; loving.' When asked to what 'Macon' or 'Ma~on' or 'Ma~on's notes' might refer, Durrell offered the suggestion that at a synod of the Catholic Church held in the Burgundian town of Macon c. AD 581 certain topics, including whether women had souls, the 'freemason's alphabet', statuary and the Templars, had been discussed, and surmised that the entries in his notebooks referred to this; information to the author via Mary J. Byrne. However, although there were indeed three synods held at Macon (in AD 581, 585 and 62), none of these matters is recorded as having been discussed (cf. Schaff-Herzog Encyclopaedia of Religious Knowledge, ed. S. M. Jackson, [New York: Funk and Wapalis, 1910)12 vols). Even if this was a characteristic leg­ pull by Durrell to give the wrong scent to researchers, it remains a mystery how he could have been so resourceful not merely in know­ ing of the synod's existence but also in imagining the details of its proceedings. The mystery of what 'Macon' refers to remains, of course. 36. Groddeck, op. cit., p. 238. 37. Kierkegaard, Either/Or (London: Oxford University Press, 1944) vol. 1, p. 181. 38. G. Stein, Paris, France (New York, 1940). 39. L. Durrell, Blue Thirst, p. 22. 40. CERLD/Moreau/Wagner. 402 Notes and References 41. CERLD uncatalogued item: publisher's dummy (unmarked) dated 1937-9 but also extending into the period 1940-4 (see below, my chapter on an 'Ionian Quartet', and Part 3, for a fuller discussion of the contents of this notebook and their evolutionary significance). 42. Draft for the introduction to Balthazar: SIUC 42/19/8. 43. S. Durrell, op. cit., pp. 61, 62: 'he is a master in the art of psychologi­ cal destruction. He knows just where to hit. ... At the end of his tipsy stages he becomes very destructive, with a terrible psychologi­ cal accuracy.' 44. Cf. Bruno Bettelheim, The Empty Fortress: Infantile Autism and the Birth of the Self (New York: The Free Press, 1967) pp. 43ff, where he discusses autism as a response to external threat. 45. Yeats is a typical example of the nineteenth-century capacity for internalised dialogue between 'self and soul'. 46. It should be noted that, more than 'home', 'nostos' literally means 'the homeward journey', making 'nostalgia' to mean 'the pain of the journey home'. 47. SIUC 42/8/1. 48. SIUC 42/7/3: notebook inscribed 'Paris, Summer, 1938'. 49. L. Durrell, introduction to Wordsworth selected by L. Durrell pp. 9-10. 50. R. D. Laing, The Divided Self: An Existential Study in Sanity and Madness (London: Penguin, 1965) p. 65. 51. R. D. Laing, The Politics of Experience (Harmondsworth: Penguin, 1967) p. 95. 52. Alyn, op. cit., p. 26. 53. Conversation with the author. 54. Cercle/ts. 55. Cf. Jyoti Sahi, The Child and the Serpent: Reflections on Popular Indian Sym­ bols (London: Routledge and Kegan Paul, 1980) p. 37: 'it is the child who through his playful fantasies creates one universe after another. Often the figure of the wise old man, or ancestor, and the child, or first mortal, are confused, forming two aspects of one person.' 56. Demon est deus inversus: the name adopted by Yeats on initiation into the Hermetic Order of the Golden Dawn. 57. SIUC 42/8/1. 58. S. Durrell, op. cit., p.63: 'he became the devil ... she [my mum] looked up and saw in my father's face an awful demonic look. It was as plain as day. As soon as he realised that she had seen it, he caught himself and re-composed his features.' 59. T. Hobbes, The Life of Mr Thomas Hobbes of Malmesbury, written by himself in a Latine Poem and new Translated into English ([London: 1680] Exeter: The Rota, 1979) p. 2: 'My Mother Dear I Did bring forth Twins at once, both Me, and Fear.' 60. Keats, preface to Endymion. 61. F. J. Mott, The Universal Design of Birth: An Analysis of the Configurational Involvement of Birth and the Relation to Emergence Generally (Philadelphia, Pa.: McKay, 1948) p. 117, passage marked by Durrell in his copy (SIUC/LD/ Accession II). Durrell also remarked 'brilliant!' beside Mott's point (p. 33) that 'people who have not been Notes and References 403 thoroughly born ... are either striving back to the unborn life in their feelings, or are trying to exist in [their] disintegrated condition'. Durrell professed himself extremely impressed by both this book and Mott's sequel The Universal Design of the Oedipus Complex: The Solution of the Riddle of the Theban Sphinx in Terms of a Universal Gestalt (Phila­ delphia, Pa: McKay, 1950) which he also annotated; cf. DML 258-9. 62. Cf. his musical Ulysses Come Back: 'outline sketch of a musical based upon the last three love-affairs of Ulysses the Greek adventurer of mythology, adapted rather lightheartedly from Homer' (London: Turret Books, 1970) which was also issued as a recording: TRT 102. 63. A. Rimbaud, Lettre du Voyant: cf. R. Kearney, TheW ake of Imagination: Ideas of Creativity in Western Culture (London: Hutchinson, 1988) pp. 257-8; Pine, The Dandy and the Herald, pp. 95, 157, 185-6, 207. 64. Rimbaud, 'L'Epax Infernel et la Vierge Folie', quoted in E. Starkie, Arthur Rimbaud (London: Faber and Faber, 1961) p. 187. 65. K. Miller, Doubles: Studies in Literary History (Oxford: Oxford University Press, 1987) p. vi. 66. J. Conrad, Notes on Life and Letters (London: Dent, 1921) p. 18. 67. CERLD, uncatalogued item (published's dummy used a notebook) dat­ ing from c. 1937-44, i.e. begun in Corfu and finished in Egypt; for the further significance of this notebook, see Part 2, chapter 6 and Part 3. 68. Ibid. 69. Ibid. 70. Writers at Work, op. cit., p. 276. 71. 0. Rank, The Trauma of Birth (London: Routledge and Kegan Paul, 1929) p. 168. 72. cf. PPL, pp. 26ff; cf. also Groddeck, op. cit., p. 122: 'we are children and remain so ... we repress, everlastingly repress'; a cardinal point of coincidence between Walsh Clifton and Kim is, of course, the fact that both are half-castes, having been born to 'native' mothers. 73. S. Durrell, op. cit., p. 70; cf. again Groddeck, op. cit., pp. 12-13: 'it is not that we forget those first years, only the remembrance of them is shut out from our consciousness .... Life begins with childhood, and by a thousand devious paths through maturity attains its single goal, once more to be a child.' 74. Mott, Universal Design. 75. 0. Rank, The Trauma of Birth, p. 157; cf. also Sahi, op. cit. pp. 2-3: 'in many ancient mythologies it is the child who is thought to be the active agent [in the womb]. It is he who like a young hero struggles out of the womb and takes hold of the destiny of his whole life.' 76. Bettelheim, Uses of Enchantment, p. 128. 77. A. Nin, Diary, vol. 6: pp. 163-4, 182: cf. also Mott, Universal Design, pp. 3-4: 'our feelings uniformly sense that we are our own father, who has somehow passed through the womb of our mother, thus turning into ourself'. 78. SIUC 42/12/2. 79. cf. F. J. Mott, Biosynthesis: First Statement of a Configurational Psychology (Philadelphia, Pa.: McKay, 1948) p. 245: 'we take our sexual natures for granted, supposing that a boy is simply a boy ... and that a girl ... 404 Notes and References is simply a girl. Nothing could be further from the truth'; marked by Durrell in his copy, now in SIUC/LD/ Accession II 80. Construire, op. cit.

Notes to Chapter 3: The Child and the House

1. G. B. Shaw, introduction to Dickens, Hard Times (London: Waverley [Waverley edition], 1913). 2. Karl Marx, quoted by F. Jameson, 'Postmodernism and Consumer Soceity', in The Anti-Aesthetic: Essays on Postmodern Culture, ed. H. Foster (Port Townsend, Wash.: Bay Press, 1983) p. 115 3. Cf. M. de Unamuno, The Tragic Sense of Life (London: Macmillan, 1921) discussed in Pine, The Dandy and the Herald, pp. 91-2, 117. 4. SIUC 42/9 /5; cf. also Steven Marcus, Freud and the Culture of Psycho­ analysis: Studies in the Transition from Victorian Humanism to Moder­ nity (New York: W. W. Norton, 1984) p. 254: 'Freud was one of those figures from the old culture who postulated in his theories an exter­ nal world that was real and an internal world that was also real. This internal world partly depended on the external world and was partly independent of it.' 5. Cf. Pine, The Dandy and the Herald, ch. 2, 'The English Renaissance: Art and Politics 1840-95' and ch. 3, 'Vortex, 1895-1920'. 6. D. Carradine, 'Time Gentleman, Please', review of S. Kern, The Cul- tureofTime and Space 1880-1918, London Review of Books, 19 July 1984. 7. Pine, The Dandy and the Herald, pp. 55, 91-2,219. 8. cf. Kundera, op. cit., 'The Depreciated Legacy of Cervantes', pp. 3-20. 9. E. M. Forster, Pharos and Pharillon (London: Hogarth Press, 1923) p. 75. 10. A. Storr, Solitude (London: Flamingo, 1989 [originally published 1988 by Andre Deutsch as The School of Genius]) p. 64. 11. Conversation with the author; cf. also SP 36--8. 12. Cf. Bettelheim, The Uses of Enchantment, p. 4: 'the acquisition of skills, including the ability to read, becomes devalued when what one has learned to read adds nothing of importance to one's life'. 13. SIUC 42/15/6 (a notebook for Clea). 14. H. Bergson, Creative Evolution, trans. A Mitchell (London: Macmillan, 1911) p. 219. 15. Conversation with the author. 16. Bettelheim, Uses of Enchantment, p. 5. 17. C. G. Jung, 'The Development of Personality', Collected Works (London: Routledge and Kegan Paul) vol. 17, para 284. 18. W. Pater, quoted in L. Evans, Letters of Walter Pater (Oxford: Oxford University Press, 1970) p. xxix. 19. W. Pater, 'Imaginary Portraits: 1: The Child in the House', Macmill­ an's Magazine, August 1878; cf. also Pater's Marius the Epicurean (London: Macmillan, 1885) vol. 1, p. 24: 'that beautiful dwelling­ place lent the reality of concrete outline to a peculiar ideal of home, which throughout the rest of his life he seemed, amid many distrac­ tions of spirit, to be ever seeking to regain'. Cf. also M. Levey, The Case of Walter Pater (London: Thames and Hudson, 1978) p. 22. Notes and References 405 20. SIUC 42/19/8; cf. Bettelheim, Uses of Enchantment, pp. 74-5: in the fairy tale 'every figure is essentially one-dimensional, enabling the child to comprehend its actions and reactions easily. Through simple and direct images the fairy story helps the child sort out his complex and ambivalent feelings, so that these begin to fall each one into a separate place, rather than being all one big muddle.... Even Freud found no better way to help make sense out of the incredible mix­ ture of contradictions which coexist in our mind and inner life than by creating symbols for isolated aspects of the personality.' 21. S. P. Rosenbaum, Victorian Bloomsbury: The Early Literary History of the Bloomsbury Group (London: Macmillan, 1983) pp. 17-18. 22. Skandha: for further discussion of the term, see part 5. 23. L. Durrell, introduction to Pen and Pencil: Drawings and Paintings by British Authors, catalogue of an exhibition at the International Cultural Center, Antwerp/Brussels 1973/74 (National Book League); the exhibition included nine items by Durrell under the pseudonym 'Oscar Epfs'. 24. SIUC 42/19/8. 25. E. Pound, 'A Retrospect' in Blast 1, ed. P. Wyndham Lewis, 1914. 26. L. Durrell, White Eagles Over Serbia (London: Faber and Faber, 1957). 27. MM/ ts, p. 12. 28. Ibid., p. 15. 29. Letter to the author. 30. Campbell, op. cit, p. 101, refers to 'those unseen libidinal ties without which no human groups could exist'. 31. Pater, Marius, vol. 1, p. 25. 32. Groddeck, op. cit., p. 59. 33. MM/ts, p. 6. 34. This act of faith on Durrell's part constantly recurred: in late life he expressed the same belief in the form of a wish: 'right up to the last minute, the last drawn breath, the options are open, the miracle is available' (conversation with the author). 35. SIUC/LD/ Accession II holds: Baroness Orczy, A Joyous Adventure; John Buchan, Castle Gay, Huntingtower and the stories The Moon Endureth; and Anthony Hope [Hawkins], Prisoner of Zenda. 36. Kundera, op. cit., pp. 15-16. 37. Fraser, op. cit., p. 130. 38. 'From the Elephant's Back' and in conversation with the author. 39. W. B. Yeats, quoted in R. EHmann, Yeats: The Man and the Mask (London: Macmillan, 1948) p. 12. 40. Bradbury and McFarlane, op. cit., p. 26. 41. G. Hough, 'The Modernist Lyric' in Bradbury and McFarlane, op. cit., pp. 312-13. 42. H. S. Hughes, Consciousness and Society (Brighton: Harvester, 1979) P· 34. 43. T. Mann, Doctor Faustus (London: Seeker and Warburg_ 1979) p. 378. 44. S. Nalbantian, chapter title in Seeds of Decadence in the Late Nineteenth Century Novel (London: Macmillan, 1983); cf. also Pater, 'Coleridge's Writings', Westminster Review, no. 29 (1866) p. 132: 'Coleridge ... repre- 406 Notes and References sents that inexhaustible discontent, languor, and homesickness, the chords of which ring all through our modem literature.' 45. Pine, The Dandy and the Herald, 'The Mediaeval Character of the Victorian Era', pp. 43-50. 46. cf. TCL 33/3, p. 373; Durrell also owed much to Remy de Gourmont: cf. R. Morrison, 'Remy de Gourmont and the Young Lawrence Durrell: A Creative Nexus' in Deus Loci, n.s. 1 (1992), ed. I. MacNiven, pp. 97-109; cf. also K. Brown, op. cit., p. 100, where attention is drawn to the fact that in the 1930s Durrell possessed a copy of Gourmont's The Natural Philosophy of Love. 47. cf. John Danby, Elizabethan and Jacobean Poets (London: Faber and Faber, 1965) p. 16: 'the economy of Letters as a profession in Elizabethan-Jacobean times might still be said to be late-feudal. But ... in another respect we are at the beginning of the modern age'; L. Knights, Drama and Society in the Age of Jonson (Harmondsworth: Penguin, 1962) p. 16 speaks of 'the double aspect of the age ('medieval' and 'modem'), and (p. 259): 'to understand the develop­ ment of the language between the sixteenth and twentieth centuries ... is to understand the Progress of Civilization'. 48. T. S. Eliot, 'Christopher Marlowe', in Selected Essays (London: Faber and Faber, 1951) p. 123. 49. SIUC/LD/ Accession II contains much of this material. As a brief indication of these extensive notes (which Durrell continued through­ out his life) cf.: 'Notes and biographical matter compiled for a projected book on the Elizabethan Literary Man and the circumstances of his ordinary life' to which end Durrell had assembled a wide-ranging selection of facts and data, together with quotations, on almost all the dramatists of the era; for example, a notebook entitled 'Elizabethan notebook' containing alphabetical entries on forty-five writers, from Edward Alleyn to Sir Henry Wotton, suggests that Durrell was at some stage (the style of hand­ writing points to an early date, perhaps the 1930s) near to executing the projected work. In addition, Durrell had an extensive library consisting not only of many texts from the period (e.g. the complete works of Marston, Nashe, Webster, Toumeur, and issues of The Baconian and proceedings of the Hunterian Club which reprinted 'lost' texts in the 1870s) but also commentaries on them, e.g. G. R. Hibbard, Thomas Nashe: A Critical Introduction (London: Routledge and Kegan Paul, 1962) in which Durrell had noted the use of the term 'hangman' (p. 173), the relevance of which will become evident in Part 4; J. M. Robertson, Montaigne and Shakespeare (London: A. and C. Black, 1909); and two volumes which must have caused him a wry jealousy: Edwin Haviland Miller, The Professional Writer in Elizabethan England (Cambridge, Mass: Harvard University Press, 1959) and its predecessor, Phoebe Sheavyn's The Literary Profession in the Elizabethan Age (Manchester: Manchester University Press, 1909). His notes on these volumes are replete with verbal and intellectual images (such as the recurrence of the notion of the 'black book') which find echoes right through his own work. Furthermore, CERLD holds a common- Notes and References 407 place book (uncatalogued item marked 'Quotes') containing 'Images from the Poems of Shakespear [sic]: contemp Connotations' which include Astrology, Lameness, Pheonix [sic], Boys as Girls, Darkness and Fairness, Shadows. The same page contains a quotation from Jung on the relevance of the 'caput mortum' which reappears at the opening of Monsieur. On 13 December 1959 Richard Aldington wrote to Harry T. Moore 'he wanted to write a long critical book on the Elizabethan drama, which we all besought him not to do, as it would annoy his novel-readers. But if he can do one or two successful plays, the pot will boil, and he will be kept out of literary mischief': SIUC collection 24/1/59. 50. Published in 1675: 'Parr' reappears as a character in a novel by Pursewarden in the Quartet. 51. Cf. Pater, Marius, vol. 1, p. 4: 'one exclaimed involuntarily, in consecrated phrase, Deity is in this Place! Numen Inest!' 52. W. Pater, The Renaissance: Studies in Art and Poetry (London: Macmillan, 1893) 4th edn, pp. 131-2; cf. Gerald Monsman, Walter Pater's Art of Autobiography (New Haven, Conn.: Yale University Press, 1980) p. 5: 'Pater's recognition that the categories of space, time, matter, identity, causation, and memory are tentative, incomplete, arbitrary, and relative dictates a unique kind of fiction that swallows up veridical reality.' 53. Pater, Renaissance, p. 109. 54. Quoted by M. Praz, The Romantic Agony (Oxford: Oxford University Press, 1970) 2nd edn, p. 59. 55. Pater, Renaissance, p. 162. 56. Cf. Praz, op. cit., pp. 335, 351, 388. 57. J.-K. Huysmans, Against Nature, trans. R. Baldick (Harmondsworth: Penguin, 1959) pp. 82, 176, 181. 58. Cf. Raymond Williams, The City and the Country (London: Chatto and Windus, 1973). 59. Title of a poem by James Thomson (1834-82) which characterised a Victorian attitude to urban values, e.g. in the work of his namesake, Francis Thompson (1859-1907); cf. also the expression 'dark night of the soul', employed as a title for work by StJohn of the Cross, which finds its way into Tunc: 'for many a month I wallowed in the dark night of the soul' (p. 57). 60. Cf. Kipling, Something of Myself, pp. 43, 45, 84-5. 61. Hamilton is an apposite example of the genre from which Durrell emancipated himself by escaping from 'Pudding Island' but with which he continued to have some connection: his first three novels describe an initiation into, and escape from, the squalid London of the inter-war years and are extremely close in temperament, if not in style, to Hamilton's trilogy Twenty Thousand Streets Under the Sky (London: Hogarth Press, 1987), and in particular the first volume, The Midnight Bell; the public house which gives the novel its name is similar to the 'Regina Hotel' of The Black Book in its ambience and the vulgarity of its characterisation: people are types rather than individ­ uals. The reminiscence of prostitution, venality, a beer-stained 408 Notes and References existence which persisted throughout the artistic life of Fitzrovia, for example, was also an element which Durrell carried away with him to the Mediterranean. Hamilton's bar-maids and whores and Durrell's night-club dancers are thus cognate: the upstairs room is the ultimate destination of both. Shabbiness in the male, indicated by both writers by means of the mackintosh, tawdriness in the female by means of the cheap jewellery, are a peculiar index to an exhausted society at large (what we shall see Spengler describing on a much grander, but not so remote, canvas as 'the metaphysically exhausted soil of the West'). The method of dealing with emotional response is something the two writers seem to have in common: the whore's kiss- 'there had never been such a kiss in the history of the world' (Hamilton, p. 82) - is not far from the 'paraphrase' effected by the kiss in the Quartet (p. 368). 62. I. MacNiven, 'Steps to Livia: The State of Durrell's Fiction', in Deus Loci, vol. 5, no. 1, ed. M. Cartwright (1981) pp. 330-47. 63. Construire, op. cit. 64. A. David-Neel, My Journey to Lhasa (London: Heinemann, 1927); With Magicians and Mystics in Tibet ([first published in French in 1929] London: John Lane, 1931); Buddhism (London: Bodley Head, 1939). 65. A. Huxley, The Perennial Philosophy (London: Fontana, 1958) p. 9. 66. David-Nee!, Journey to Lhasa, p. xvii. 67. Ibid., p. xix. 68. Durrell's commissioned interview (for Elle) is described in his fore­ word to B. and M. Foster, Forbidden Journey: The Life of Alexandra David-Nee/ (San Francisco: Harper and Row, 1987) pp. ix-x. 69. R. Kipling, Something of Myself, p. 116. 70. R. Kipling, Kim (London: Macmillan, 1908) pocket edn, p. 12. 71. Ibid., p. 14. 72. Ibid., p. 168. 73. Ibid., pp. 112-3. 74. Ibid., p. 326. 75. Cf. Tao Te Ching, XIV, 33: 'Its upper part is not dazzling, its lower part is not obscure. Dimly visible, it cannot be named, and returns to that which is without substance': compare this to Vaughan's 'deep but dazzling darkness'. 76. Ibid., XXI, 48ff: 'In his every movement the man of great virtue follows the way and the way only. As a thing the way is shadowy, indistinct, yet within it is an image; ... within it is a substance, dim and dark, yet within it is an essence. This essence is quite genuine and within it is something that can be tested. From the present back to antiquity its name never deserted it. It serves as a means for inspecting the fathers of the multitude.' 77. A. A. Mendilow, Time and the Novel (London: Peter Nevill, 1952). 78. Steiner, Real Presences, p. 53. 79. Maeterlinck's La Vie de l'Espace is in SIUC/LD/ Accession II. 80. Knights, op. cit., p. 148; cf. also Steiner, Real Presences, p. 95: 'to ascribe to words a correspondence to "things out there", to see and use them as somehow representational of "reality" in the world ... makes of Notes and References 409 language a lie'; and p. 132: 'without having either to affirm or to deny the "death of God" -such affirmation or denial being merely oratorical gestures on behalf of a vacant simile - deconstruction teaches us that where there is no "face of God" for the semantic marker to tum to, there can be no transcendent or decidable intelligibility'. 81. cf. Steiner, Real Presences, pp. 7G-1, 76: 'The notion of "indeterminacy" ... has put in critical doubt the deterministic classical conditions of proof, of experimental verification. . .. Together, indeterminacy and complementarity presume an interference by the observer, by the process of observation, with the phenomenal material. ... The two principles. . . . are at the heart of all interpretative and all critical proceedings and acts of speech in literature and the arts.' 82. cf. M. Beja, Joyce, the Artist Manquee and Indeterminacy (Gerrards Cross: Colin Smythe, 1989). 83. Writers at Work, op. cit., p. 277. 84. H. Bergson, Time and Free Will: An Essay on the Immediate Data of Consciousness, trans. F. L. Pogson (London: Allen and Unwin, 1910) pp. 128-9. 85. Ibid., pp. 133-4. 86. Ibid., pp. 238-9.

Notes to Chapter 4: 'lslomania'

1. 'The Magic of Islands', ts in CERLD (uncatalogued item), intended as a preface for a Reader's Digest 'selection', lies de brume et de lumiere [1981]. 2. In his copy of The Three Parnassus Plays Durrell had noted the passage 'letts ... hast unto those sleepe adorned hills, I Where if not blesse our fortunes one may blesse our wills' (p. 357); while in The Complete Works of John Webster, ed. F. L. Lucas (London: Chatto and Windus, 1927) he had noted (vol. 4. p. 80) 'anything for a quiet life' in the play of that title; cf. Wordsworth, 'poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquility', Letters [24 May 1807]. 3. In his copy of Wyndham Lewis's Time and Western Man (London: Chatto and Windus, 1927) Durrell had noted (p. 175): 'you become no longer on:e, but many. What you pay for the pantheistic, immanent oneness of 'creative', 'evolutionary' substance, into which you are invited to merge, is that you have become a phalanstery of selves' (SIUC/LD/ Accession II). 4. Cf. W. B. Yeats, The Poems, ed. R. Finneran (London: Macmillan) p.150. 5. 'The Magic of Islands' ts; cf. Mott's works (cited above) passim. 6. SIUC 42/8/1. 7. Rank, Art and Artist, p. 217. 8. Ibid., p. 24. 9. Lawrence Durrell and Henry Miller: A Private Correspondence, ed. G. Wickes (London: Faber and Faber, 1963) p. 24. 10. Windmill, vol. 2, no. 6 (1947) 'From a Writer's Journal'. 410 Notes and References 11. Private Correspondence, pp. 202-3. 12. Personal Landscape, vol. 1, no. 4 (1942). 13. Brown, op. cit., p. 106. 14. F. Pessoa, The Book of Disquiet, trans. I. Watson (London: Quartet, 1991) p.18. 15. S. Kierkegaard, Either/Or, ed. V. Eremita (London: Penguin, 1992) abridged edn, p. 550. 16. Cf. S. Hawking, A Brief History of Time (London: Bantam, 1988) pp. 171-3. 17. Quoted in Lama Anagarika Govinda, Foundations of Tibetan Mysticism According to the Esoteric Teachings of the Great Mantric OM MAN! PADME HUM (London: Rider, 1959) p. 270 (SIUC/LD/ Accession II). 18. Quoted in F. Hartmann, The Life of Paracelsus (London: Kegan Trubner Trench, n. d.) p. 229 (SIUC/LD/ Accession II). 19. SIUC 42/9/3. 20. CERLD Corfu/Egypt notes: 'Prospera's Cell: a speculative essay from the marked IVth Folio, suggesting Corfu as the possible imaginative site of the tempest.' Another note, in SIUC 42/9/1, among notes referring to Rank's Trauma of Birth, puts the viewpoint (often, as we have already seen, promoted by Durrell) that men are attracted to harbour as a return to the womb: 'this acceptance is the Tempest World: womb again as the Shakespearean finale: AN ISLAND - beautiful foetal growth, surrounded by amniotic ocean.' 21. SIUC 42/8/1: this entry is accompanied by the marginal notation 'Macon' (see above, chapter 2, n. 35). 22. Ibid. 23. Marked by Durrell in G. R. S. Mead, Thrice Greatest Hermes: Studies in Hellenic Theosophy and Gnosis (London: Watkins, 1906; 1949 reprint) vol. 3, p. 32 (SIUC/LD/ Accession II). 24. Marked by Durrell in The Zen Teaching of Huang Po on the Transmission of Mind, trans. J. Blofeld (London: Rider, 1958) p. 42 (SIUC/LD I Accession II). 25. Cf. SME, p. 53: 'heraldic ... means simply the "mandala" of the poet or of the poem. It is the alchemical sigil or signature of the individual; what's left when the ego is extracted. It is the pure nonentity of the entity for which the poem stands like an ideogram!' 26. CERLD inv. 1344, p. 45. 27. Hartmann, op. cit., p. 172. 28. 'From the Elephant's Back'. 29. Ibid. 30. Ibid. 31. SIUC 42/8/1. 32. Ibid. 33. Ibid.; the reference to 'Cadeuceus' [sic] reminds us of the name under which the Wilkinsons published Durrell's early poetry. The reference to Graham Howe's Time and the Child (London: 1939) concerns a diagram (p. 220) intended to demonstrate a form of 'incarnation' by movement from one side of a line (representing an 'ideal' state - 'unseen, spiritual, eternal') to the other 'real, Me Now, seen, material, space-temporal'); in some senses this contradicts Durrell's movement Notes and References 411 to possess the Heraldic Universe (from 'minus' side to 'plus' side) and in others confirms it (Durrell made his own version of this diagram in CERLD Corfu/Egypt notes); the reference to Saurat's The End of Fear (London: Faber and Faber, 1938), a prose-poem, focuses on Durrell's interest in a sphere 'moving by its own force in a straight course through a space apparently unlimited' which enters a funnel-like canal before reaching 'an eternal moment: the sphere and [its] limits are one ... the sphere is clothed with the canal' (pp. 45-6). 34. Ibid. 35. Encyclopaedia Britannica, vol. 12, p. 248. 36. SIUC 42/8/1. 37. Ibid. 38. Ibid. 39. Ibid. 40. Ibid. 41. Ibid. 42. L. Durrell, foreword to J. Lacarriere, The Gnostics (San Francisco; City Lights, 1989 repr.) p. 7. 43. SIUC 42/8/1; this is a variant on the text which appears in SME, pp. 56-7. 44. SIUC 42/7/2. 45. SIUC 42/19/10: 'Nimes 1962'. 46. 'Shakespeare and Love', SIUC 42/15/1, published as 'Shakespeare et I'Amour', in Shakespeare: Collection Genies et Realites (Paris: Hachette, 1965). 47. H. Miller, Colossus of Maroussi, p. 218. 48. 'From a Writer's Journal', Windmill, II, 6 (1947). 49. Diaries of Anais Nin, vol. 2, p. 255. 50. Ibid. 51. Cf. Pine, The Dandy and the Herald, pp. 186-95.

Notes to Chapter 5: 'Pessaries of Grace'

1. SIUC/LD/ Accession II: box 1. 2. CERLD inv. 1349, p. 18. 3. SIUC/LD/Accession II: box 1. 4. CERLD inv. 1349, p. 40. 5. CERLD: 'The Asides of Demonax' pp. 36, 52. 6. Cf. Steiner, Antigones (Oxford: Clarendon Press, 1986) p. 133. 7. CERLD: Corfu/Egypt notes. 8. Cf. W. B. Stanford, The Ulysses Theme: a Study in the Adaptability of a Traditional Hero (Oxford: Blackwell, 1968). Durrell's copy (SIUC/LD/ Accession II) is extensively annotated. 9. W. Blake, 'The Question Answer'd', in 'Poems from Blake's Ms. Book', Blake's Poems and Prophecies, ed. M. Plowman (London: Dent, Everyman's Library, 1927) p. 383. 10. Cf. G. Steiner, After Babel: Aspects of Language and Translation (Oxford: Oxford University Press, 1975) pp. 58-9: 'as the modem epistemolo- 412 Notes and References gist might put it, there was a complete, point-to-point mapping of language onto the true substance and shape of things. Each name, each proposition, was an equation, with uniquely and perfectly defined roots, between human perception and the facts of the case. Our speech interposes itself between apprehension and truth like a dusty pane or warped mirror.... Thus Babel was a second Fall.' 11. W. B. Yeats, 'Anima Hominis', Mythologies (London: Macmillan, 1959) p. 331. 12. SIUC/LD/ Accession II: Box 1: file labelled 'Provence? Notebook', p. 17. 13. 'Kneller tape', p. 163. 14. Introduction to Wordsworth, p. 21. 15. L. Durrell, A Private Country (London: Faber and Faber, 1943). 16. L. Durrell, Cities, Plains and People (London: Faber and Faber, 1946). 17. Cf. Henry Vaughan, 'The Night' in Henry Vaughan: Poetry and Selected Prose, ed. L. C. Martin (London: Oxford University Press, 1963) p. 358. 18. Rank, Art and Artist, p. 18. 19. CERLD: Corfu/Egypt notes. 20. Rank, Art and Artist, p. 133. 21. CERLD: Corfu/Egypt notes. 22. SIUC 42/19/10 'Nimes, 1962'. 23. L. Durrell, Quaint Fragment: Poems Written Between the Ages of Sixteen and Nineteen (London: Cecil Press, 1931). 24. L. Durrell, The Tree of Idleness and Other Poems (London: Faber and Faber, 1955). 25. L. Durrell, The Red Limbo Lingo (London: Faber and Faber, 1971). 26. L. Durrell, Vega and Other Poems (London: Faber and Faber, 1973). 27. Adorno, Minima Morcalia. 28. Green, op cit., p. 14. 29. Cf. Pine, The Dandy and the Herald, pp. 196-217. 30. R. Ellmann, 'The Uses of Decadence', in A Long the Riverrun (New York: Vintage Books, 1990) p. 14. 31. Conversation with the author. 32. Cf. Pine, The Dandy and the Herald, pp. 113-23. 33. Cf. 0. Rank, Don Juan: une etude sur le double (Paris: Denoel and Sterle, 1932); Der Doppelganger: eine Psycholoanalytische Studie (Leipzig: Interantionalischer Psychoanalytischer Verlag, 1925); Masao Miyoshi, The Divided Self: A Perspective on the Literature of the Victorians (New York University Press, 1969); Ralph Tymms, Doubles in Literary Psy­ chology (Cambridge: Bowes and Bowes, 1949); Praz, Romantic Agony; Karl Miller, Doubles: Studies in Literary History (Oxford: Oxford University Press, 1987). 34. Cf. K. Miller's discussion of Edward Thomas's poem 'The Other' (Doubles, p. 29): 'for all that he is cultivating a genre, addressing a topos, adapting and inflecting, while also reversing, a traditional utterance, we may think that Thomas means what he says. What he says could never happen, though it could well be dreamt, and it had in some sense been said before by others.' Notes and References 413 35. cf. Unamuno, Abel Sanchez, p. 319: 'In solitude he never managed to be alone, the other one was always present.' 36. cf. Rank, Art and Artist, p. 61: 'To the muse for whom he creates (or thinks he creates), the artist seldom gives himself; he plays with his works, and this the truly womanly woman often refuses to accept. But if his relation takes a homosexual form, this giving is still more obviously a giving to himself; that is, the artistic form of giving through production instead of surrendering the personal ego'; n.b. Durrell's marginal comment 'Wonderful. Conon'. 37. cf. Enid Starkie, Arthur Rimbaud, pp. 104-12; see also pp. 13-15,93. 38. Ibid., p. 234, and 346-50. 39. cf. Pessoa, op. cit., p. 6: 'unceasingly I felt that I was an other, that I felt other, that I thought other. I am a spectator of a play produced with defferent scenery. And I am a spectator of myself.' 40. S. Heaney, The Redress of Poetry: An Inaugural Lecture Delivered before the University of Oxford on 24 October 1989 (Oxford: Clarendon Press, 1990), pp. 2, 4. 41. Fraser, Aquarius, pp. 79-80. 42. CERLD, 'Asides of Demonax', p. 7. 43. Durrell recorded 'Nemea' and other poems for Turret Books in the 1960s. 44. Note on Acte for the German production, SIUC 42/18/8. 45. Ibid. 46. Cf. Sappho, scene 1, stage direction for Minos: 'the bracketed parts of his soliloquy represent the intrusion of a dual voice which resembles his own' (p. 9); in scene 2, the same strategy is adopted for Sappho: 'the intruding dual voice which is not hers but resembles it' (p. 81): Sappho: a Play in Verse (London: Faber and Faber, 1950); a similar technique is employed in Beckett's Rockaby and, of course, Krapp's Last Tape. 47. L. Durrell, 'Sappho and After', Labrys, 5 (1979). 48. Ibid. The account reprinted in Labrys includes material from the original production note, including this passage. 49. Ibid. 50. SIUC 42/10/1. 51. Ibid., ts p. 3. 52. Ibid, pp. 8-9. While there is no hint in the play of any lesbian tendency in Sappho, there is evidence in the prose version that Dur­ rell had contemplated its introduction. 53. SIUC 42/18/8. 54. SIUC/LD/ Accession II. 55. Ibid. 56. Red Limbo Lingo p. 9. This prefatory poem, together with the prose sections of The Red Limbo Lingo, was not included in the 1980 revised edition of CP: the editor, James A. Brigham, is not aware of Durrell's reason for the exclusion.

Notes to Chapter 6: An 'Ionian Quartet'

1. See above, p. 309. 414 Notes and References 2. There are many points at which Durrell would have relished Lautreamont (Milldoror, trans. A. Lykiard [London: Alison and Busby, 1970]): the Sadean air of inversion - 'I set my genius to portray the pleasures of cruelty' (p. 3)- the consciousness of change ('how long ago it is since I seemed to resemble myself' - p. 112), the craving for auton­ omy (p. 151) and the recognition of causality: 'I cast a long look of satis­ faction upon the duality that composes me . . . and find myself beautiful! [... ] The fact is, there are two of us contemplating each other's eyelashes, you see' (pp. 188-9) and, perhaps above all, the Pursewar­ denish notion that man can debate with God, 'plying terrible ironies with a cool, firm hand' (p. 38) are all epitomies of the nineteenth­ century dialogue and aesthetic from which Durrell never escaped. 3. W. B. Yeats, Autobiographies (London: Macmillan, 1955) p. 189. 4. Cf. Emerson, quoted in L. Gordon, Eliot's Early Years (Oxford: Oxford University Press, 1977) p. 44: 'I know that the world I converse with in the city is not the world I think.' 5. S. Freud, Case Histories I: 'Dora' and 'Little Hans', Penguin Freud Library vol. 8 (London: Penguin, 1977) pp. 173,265. 6. A. Huxley, Point Counter Point (London: Chatto and Windus, 1928; [repr. Grafton Books 1978]) p. 268. 7. T. S. Eliot, 'The Love Song of J. Alfred Prufrock', Complete Poems and Plays, pp. 14-15: 'Do I dare I Disturb the Universe ... To have squeezed the universe into a ball I To roll it towards some overwhelming question.' 8. Brown, op. cit, p. 98. 9. Cf. Kierkegaard, Either/Or, abridged edn, pp. 212, 581. 10. Cf. E. Pagels, The Gnostic Gospels (London: Penguin, 1979) pp. 133-4. 11. F. Dostoyevsky, Notes From Underground, trans J. Coulson (London: Penguin, 1972) pp. 122-3. 12. SIUC/LD/ Accession II; Durrell joked that 'it belongs to the period when I undressed completely and sang' (information to the author via Mary J. Byrne); in fact dated '47 Bournemouth'. 13. J. Joyce, A Portrait of the Artist as a Young Man in The Essential James Joyce (Harmondsworth: Penguin, 1963) pp. 211,247: 'You talk to me of nationality, language, religion. I shall try fly by those nets ... I will not serve that in which I no longer believe, whether it call itself my home, my fatherland, or my church.' 14. Miguel de Molinos, Spiritual Guide (1675). 15. Jeanne-Marie de la Motte Guyon, Moyen court et tres facile de faire oraison (1685). 16. Molinos, op. cit., book 3, ch. XIII, para 132, p. 160. 17. S. Beckett, The Beckett Trilogy: Molloy, Malone Dies, The Unnamable (London: Picador, 1979) p. 382. 18. Rank, Art and Artist, ch. 1. 19. cf. Gordon, Eliot's Early Years, pp. 60, 108, 112. 20. K. Brown, op. cit., p. 97. 21. CERLD/Moreau/Wagner: 'on goute la mort a travers l'orgasme'; 'the nearest vicarious approach to death is by the orgasm' (Tunc 43). Notes and References 415 22. Cf. Unamuno, How to Make a Novel, pp. 420, 439: 'I had conceived the idea ... of writing a novel, of making a novel in which I would put down the most intense experiences of my exile, and thereby create myself.... The first step was to invent a central character who would be naturally, myself .... The point is that if I do not make a legend for myself, I will die altogether.' 23. Graecen: as in many cases, some of them noted below, Durrell was in the habit of borrowing or adopting proper or personal names from mythology, from history and from his own associates; in the case of Graecen he seems to have corrupted the surname [and initial] of Robert Greacen, an Anglo-Irish, near-contemporary, poet who collaborated with Alex Comfort in an anthology (Lyra) for which they unsuccessfully canvassed a contribution from Durrell: information from Robert Greacen. 24. Cf. Key, Chapter 8 passim. 25. Cf. Byron, Don Juan, book xiv, stanza 101: 'truth is always strange I Stranger than fiction'. 26. Faith in Fakes: the original (USA) title of the book published in the UK by Umberto Eco as Travels in Hyper-Reality. 27. Brown, op. cit., p. 103. 28. J. Joyce, 'A Painful Case', Dubliners, in The Essential James Joyce, p. 426: 'he had an odd autobiographical habit which led him to compose in his mind from time to time a short sentence about himself containing a subject in the third person and a predicate in the past tense'. 29. J. Joyce, Portrait of the Artist, ibid., p. 200.

Notes to Chapter 7: The City as Field

1. L. Mumford, The Culture of Cities (London: Seeker and Warburg, 1938) pp. 9, 5 also N. Lewis, 'The Alexandria Quartet and the Motion of the Field: Drifting, Exploring, Regrouping' in OMG/2, pp. 145-54. 2. Kundera, op. cit., p. 133. 3. Laing, Self and Others, p. 9. 4. Cf. Sahi, op. cit., p. 65: Space is conceived of as built up of a network of lines of force running from north to south, east to west, and the points of inter­ section of these lines are filled with magical energy. The Hindu temple is built on this idea of space, its construction surrounded by magic rites. The mandala pattern on which the temple plan is based is a grid system of squares, created by intersecting lines of force which cut each other at right angles .... This point on which I am standing is not just isolated, a point without meaning or rela­ tionship with any other point; on the contrary it has meaning in so far as it is the intersection between the All and the All, a point of sunya at the crossroads of infinitely extended directions.' 5. CERLD inv. 1348, p. 46. 6. L. P Hartley, The Go-Between (Harmondsworth: Penguin, 1971) p. 1. 416 Notes and References 7. Steiner, After Babel, p. 29. 8. Alyn, The Big Supposer, p. 109. 9. Notes from Jung's Synchronicity appear in several notebooks in SIUC. 10. Jung, Synchronicity: An Acausal Connecting Principle, Collected Works, vol. 8, p. 30. 11. Cf. ibid., p. 36. 12. P. Ricoeur, Time and Narrative (Chicago: University of Chicago Press, 1984) vol. 1, p. 79. 13. 'the speed ofthe modern consciousness ... symbol of neurosis' ... 'this art form forms dispersed psyches ... The contemplation of a poem, sculpture, painting - it was this fixed point of contemplation from which psyches nourished themselves. With film they can only disperse. Film flatters the features which are the root cause of unease, anxiety, neurosis, madness': SIUC/LD/ Accession II: Box 1, folders 4 and 5: notebook labelled on cover 'Notebook on Avignon book 1971' and on first page 'Women of Avignon Geneva 69'. 14. Mendilow, op. cit., p. 23. 15. letter to Anai's Nin, quoted in Nin, Diary, vol. 6, p. 123. 16. Writers at Work, op. cit., p. 279. 17. A. Comfort, The Novel and Our Time (London: Phoenix, 1948) p. 13. 18. Tertullian: quoted in Pagels, op. cit., 36. 19. Cavafy's original 'The Afternoon Sun' is in Poems of C. P. Cavafy (London: Chatto and Windus, 1951) p. 112. 20. Unamuno, Mist, p. 143. 21. CERLD/Moreau/Wagner. 22. S. Beckett, Molloy [The Beckett Trilogy] (London: Picador, 1979) p. 26. 23. S. Moore, 'The Beast with Four Backs: A Study of Love and the Daimonic in Doctor Faustus by Thomas Mann and The Alexandria Quartet by Lawrence Durrell', paper to Vth International Lawrence Durrell Conference, Carbondale, Illinois, 1988. 24. Cf. Camus, The Rebel (Harmondsworth: Penguin, 1962) pp. 28-31. 25. CERLD: Corfu/Egypt notes. 26. Ibid. 27. Ibid. 28. Ibid. 29. Ibid. 30. Ibid. 31. Ibid. 32. Ibid. 33. SIUC 42/15/6. 34. Harry Stoneback has identified the source of this explicit quotation, re-presented as 'Music is only love, looking for words' in 'Conon in Alexandria' as 'Music is Love in search of a word', from 'The Symphony' by Sidney Lanier (1842-81), reprinted in Bartlett's Familiar Quotations (1937 edition): H. R. Stoneback, '"Music is Love in search of a word": Durrell and Lanier - A Song, a Source, a Letter', in I. MacNiven (ed.) Deus Loci, N.S. 1 (1992) pp. 110-14. 35. Plato Symposium, trans. W. Hamilton (Harmondsworth: Penguin, 1951) p. 64. Notes and References 417

36. Steiner, Extraterritorial, p. 88; cf. W. C. Booth, The Rhetoric of Fiction (Harmondsworth: Penguin, 1987) pp. 129-30: 'if we look closely at our responses to most great novels, we discover that we feel a strong concern for the characters as people; we care about their good and bad fortune. In most works of any significance, we are made to admire or detest, to love or hate, or simply to approve or disapprove of at least one central character, and our interest in reading from page to page, like our judgment upon the book after reconsideration, is inseparable from this emotional involvement.' 37. 'Placebo' ts, p. 94. 38. Conversation with the author. 39. Cf. C. Bode, 'Durrell's Way to Alexandria', College English (1961). 40. Josipovici, op. cit., p. 170. 41. 'objective correlative': T. S. Eliot, 'Hamlet', Selected Essays, p. 145. 42. Durrell at one stage even introduced into his notes a character named 'Perdita' to denote a 'lost child'. 43. 'I am going along to Mr Baltazian ... to find out all about the circle and the square.... It is a calculus of pure aesthetic forms, a game like heavenly chess; it brings out the meaning of the Tarot and all kindred morphologies': A Private Correspondence, p. 202. 44. Naguib Mahfouz, Cairo Trilogy: Palace Walk [1990]; Palace of Desire [1991]; Sugar Street [1992] (New York: Doubleday); R. Liddell, Unreal City (London: Cape, 1952); D. J. Enright, Academic Year (London: Seeker and Warburg, 1955); P. Lively, Moon Tiger (London: Penguin, 1988); 0. Manning, The Levant Trilogy (London: Weidenfeld and Nicolson, 1977). 45. The poetry background is discussed in G. S. Fraser, op. cit. and Aquarius, 17 and 18 (1986/87) ed. A. Tolley; also cf. Fraser, A Stranger and Afraid: the Autobiography of an Intellectual (Manchester: Carcanet, 1983) pp. 123-4. 46. J. L. Pinchin, Alexandria Still, p. 5; cf. R. Liddell. Cavafy: A Critical Biography (London: Duckworth, 1974) p. 65. 47. Evening Standard, 22 November 1957. 48. SIUC 42/11/1. 49. Writers at Work, op. cit., p. 272. 50. Conversation with the author. 51. Cf. 'The Kneller Tape', op. cit., p. 168. 52. Ibid. 53. Cf. Carol Peirce,"'A Lass Unparallel'd": The Memory of Shakespeare's Cleopatra in The Alexandria Quartet', OMG/2 pp.173-82. 54. Spengler, op. cit., vol. 1, p. 133. 55. As in the case of the poem which began as 'Omega Grey', a tribute to Henry Miller, and, after several versions, was eventually published as a section of 'Constrained by History' in CVG, or 'Orta', which appears in several manifestations before also reaching CVG as 'Les Saintes', the name at the top of the poem, like that given to a character, does not truly 'matter' unless the poem (or character) is grounded in its own essence, breathes from knowing itself rather than its inventor. 418 Notes and References 56. P. Ricoeur, Time and Narrative, vol. 2 (Chicago: University of Chicago Press, 1985) p. 86. 57. Tibetan Book of the Dead, pp. xiv, 8, 52-3 (SIUC/LD/ Accession II); this coincides with a passage Durrell also noted in Spengler (op. cit., vol. 1, pp. 188-90) which stresses the importance of the Egyptian Book of the Dead in making westerners aware of the idea of life as destiny. 58. Ibid., p. 28. 59. Ibid., p. 89. 60. Ibid., p. 9. 61. Ibid., p. 35. 62. Cf. E. Keeley, Cavafy's Alexandria: Study of a Myth in Progress (London: Hogarth Press, 1977), which refers to Alexandria as 'a city of the imagination, a city that satisfies the mind's eye first of all' (p. 3); 'the mythical city [beyond the Arabic city of today] is visible only to the inner eye of an Egyptian poet who can see the vital resources that lie hidden from those confined to a European perspective' (p. 6); '[Cavafy's] erotic vision and his view of the city outside his window had merged almost totally ... so that modern Alexandria, at least as depicted in his work, had become for him an image of the Sensual City' (p. 45); 'Cavafy's re-creation of history ... his discovery of hid­ den metaphoric meanings in familiar historical moments, and his conscious attempt to embody a particular way of life in imaginary characters wearing the trappings of history, are what permit us to speak of his major preoccupation ... as the dramatization of a myth' (p. 100); 'the life contained in the constantly repeated if always expanding metaphor" Alexandria" or"Alexandrian"' (p. 101). 63. Cavafy's original'The Town' is in Poems of C. P. Cavafy, p. 38. 64. Cf. Said's complaint against the 'orientalism' of western eyes, particu­ larly citing Haubert's relishing of eastern sensuality, in Orientalism, pp.186-8. 65. J. Lacarriere, The Gnostics, p. 59. 66. Sade, Justine, p. 19 (SIUC/LD/ Accession II). 67. Cf. J. Derrida, 'Edmond Jabes and the Question of the Book', in Derrida, Writing and Difference, p. 69: 'City and desert, which are neither countries, nor countrysides, nor gardens, besiege the poetry of Jabes and endure that it will have a necessary infinite echo. City and desert simultaneously, that is, Cairo, whence Jabes comes to us.... Unwittingly, writing simultaneously designs and discovers an invisible labyrinth in the desert, a city in the sand.' 68. Spengler, op. cit., vol. 2, p. 305 (Spengler's emphasis). 69. DML 169-72. 70. Durrell's manuscript and typescript notes for his lectures at CalTech in 1974 are held in SIUC/LD/ Accession II: Box 2. They consist of the following typescript pages: 'Ford Madox Ford Lecture' (2 pp.); 'The Semantic Disturbance' (2 pp.); and 'Last Seminar' (2 pp. dated 16 March 1974) on Sons and Lovers: Anai:s Nin attended and spoke at this. Another typescript page, relating to Joyce's Ulysses, is accompanied by two pages of schematic manuscript notes. A further three pages of rns. notes contain ideas which subsequently appeared in the Quintet, Notes and References 419 e.g. Wordsworth's (incorrectly quoted) 'every great and original writer, in proportion as he is great and original must himself create the taste by which he is to be judged', and Blake's 'Damn braces, bless relaxers!' 71. Cf. Spengler, op. cit., vol. 2, p. 91. 72. Letter to Sappho Durrell, quoted inS. Durrell, op. cit., p. 72. 73. CalTech notes. 74. Ibid. 75. T. S. Eliot,'The Love Song of J. Alfred Prufrock', op. cit., p. 14. 76. Kundera, op. cit., p. 144. 77. Durrell insisted that Ford was a 'major talent' with the capacity to 'range ... over the whole field of memory selecting events or sequences of events from all the tenses of memory past, future, perfect, pluperfect and the novelistic present (the historic present) and fit them together so that they will supplement and comment on each other as images in a poem do' (CalTech notes). 78. Hartmann, Life of Paracelsus, p. 137. 79. SIUC 42/15/6. 80. Barthes, op. cit., pp. 93, 98, 134-5.

Notes to Chapter 8: The City as Metaphor

1. M. Proust, Swann's Way, trans. C. K. Scott Moncrieff and T. Kilmartin, Remembrance of Things Past (New York: Random House, 1981) vol. 1, p. 49. 2. Proust, ibid., vol. 3, p. 945, says: 'a work, even one that is directly autobiographical, is at the very least put together out of several inter­ calated episodes in the life of the author'; can this have influenced Balthazar's statement (Quartet 370): 'to intercalate realities is the only way to be faithful to Time'? 3. Similarly, could Durrell's method of epiphany by annunciation have been influenced by Proust: 'if God the Father had created things by naming them, it was by taking away their names or giving them other names that Elstir created them anew' (ibid., vol. 1, p. 893)? 4. Laing, Self and Others, p. 19; cf. alsop. 28: 'one person investigating the experience of another can be directly aware only of his own experience of the other'. 5. Ibid., p. 34. 6. Ibid., p. 37. 7. Cf. my lecture on the emotional and thematic similarities between the play Translations by Brian Friel and the novel An Instant in the Wind by Andre Brink, in my forthcoming Homecomings. 8. Steiner, Extraterritorial, pp. 66, 83. 9. Ibid., p. 38; Steiner continues (pp. 38-9): the metaphor goes something like this: the Universe is a great Book; each material and mental phenomenon in it carries meaning. The world is an immense alphabet. Physical reality, the facts of his­ tory, whatever men have created, are, as it were, syllables of a per- 420 Notes and References petual message. . . . Thus, Borges' universalism is a deeply felt imaginative strategy, a manoeuvre to be in touch with the great winds that blow from the heart of things. When he invents ficti­ tious titles, imaginary cross-references, folios and writers that have never existed, Borges is simply regrouping counters of reality into the shape of other possible worlds.' 10. Ibid., p. 83. 11. Ibid., p. 72. 12. Cf. D. Cooper, Metaphor (Oxford: Blackwell, 1986). 13. CalTech notes. 14. Cooper, op. cit., p. 210. 15. Wordsworth, Letters, op. cit. 16. T. S. Eliot, 'Little Gidding' V (Four Quartets), Complete Poems and Plays, p.198. 17. Cooper, op. cit., p. 224. 18. 'His Sensations and Ideas' is the subtitle to Pater's Marius. 19. Cf. Wilde, Letters, ed. R. Hart-Davis (London: Hart-Davis, 1962) p. 475: 'I wanted to eat of the fruit of all the trees in the garden.' 20. Cf. D. Donoghue, 'Yeats: The Question of Symbolism in We Irish' (Berkeley: University of California Press, 1986) p. 37. 21. P. Ricoeur, The Rule of Metaphor: Multi-disciplinary Studies of the Creation of Meaning in Language, trans. R. Czerny (London: Routledge and Kegan Paul, 1978) p. 98. 22. CERLD, 'Asides ofDemonax', pp. 62, 5~. 23. Stein, 'Sacred Emily'. 24. Ricoeur, Rule of Metaphor, p. 58. 25. Hamlet, act III, scene iii, ll. 395-9. 26. Ricoeur, Rule of Metaphor, pp. 26-7. 27. Ibid., p. 49. 28. Cf. Pater, Marius, vol. 1: 'the great college' (p. 6); 'the great portico' (p. 7);'some great occasion' (p. 20);'a great pestilence' (p. 31). 29. Laurence Housman, Echo de Paris (London: Cape, 1923). 30. Wilde, 'I live in constant fear of not being misunderstood.' 31. Keats, Letters, 'I am certain of nothing but the holiness of the heart's affections.' 32. Mary Byrne, 'Lawrence Durrell's Alexandria Quartet -A Work in the Baroque Style', M.Litt. thesis, University College, Dublin (1985) p. 59. 33. 'The world is a biological phenomenon which will only come to an end when every single man has had all the women, every woman all the men. Clearly this will take some time' (Quartet 706). 34. SIUC 42/8/1.

Notes to Chapter 9: The City as Court of Love

1. Cf. Proust, op. cit., vol. 3, p. 869: 'even in these aberrations (and this is true also of our loves or our travels), human nature still betrays its need for belief by its insistent demands for truth'. 2. Ibid., p. 943. Notes and References 421 3. C. Milosz: quoted as an epigraph to Frank McGuinness, Carthaginians (London: Faber and Faber, 1988). 4. D. de Rougemont, Passion and Sodety (London: Faber and Faber, 1962) 2nd edn, p. 52. 5. C. S. Lewis, The Allegory of Love: A Study in Medieval Tradition (New York:: Oxford University Press, 1958) p. 2. 6. Rank, Art and Artist, p. 378. 7. Proust, op. cit., vol. 2, p. 543. 8. Ibid., vol. 1, p. 257. 9. Cf. Lewis, op. cit., p. 15. 10. Rougemont, op. cit., p. 18. 11. Ibid., pp. 52, 157. 12. Cf. Lewis, op. cit., pp. 19; Rougemont, op. cit., pp. 90-1. 13. Lewis, op. cit., p. 112. 14. Rougemont, op. cit., p. 51. 15. Ibid., p. 21. 16. A. David-Neel, Buddhism, p. 54. 17. J. Barth, 'The Literature of Exhaustion', in The Novel Today, ed. M. Bradbury (Manchester: Manchester University Press, 1977) pp. 70-83. 18. W. B. Yeats, 'The Second Coming', W. B. Yeats: The Poems (London: Macmillan, 1983) p. 187: 'Turning and turning in the widening gyre I The falcon cannot hear the falconer; I Things fall apart; the centre cannot hold'; cf. also Shakespeare, Ulysses' speech in Troilus and Cressida: 'The heavens themselves, the planets, and this centre I Observe degree, priority and place ... ', act I, scene iii, l. 85. 19. SIUC 421814. 20. Cf. Bettelheim, Empty Fortress, discussed in Part 5. 21. Mumford, op. cit., p. xx. 22. Bettelheim, Uses of Enchantment, p. 10. 23. Barthes, op. cit., pp. 1, 3. 24. Dante, Vita Nuova. 25. The relationship of Prospera to Caliban is brought out explicitly by Blanford and Sutcliffe in Sebastian (Quintet 1093). 26. SIUC 4211111. 27. 'Placebo' ts, p. 102. 28. cf. Volkoff, op. cit., pp. 98, 129; Byrne, op. cit., pp. 243-4. 29. SIUC 4211516. 30. Pessoa, op. cit., p. 89. 31. J. M. Barrie, Peter Pan, act III. 32. The name 'Arnauti' derives possibly from a cape of that name in Cyprus, but it was also a common Albanian name, and would also have been known to Durrell through his study of the troubadours, since Arnaut Daniel was a troubadour of noble extraction. 33. Unamuno, Mist, pp. 154-5. 34. Durrell's notes record a quotation of 'Kratinos' (possibly the Athenian comic poet?): 'the tragedy of man's intellect is that he is forever searching for good reasons for believing the absurd'; SIUC 4211111. 35. quoted inK. Miller, Doubles, p. 89. 422 Notes and References 36. Cf. E. Goffmann, Asylums (New York: Doubleday, 1961) chapter on 'The Character of Total Institutions'. 37. S. Marcus, op. cit., p. 29. 38. Ibid., p. 33. 39. W. Stekel, The Homosexual Neurosis (New York: Emerson, 1950) p. 18. 40. Sade, op. cit., p. 111. 41. Baudelaire, Art in Paris 1845-1862, trans. J. Mayne (London: Phaidon, 1965) p. 8. 42. G. Steiner, Language and Silence (London: Faber and Faber, 1985) p. 47: 'only genius can elaborate a vision so intense and specific that it will come across the intervening barrier of broken syntax or private meaning'. 43. SIUC 42/15/6; d. Quartet 791: 'his irony was really tenderness turned inside out like a glove'. 44. Jung and Franz, op. cit., pp. 177-8. 45. SIUC 42/12/2; d. Quartet 381: 'the sort of tenderness I mean is merciless'. 46. Bettelheim, Empty Fortress, p. 66. 47. CalTech notes. 48. In P. Adam,' Alexandria Revisited' in TCL 33/3, pp. 395-410. 49. Cf. Fraser, op. cit., p. 161. 50. Steiner, Language and Silence, pp. 311-12. 51. Quoted in P. Skrine, The Baroque: Literature and Culture in Seventeenth­ century Europe (London: Methuen) 1978, p. 2. 52. Ibid., p. 34. 53. The Latin word focus literally means 'a hearth'.

Notes to Chapter 10: Subversions 1. CERLD inv. 1359 [notebook for Sebastian] p. 6. 2. SIUC 42/19/8. 3. Ibid. 4. Ibid. 5. Art and Outrage: a Correspondence about Henry Miller between Alfred Perles and Lawrence Durrell (London: Putnam, 1959) p. 9. 6. Ibid., p. 16. 7. Ibid., p. 23. 8. Ibid., p. 53. Durrell also made the point, in a preface to Miller's The World of Sex, that Miller's work 'was not destruction for destruction's sake. It was an attempt to restore to the human psyche its own proper powers' and that 'If he often shocks and wounds us it is to provoke our self-understanding, to urge us to grow' (SIUC 42/21 I 4). 9. I have already explored the relationship between Durrell's and Miller's work, which began before and during the Paris episode (The Dandy and the Herald, passim). Despite the brief 'agreement to differ' with the publication of Sexus, noted above, the bond developed, and is most evident in the more outrageous methods each used (Durrell with more reserve and perhaps more skill, Miller with more ferocious Notes and References 423 energy and elan) in order to lead the search for a newly integrated psyche. It was religious in character, if irreligious in tone. Durrell's words about Miller, quoted above (see n. 8) would largely apply to himself; Miller's statement at the opening of Sexus- 'I wanted to fire the imagination of all men at once because without the support of the whole world, without a world imaginatively unified, the freedom of the imagination becomes a vice' (p. 19)- might stand at the head of The Revolt of Aphrodite. Equally, the statement in Plexus - 'Faith! ... We've lost it. Lost it completely. Faith in anything, I mean. Yet faith is the only thing man lives by' (p. 298)- could equally well be attributed to Pursewarden. 10. On the evidence of the notebook for Sebastian Durrell had himself noted such film titles on a visit to Paris in 1982: CERLD inv. 1359, PP· 28-9. 11. Cf. Lyndall Gordon, Eliot's Early Years (Oxford: Oxford University Press, 1977) pp. 109, 136-7). 12. CERLD inv. 1349 (d). 13. CERLD inv. 1349 (a). 14. Hobbes, Leviathan, Part I, ch. 13. 15. SIUC 42/11/1. (cf. Durrell's debt to Sterne who, in addition to the stylistic and structural lessons- and there are many- which Durrell would find in Tristram Shandy, pioneered the bawdy element which sits cheek by jowl with lofty narrative and speculation within the polite novel). 16. Ibid. 17. On more than one occasion Durrell noted his own knowledge of a diplomatic car buried deep in a snowdrift, resulting in the death of its occupant; he also appears to have had personal knowledge of an occa­ sion, such as the vignette in the Quartet, when a diplomat's wife had been abducted from a car and decapitated. 18. CERLD inv. 1344, p. 1. 19. CERLD inv. 1349 (a). 20. CERLD uncatalogued item (3 pp.); the use of Walden is discussed by M. Cartwright in 'White Eagles Over Serbia: Durrell's Transcendental Connection' in OMG/2, pp. 30-3. 21. Blue Thirst, p. 40. 22. SIUC/LD/ Accession II. 23. Whether or not Durrell fits the negative view of 'orientalism' as put forward by Edward Said is a moot point: we have very substantial and concentrated evidence of the fact that Durrell did not see the east through traditional, western spectacles, yet the ability, during the Cyprus incidents, to identify with 'Us' (i.e. the British) suggests that he had not entirely abandoned that viewpoint if and when identifica­ tion with one side or the other was required; ultimately, Durrell had the slightly patronising attitude of the true colonial, which he admit­ ted to being, even though, in Said's terms (Orienta/ism, p. 24), he had proven his capacity 'to rethink the whole complex problem of knowl­ edge and power' -not only in cultural and nationalistic terms, we might add, but also in relation to sexual roles. 424 Notes and References 24. Durrell repeated this in conversation with the author: 'It was absolutely scandalous. We scamped every possibility of rectifying a situation which was remediable.... We had everything on our side. It shows contempt for the matter.' 25. CERLD, Publisher's dummy ('The Cantos of Ezra Pound') uncatalogued (dated from 1955 onwards). 26. SIUCILDI Accession II. 27. Pope Joan (London: Andre Deutsch, 1960) p. 118. 28. Ibid. p. 145. 29. CERLD inv. 1359, p. 42. 30. SIUCILD I Accession II: box 4. 31. CERLD, Publisher's dummy ('The Cantos of Ezra Pound'). 32. SIUCILDI Accession II: box 4. 33. Ibid. 34. Ibid. 35. SIUC 4211516; Anna Magnani (1908-73) was an Italian actress on stage and screen; Gina Lollobrigida (b. 1927) enjoyed a popular career as a screen idol; Brigitte Bardot (b. 1934), after a successful screen career, has recently become a prominent campaigner against cruelty to animals; Danielle Darrieux (b. 1917) worked mainly in films but also in the French Boulevard theatre. 36. SIUC 421814. 37. Ibid. 38. SIUC 421812. 39. A case might also be made for comparing the thematic interests of Durrell and Beckett on this point. 40. cf. also Jonson, The Alchemist, act III, scene ii, where 'His great I Verdugoship [Sp. =hangman] has not a jot of language': the idea of hanging and vertigo cannot have escaped Durrell's attention; and we have already noted Durrell's interest in Nashe's use of the term 'hangman'. 41. cf. Anne Ridler,'Recollections of Lawrence Durrell', TCL 3313, p. 296. 42. SIUC 4211211. 43. Durrell prefaced Tunc with Dostoyevsky's 'Two and two make a wall'. Notes from Underground is a mine of suggestion along the lines that freedom requires more than a mechanistic approach to the world: perhaps both Durrell and Miller derived inspiration from the closing lines: 'We are born dead, and moreover we have long ceased to be the sons of living fathers; and we become more and more contented with our condition. We are acquiring a taste for it. Soon we shall invent a method of being born from an idea' (trans. J. Coulson [London: Penguin, 1962] p. 123). 44. SIUC 42119110. 45. SIUC 4211918. 46. Ibid. 47. CERLD inv.1344, p. 9. 48. SIUC 4211918. 49. Ibid. 50. Ibid. Notes and References 425 51. Ibid. 52. 'Placebo' ts, pp. 17~. 53. SIUC 4211918. 54. Ibid. 55. Cf. Nin, A Spy in the House of Love. 56. Pine, The Dandy and the Herald, p. 206. 57. SIUC 4211918. 58. Ulysses Come Back, op. cit. 59. SIUC 4211918. 60. Ibid. 61. Ibid. 62. CERLD inv. 1344, p. 61. 63. SIUC 4211918. 64. Proust, op. cit., vol. 2, p. 384. 65. SIUC 4211111; cf. also a passage (from a case history) marked by Durrell in W. Stekel' s Sadism and Masochism: The Psychology of Hatred and Cruelty (New York: Liveright [1929], repr. Washington Square Press, 1968) p. 404: 'He had the idea as a child that he might stuff his mother in order to have her always about him and make a rug out of her hair (that is, he could always tread on her and lie on her)' (SIUCI LD I Accession II). 66. Fraser, op. cit., p. 40. 67. SIUC 42117 I- and 4211512. 68. Notes for chapter headings in 'Double Scenario' are found in SIUC 4211512, while a version of 'Double Scenario' in thirty chapters is in SIUCILDI Accession II: box 313a. 69. 'Judith' ts, p. 6 (42117 1-). 70. Ibid., p. 41. 71. Ibid., p. 70. 72. Ibid., p. 89. 73. On the title page of the longest extant version of the story (16 continuous pp.). 74. In his copy of The Complete Works of fohn Webster (ed. F. L. Lucas, 4 vols, London: Chatto and Windus, 1927) Durrell had marked in the text of A Monumental Columne (vol. 3, p. 278) 'Let beasts live long, and wilde, and still in feare, I The Turtle Dove never out-lives nine yeare': SIUCILDI Accession II. 75. 'Turtle Doves' ts, p. 3. 76. 'Placebo' ts, pp. 36-7. 77. Blue Thirst, p. 42. 78. In The Real Life of Alexandra Mayta (New York: Farrar Straus Giroux, 1986) Mario Vargas Llosa has woven a hide-and-seek story with the ele­ ments of both 'game' (the search for truth in political subversion) and 'quest' (the search for identity). Ostensibly the unnamed narrator is searching for the truth about 'Alexandra Mayta', but gradually the two identities begin to merge, and, as in 'The Placebo', he thinks of himself at the same time as both 'he' and 'I', until their one-ness is revealed on the final page. In one specific respect there is a parallel between Mayta and The Black Book: "'We aren't comrades or friends any more' said 426 Notes and References Mayta, "What the fuck do you want?" "I want you to give me a blow­ job' said the boy slowly, looking him in the eye and touching his knee with his five fingers' (Mayta p. 178); "'Look, do you think it would damage our relationship if I sucked you off?"' (BB p. 167). 79. 'Placebo' ts, p. 1. 80. Ibid., p. 2. 81. Ibid., p. 91. 82. Ibid., p. 19. 83. Ibid., p. 4. 84. SIUC 42/11/1; the information was solicited from Durrell's neighbour on Cyprus, the architect Austen Harrison, who 'built and rebuilt big buildings. He had a notion of rebuilding a big section of an early mediaeval town in Cyprus which had something to do with the Templars' (information to the author via Mary J. Byrne). 85. Durrell is on record as having asked for source-books from friends such as Patrick Balfour (Lord Kinross) (S. Cox, The Lawrence Durrell Papers, p.39) and some of these are discussed in W. Godshalk, 'The Reader as Traveller', paper to VIIth International Lawrence Durrell Conference, Avignon, 1992; a further source is Durrell's copy of G. Young, Constantinople (London: Methuen, 1926), in which he marked a substantial number of items (129 in all) and drew on some of them in The Revolt: in particular, details of the cisterns 'Bin Dir Denck' of 'a Thousand and One Columns' and 'Yeri Batan Serai' the 'Under­ ground palace' where Sacrapant brings Felix to spy: 'The long avenues of great columns, half-seen in the dim lighting, the gloomy lanes of black water disappearing into darkness, the shadows in the heavy vaulting overhead, the lovely detail of carving on some capitals, all together go to make this an impressive view of the under­ side of Constantinople' (p. 54); the tradition woollen bonnet and frock-coat which are worn by Jocas Pehlevi; the atmosphere of the Long Market and of the crossing from the European to the Asian side of the city; the nervousness of Sultan Mourad IV, who 'sat in the Alai Kiosque, with a revolver, practising on passers-by' (p. 143)- this may have contributed to the scene in which Jocas Pehlevi's growing fear of assassination is described; and (a possible source for Merlin, who is supposed to have been of English origin) a 'Mr Black ... who died in 1828, headed a dynasty of British merchant-princes who . . . had almost a monopoly of the foreign commerce of Constantinople' (p. 206). 86. In conversation with the author. 87. 'Placebo' ts, p. 218. 88. Ibid., p. 223. 89. Ibid., p. 145.

Notes to Chapter 11: Ireland as a State of Mind

1. Alyn, op. cit., p. 113. 2. Ibid., p. 23. Notes and References 427 3. A C. Fraser, The Life and Letters of George Berkeley (Oxford: Clarendon Press, 1871) pp. 500-1. See my discussion of 'We Irish' in my The Thief of Reason: Oscar Wilde and Modern Ireland (Dublin: Gill and Macmillan, 1994). 4. Durrell would have been aware of the connection between Dante's original 'II Gran Rifiuto' (Inferno III, 60) and Eliot's use of it in The Waste Land ('I did not know death had undone so many'); Joyce's refusal takes the form 'I will not serve that in which I no longer believe, whether it call itself my home, my fatherland, or my church; and I will try to express myself in some mode of life or art as freely as I can and as wholly as I can, using for my defence the only arms I allow myself to use - silence, exile and cunning' (Essential James Joyce p. 247). 5. W. B. Yeats, quoted by S. Deane, 'Remembering the Irish Future' Crane Bag 8/1 (1984) p. 90. 6. Cf. W. B. Yeats, Uncollected Prose, ed. J.P. Frayne (New York: Colum­ bia University Press, 1970) vol. 1, p. 147. 7. Cf. D. Moran, 'Nature, Man and God in the Philosophy of John Scottus Eriugena', in R. Kearney (ed.), The Irish Mind: Exploring Intellectual Traditions (Dublin: Wolfhound, 1985) pp. 91-106. 8. Cf. D. Berman, 'The Irish Counter-Enlightenment', ibid., pp. 119-40; in an early notebook Durrell observed 'John Scotus Erigena [sic]: the unpredicated God' (SIUC 42/9 /2). 9. Cf. R. Pine, Oscar Wilde (Dublin: Gill and Macmillan, 1973); The Thief of Reason: Oscar Wilde and Modern Ireland (Dublin: Gill and Macmillan, 1994). 10. 'The Kneller tape', pp. 162-3. 11. SIUC/LD/ Accession II contains typescript passages which were deleted from 'The Kneller Tape' as printed. 12. Conversation with the author. 13. Sunday Independent (Dublin) 9 June 1985. 14. Information to the author via Mary J. Byrne. 15. G. Darley, Complete Poetical Works, ed. R. Colles, (London: Routledge, 1908) pp. x, xi; ironically, so obscure has Darley's reputation been allowed to become, that Durrell seemed to have been under the common misapprehension, due to Darley's having written in a meta­ physical style, that he was in fact a seventeenth-century poet: 'let us indulge her memory with a seventeenth-century conceit from Darley' -SME 40). 16. 'Editorial' in The Crane Bag, vol. 1 (1982) p. 11. 17. Ibid. 18. B. Purcell, 'In Search of Newgrange: Long Night's Journey into Day', in R. Kearney (ed.), Irish Mind, pp. 44-45. 19. Cf. the pamphlet series published by Field Day Theatre Company; W. J. McCormack, The Battle of the Books: Two Decades of Irish Cultural Debate (Mullingar: Lilliput Press, 1986); T. Brown, Ireland: A Social and Cultural History 1922-79 (London: Fontana, 1981). 20. 'An Other Way of Seeing' was the title of a documentary on the Irish painter Louis le Brocquy, transmitted by Radio Telefis Eireann in 1985. 428 Notes and References 21. Durrell's article for Travel and Leisure, op. cit., refers to the fact that shortly after his visit (19-26 January 1972) the incidents popularly known as 'Bloody Sunday' (30 January), followed by the burning of the British Embassy in Dublin (31 January), took place. 22. Travel and Leisure, op. cit.. 23. L. Durrell, 'From a Writer's Journal', Windmill, vol. 2, no. 6 (1947). 24. Jung 'Psychological Commentary', The Tibetan Book of the Dead, ed. W. Y. Evans-Wentz (London: Oxford University Press, 1960) p. xxxvii. 25. Ibid. 26. E. Cullingford, 'The Unknown Thought of W. B. Yeats', in Kearney (ed.), Irish Mind, p. 232. 27. W. B. Yeats, Essays and Introductions (London: Macmillan, 1961) p. 28. 28. In conversation with the author Durrell rather improbably stated that, although he was familiar with Yeats's poetry~ he knew nothing of his prose. This, however, is contradicted by Durrell himself in the Key where he quotes extensively from Yeats's 'The Symbolism of Poets' (pp. 106-7). 29. 'From the Elephant's Back', op. cit.. 30. The Ten Principal Upanishads, put into English by Shree Purohit Swami and W. B. Yeats, (London: Faber and Faber, 1937). 31. 'Elephant's Back', op. cit. 32. Ibid. 33. W. B. Yeats, unpublished ms, 'Seven Propositions', quoted in R. EHmann, The Identity of Yeats (London: Faber and Faber, 2nd edn, 1964) p. 236. 34. Cf. my lecture 'Yeats, Friel and the Politics of Failure', in J. Flannery and R. Finneran (eds), Yeats Annual (University of Michigan Press, 1993). 35. F. O'Connor, The Backward Look (London: Macmillan, 1967) p. 32. 36. Essential James Joyce, p. 200. 37. S. Beckett, interview with Tom Driver, Columbia University Forum (1961) quoted in R. Kearney, 'Beckett: The Demythologising Intellect', in Kearney (ed.), Irish Mind, p. 288. 38. Oscar Wilde, 'The Truth of Masks', Complete Works (London: Collins, 1946) p. 1078. 39. Beckett, Trilogy, p. 336. 40. J. A. Symonds, Shakespere's Predecessors in the English Drama (London: Smith, Eldon, 1884) pp. 503-4. 41. M. Cartwright, 'The Playwright as Miracle Worker: An Irish Faustus', in Deus Loci, V, 1, pp. 178-89. 42. Fraser, op. cit., p. 101. 43. C. Marlowe, Doctor Faustus, act 1, scene 1, l. 23: Marlowe, Complete Poems and Plays (London: Dent, 1976) p. 276. 44. Cf. Voltaire, Epftres, xcvi: 'if God did not exist, it would be necessary to invent him'. 45. Doctor Faustus, act 1, scene 1, l. 51; ibid., p. 277. 46. Ibid., l. 164, p. 279. 47. Ibid., act 2, scene, 1, l. 5, p. 284. 48. 0. Wilde, 'A Chinese Sage', Speaker, vol. 1, no. 6 (8 February 1890). Notes and References 429 49. Ibid. 50. Steiner, After Babel, p. 124. 51. F. O'Brien, At Swim-Two-Birds, p. 25. 52. Ibid. 53. Ibid., p. 9. 54. Barnes, Nightwood, p. 257. 55. 'Placebo' ts, p. 131. 56. Alyn, op. cit., p. 28.

Notes to Chapter 12: Sperectomy

1. Cf. S. Rushdie, Midnight's Children (London: Cape, 1981) p. 437. 2. Information to the author via Mary J. Byrne. 3. Information to the author via Mary J. Byrne. 4. Steiner, Extraterritorial, p. 81. 5. CalTech notes. 6. CERLD uncatalogued item. 7. SIUC 42/15/6. 8. Lama Anagarika Govinda, Foundation of Tibetan Mysticism (London: Rider 1959) p. 190. 9. Rank, Art and Artist, p. xx. 10. CERLD uncatalogued item (undated paper, 3 pp., previously referred to in relation to Durrell's comments on Walden Pond). 11. Alyn, op. cit., p. 141. 12. Unamuno, How Make a Novel, p. 455. 13. B. Jowett, (ed.), Plato's 'Theaetetus' (Oxford: Clarendon Press, 1875). 14. CERLD: Corfu/Egypt notes. 15. SIUC/LD/ Accession II: box 4. 16. Ibid. 17. Durrell took his title from the 'Banquet of Trimalchio' section of Petroni us' Satyricon, book XV, para. 44: 'No one now believes that the gods are gods. There is no fasting done, no one cares a button for religion: they all shut their eyes and count their own goods. In old days the mothers in their best robes used to climb the hill with bare feet and loose hair, pure in spirit, and pray Jupiter to send rain. Then it used promptly to rain by the bucket: it was now or never- and they all came home, wet as drowned rats': trans. M. Heseltine (London: Heinemann, 1913) pp. 74-5. 18. SIUC/LD/ Accession II, Box 1. 19. W. B. Yeats, Essays and Introductions, p. 405. 20. SIUC/LD/ Accession II, Box 1, small notebook, 'Sponge Rubber Heart'. 21. In conversation with the author, Durrell said that the composite title had been devised at the behest of the book's American publishers. 22. In the 1960s several seminal feminist publications appeared, among them: Betty Friedan, The Feminine Mystique (London: Gollancz, 1973); Germaine Greer, The Female Eunuch (London: MacGibbon and Kee, 1970); and Eva Figes, Patriarchal Attitudes (London: Faber and Faber, 1970). 430 Notes and References

23. R. Bly, Iron fohn: A Book about Men (London: Shaftesbury, 1991). 24. Frye, Anatomy of Criticism, p. 134. 25. Cf. D. C. Lau, introduction to Tao Te Ching, p. 32. 26. Campbell, op. cit., pp. 206-7. 27. Spengler, The Decline of the West (London: George Allen and Unwin, 1926) vol. 1, p. xiii. 28. Ibid, vol. 1, p. 29. 29. Ibid, vol. 1, p. 4 30. 'Placebo' ts, p. 186 31. Cf. A. Nin, The Diary of Anais Nin (New York: Harcourt Brace Jovano- vich, 1980) vol. 7, pp. 297, 306-9. 32. Laing, The Divided Self(London: Penguin, 1965) pp. 178-9. 33. Ibid., p. 23. 34. Cf. Levi-Strauss, Myth and Meaning (London: Routledge & Kegan Paul, 1978) p. 11. 35. 'cA.euecpta [eleutheria] deriving from EAeU6EtV

Notes to Chapter 13: The Unreadable Book

1. 'Quartilla', 'Priestess of Priapus' is a character in Petronius' Satyricon; other points on which Durrell may have consciously or subcon­ sciously echoed Petronius include the atmosphere of the banquet chez Trimalchio which emerges both in the decadence of the Regina Hotel in The Black Book and the brothel scenes in Tunc ('The Nube') and the Quintet. 2. 'Drexel', like 'Darley', is suggestive of an anagrammatic or onomato­ poeic corruption of 'Durrell/Dixie'. 3. While Durrell intended a deliberate reference to a French 'Ripper' in the translation of Quinx as Quinte: o version Land, it is merely Serend­ ipitous that the protagonist, Sutcliffe, carries the same surname as the 'Yorkshire Ripper'. Durrell had also employed the surname in a film treatment of his story 'The Will-Power Man'. 4. 'Quatrefages' as a surname was, Durrell maintained, a commonplace surname- 'you find it almost everywhere- a street name- it's like Jones really', but also, and much more significantly, agreed that it means 'crossroads' (R. Green, 'Lawrence Durrell - The Spirit of Winged Words', Aegean Review [n. d.]). The point should be made that Durrell seldom employed more than rudimentary originality when giving names to characters: Toby might have been borrowed from either Tristram Shandy or Point Counter Point; Vasec (in The Black Book) from Tarr, Cade from Tristram Shandy; Nessim from Gerard de Nerval; while his stock of classical and biblical names (Livia, Joshua, Sam) indicates his reluctance to go far afield for new names for old charac­ ters who in themselves would not necessarily add to the received characterisation of fact or fiction: 'I have never been interested in human beings as realities but as metaphors or ideograms - their poetic quiddity so to speak. They are like the obscenely funny notions which might pass through the mind of an idle god lying sunbathing' (SIUC 42/19/8). 5. CERLD inv. 1349 (notebook) contains a list originally dated 'Feb 68' with later additions, headed: Dead Within the space of a few years which includes the names of many friends, among them 'Claude, Bernard Spencer, Roy Campbell . . . Richard Aldington . . . Henry Miller, Anais Nin [these were two of the later additions] ... Seferis, Auden ... My mother, John Gawsworth' and subscribed: 'for the 432 Notes and References Avignon book! Nogaret's death map - "all this winter I have lived with suicide- Terrified" (diary of Piers)'. 6. Cf. Eliot, 'Little Gidding' V: 'The end of all our exploring I Will be to arrive where we started I And know the place for the first time', Complete Poems and Plays, p. 197. 7. Rhetorica Ad Cornificius Herennium, 4.31. 8. Summa, IV 1, xxix. 9. Fiction Magazine, op. cit. 10. Ian MacNiven, 'The Quincunx Quiddified: Structure in Lawrence Durrell', in L. B. Gamache and I. MacNiven, (ed.) The Modernists: Studies in a Literary Phenomenon (London: Associated University Presses, 1987) pp. 234-48. 11. CERLD uncatalogued item, publisher's dummy used as notebook, dated 'Egypt ... 1940-44' which also contains the note for 'The English Book of the Dead' and 'The Aquarians'. 12. Cf. Paul H. Lorenz, 'Angkor Wat, the Kundalini, and the Quinx: The Human Architecture of Divine Renewal in the Quincunx' (conference paper, Lawrence Durrell Society, 1988). 13. MacNiven, 'The Quincunx', op. cit. 14. In P. Hogarth, The Mediterranean Shore: Travels in Lawrence Durrell Country (London: Pavilion, 1988) p. 110; confirmed in conversation with the author. The centrality of Constance is underlined by the fact that the book opens with 'Quatrefages' - the crossroads by which Durrell recognised the city of Avignon as a vast sanitorium as well as a political crossroads (Quintet 722) and also by the fact that Constance is dedicated to'Anai:s [Nin], Henry [Miller], Joey [Pedes]', his lifelong intellectual companions. 15. Ibid, p. 122. 16. CERLD inv. 1344 (notebook) pp. 83, 85; cf. Quintet 351. 17. Milton, On Shakespeare. 18. In a photocopy (CERLD miscellaneous file) from pp. 82-90 (Chapter 3: Architectural Sanctuary: part 4: the quincunx) of an unidentified work. 19. Kundera, op. cit., pp. 24-5. 20. CERLD inv. 1347, notebook 'Minisatyrikon. Pont du Gard' p. 7. 21. CERLD inv. 1349 (notebook) p. 4. 22. 'Macabru': it cannot have been incidental that Marcabru or Marcabrun was one of the earliest of Proven<;al troubadours (cf. Denis de Rougemont, op. cit., pp. 96, 114, 118, 119). 23. Alexandra David-Neel referred to the individual as being 'composed of five parts ... skandhas: material form (the body), sensations, percep­ tions, mental formations (ideas, volitions, etc.) and consciousness', Buddhism, pp. 126-7; also cf. J. H. Bateson 'Creeds and Articles' in Hastings, Encyclopaedia of Religion and Ethics, vol. 4, p. 234: 'the skandhas as aggregate elements consist of material properties, sensations, abstract ideas, tendencies and potentialities, and thought/ reason'; L. Durrell, CERLD/Moreau/Wagner, p. 1: 'les cinq skandas sont le corps physique, ou psychologique, le sentiment, la perception, les facultes mentales inconscientes, et la conscience'. Notes and References 433

24. Fiction Magazine, op. cit., p. 61. 25. Ibid. 26. Ibid., p. 64 27. Cf. R. Kearney, The Wake of Imagination: Ideas of Creativity in Western Culture (London: Hutchinson) 1988, particularly Part III: Postrnodem Narratives. 28. Umberto Eco, Semiotics and the Philosophy of Language (London: Macmillan, 1984) p. 4 29. Ibid., p. 1. 30. Ibid., p. 7. 31. Ibid., p. 8. 32. CERLD inv. 1349, p. 17. 33. SIUC/LD/ Accession II 34. Cf. my reference to Freud's case histories above; conversation with the author. 35. Cf. James Joyce:'History ... is a nightmare from which I am trying to awake', The Essential James Joyce, p. 25. 36. Spengler, op. cit., vol. 1, p. 9. 37. CERLD/Moreau/Wagner, p. 9. 38. (the ophite symbol) occurs (marked by Durrell in his copy) in Gamier, The Worship of the Dead, pp. 222-4. The relationship of the circle to the straight line is discussed (again, as noted by Durrell: SIUC 42/8/1} by Barbara Haynes in 'The Mundane Egg', Occult Review, January 1939; the term'mundane egg' itself derives, as Durrell would no doubt have been aware, from Blake, 'Jerusalem', Blake's Poems and Prophecies, p. 230. e (thanatos) has been mentioned as a possible source of the quincunx by W. Godshalk, 'Durrell: Death, Love, and Art', in OMG 2, pp. 105-7. We should also note that explicit mention of the 'Q' motif favoured by Durrell was inserted into the typescript of Livia (cf. p. 11: 'Five Q novels written in a highly elliptical quinc­ unxial style invented for the occasion'). Evidence derived from corrected typescript of Livia in CERLD. 39. Cf. Eco, Semiotics, p. 12. 40. E. M. Forster, 'The Machire Stops' in Collected Stories. 41. Cf. Kundera, op. cit., pp. 3-22: The Depreciated Legacy of Cervantes'. 42. Elaine Pagels, op. cit., p. 154. 43. Rank, Art and Artist, pp. 391-2. 44. Ibid., p. 76 (Rank's emphasis). 45. Cf. Bacon, 'Of Great Place': 'all rising to great place is by a winding stair', Essays. 46. Brown, op. cit., p. 105. 47. Rank, Art and Artist, p. 101. 48. Ibid. pp. 386, 101. 49. cf. Ephesians, 4: 25. 50. 'Asides ofDemonax', p. 68. 51. 'Quiminal' was another surname which Durrell stated to be ubiqui­ tous: here he said (perhaps mischievously) that a woman of this name had been an adjunct to his house in Somrnieres when he moved in: R. Green, op. cit.; it is also possible, given Durrell's word-play, and espe- 434 Notes and References dally in view of Nancy Quiminal's role as a mistress to the Gestapo, that he may have been punning on a combination of the English colloquial term for the female genitalia 'quim' and the Roman topos 'Quirinal'. We should also note the use of 'quim' as an onomatopoeic presence of the Scops owl in 'Placebo' ts, p. 34. 52. We should not overlook the fact that 'Trash' (and indeed 'Grace') appears in Ben Jonson's Bartholomew Fair. 53. CERLD inv.1349, p. 45. 54. Cf. Francis A. Yates, The Art of Memory (London: Routledge and Kegan Paul, 1966) p. 243. 55. Ibid., p. 245. 56. Jung and von Franz, op. cit., p. 22. 57. Ibid., p. 20. 58. Ibid., p. 22. 59. Ibid., p. 25. 60. Ibid. 61. Ibid., p. 35. 62. Ibid., p. 39. 63. Ibid., pp. 68-9. 64. Ibid., p. 79. 65. Ibid., p. 103. 66. Ibid., p. 121. 67. V. Mercier, Beckett/Beckett (Oxford: Oxford University Press, 1977) p. xii. 68. MacNiven, 'The Quincunx', p. 237. 69. Kundera, op. cit., pp. 24-5. 70. Ibid., pp. 5-6. 71. lvor Browne, 'Thomas Murphy: The Madness of Genius', Irish University Review (Spring 1987) pp. 129-36. 72. Jung and von Franz, p. 328. 73. Gospel of St Matthew, 5: 14.

Notes to Chapter 14: 'Why?- The Question of Writing

1. 'The Asides of Demonax' [1985] CERLD [manuscript (73 pp.)] p. 4. 2. James Joyce, Finnegans Wake. 3. H. von Hofmansthal, Prose Works, 4 vols (Frankfurt, 1951-6) vol. 1, p. 149: quoted in J. Romein, The Watershed of Two Eras: Europe in 1900 (Middletown, Conn.: Wesleyan University Press, 1978) p. 528. 4. N. Frye, The Anatomy of Criticism (New York: Cornell University Press, 1957) p. 134. 5. Lao Tzu, Tao Te Ching, trans. D. C. Lau (Harmondsworth: Penguin, 1963) book 1, xxxiv. 6. David-Neel, Buddhism, p. 72. 7. Cf. Pagels, op. cit., pp. 48, 54, 94. 8. Barthes, Lover's Discourse, pp. 98-100. 9. S. Moore, 'Turning in the Trap', paper delivered to Vllth International Lawrence Durrell Conference, Avignon, 1992. Notes and References 435 10. Unamuno, Mist, p. 19. 11. Red Limbo Lingo (1977) p. 15. 12. CalTech notes. 13. CERLD inv. 1344. 14. Conversation with the author. 15. Kearney, op. cit., p. 17. 16. Information to the author via Mary J. Byrne. 17. Cf. Eliot The Cocktail Party: 'Work out your salvation with diligence', Complete Poems and Plays, p. 421, which itself is a play on Philippians 2: 12: 'Work out your salvation with fear and trembling'. 18. Cf. Roman Polanski: 'I think all relationships are based on the model of the master and servant', Independent on Sunday, 4 October 1992. 19. Quoted by R. Keanney, Wake, p. 247. 20. Cf. Anthony Kerrigan's point that 'Unamuno was a spiritual con­ tender, his own antagonist, an agonist', introduction to Unamuno, op. cit., p. xiv. 21. Unamuno, Mist, pp. 214-5. 22. Ibid., pp. 17, 19. 23. Schopenhauer, Panerga and Paraligomena: Short Philosophical Essays, 2 vols trans. E.J.F.Payne (Oxford: Clarendon Press, 1974) vol. 1, p. 4. Durrell's copy is in SIUC/LD/ Accession II. 24. Ibid., vol. 1, p. 130. 25. CERLD: Corfu/Egypt notes. 26. R. Kearney, Wake, p. 5. 27. Ibid. 28. Ibid., pp. S-6. 29. Unamuno, How To Make a Novel, pp. 454-5. 30. Blake, Marriage of Heaven and Hell, p. xxv. 31. Cf. Kearney, Wake, Chapter 7, 'The Parodic Imagination'. 32. Jameson,'Postmodernism and Consumer Society', p. 119. 33. Ibid. 34. Ibid., p. 123. 35. Shelley,' Adonais', XXI. 36. Alyn, op. cit., p. 37. Cf. R. Kearney, Modern Movements in European Philosophy (Manchester: Manchester University Press, 1986) p. 13. 38. Ibid., p. 52. 39. Cf. Homer, 'poOOOCXIC't\lAO<; 'Hro<;[rosy-fingered dawn], Odyssey, II: I. 40. P. Ricoeur, in R. Kearney, Dialogues, p. 27. 41. Jameson, 'Postmodernism and Consumer Society', p. 116. 42. Cf. Wordsworth, Prelude: 'There are in our existence spots of times.' 43. Jameson, 'Postmodernism and Consumer Society', p. 113. 44. MM/ts. 45. Jameson,'Postmodernism and Consumer Society', p. 112. 46. Cf. J. Fowles, The Magus (London: Cape, 1966) p. 371. 47. Ibid., p. 178. 48. J. Fowles, The French Lieutenant's Woman (Boxton, Mass: Little, Brown, 1969) p. 288. 49. J. Hawkes, TCL 33/3, p. 413. 436 Notes and References

50. J. Hawkes, The Blood Oranges (New York: New Directions, 1971) pp. 17, 88, 184. 51. CERLD inv. 1344, p. 74. 52. Hawkes, Second Skin (New York: New Directions, 1964) pp. 33, 175--6. 53. In conversation with the author Durrell was somewhat ambivalent about the relative merits of the Quintet, the Quartet and the The Revolt: but while he acknowledged that the Quartet remained his most popular work, and The Revolt his least understood and least critically accepted, he maintained that The Revolt was his best work to date (1988) in terms of its intellectual thrust, and that the Quintet represented his magnum opus in terms of his commitment as writer to its evolution. He continued to nurture the (albeit tired) ambition to complete his work with a truly irresponsible book, 'something with no afterthoughts', which he had only partly suggested with the 'Satyrikon'-type sections of Caesar's Vast Ghost and Quinx. 54. It is a moot point whether Durrell had read Pynchon's V (London: Cape, 1963); Carol Peirce (Pynchon Notes, 1987) was unable to establish this in interview with Durrell, but there are several other striking parallels between the preoccupations of the two writers, including the notion of inescapable fragmentation and the dislocation of personality as a consequence and corollary of the loss of an 'integrating principle'.

Notes to Chapter 15: The Heart Evolved

1. Construire, op. cit. 2. CERLD, op. cit. 3. L. Lemon, 'The Imagination of Reality: The Reality of Imagination', in Deus Loci, n.s. 1 (1992), ed. I. MacNiven, p. 44. 4. In 1988 the artist Paul Hogarth published The Mediteranean Shore: Travels in Lawrence Durrell Country; Durrell was struck by the recur­ rence of the surname, saying (in conversation with the author) 'I've been analysed and finalised by Hogarth'. 5. 'Placebo' ts, p. 7. 6. Kearney, Wake of Imagination, p. 395. 7. Bettelheim, Uses of Enchantment, p. 10. 8. Ibid., p. 146. 9. CERLD, uncatalogued item (folder labelled 'Faustus'), letter from Durrell to Anthea Morton-Saner, 28 October 1987. 10. H. Arendt, The Life of the Mind (New York: Harcourt Brace Jovanovich, 1978) vol. 1, p. 75. 11. W. Stevens, 'The Comedian as the Letter C', cf. R. Browning, The Statue and the Bust', in Poetical Works 1833-1864, ed. I. Jack (London: Oxford University Press, 1970) p. 632, l. 246: 'The sin I impute to each frustrate ghost I Is- the unlit lamp and the ungirt loin.' 12. CERLD inv. 1359 (notebook for Sebastian) p. 66. 13. Ibid., p. 13. Notes and References 437 14. Robert M. Grant (ed.) Gnosticism (New York: Harper, 1961) p. 144; passage marked by Durrell in his copy (SIUCILDIAccession II). 15. SIUC 4211918. 16. James A. Brigham, 'Initiatory Experience in The Dark Labyrinth', OMG 12, p. 20. 17. Grant, introduction to Gnosticism, p. 13; passage marked by Durrell. 18. D. Kiberd, 'Introduction' to Ulysses (London: Penguin, 1991). 19. CERLD inv. 1345(a), page attached to item 1345, dated 'August 1984', ms marking in margin: 'Ahem!' 20. Cf. D.C.Lau, introduction to Tao Te Ching, p. 16; ibid., p. 82: 'I know not its name I So I style it 'the way'. I I give it the makeshift name of "the great"' (XXV, 56a). 21. A. Memmi, The Coloniser and the Colonised (London: Souvenir Press, 1974); F. Fanon, Wretched of the Earth (Harmondsworth: Penguin, 1967); E. Said, Orienta/ism. 22. Typescript introduction to works of Henri Michaux, SIUCILCI Accession II. 23. Ibid. 24. Ibid. The correlation goes so far as Durrell pointing out that Michaux had 'a solitary and unhappy childhood', resulting in 'the construction of a defensive private world' and for whom 'books were his real experience', a poet 'fully aware of the precious and fragile burden of human consciousness'. 25. R. Frost, 'The Death of the Hired Man' in The Poetry of Robert Frost, ed. E. Challon, (London: Cape, 1971) p. 38. 26. CERLD inv. 1349, p. 41. 27. A. W. Friedman, '"Not Lost But Gone Before": Durrell and Death', in OMG 12, p. 95. 28. 'Ulysses Come Back' 29. L. Edel, The Psychological Novel1900-1950 (London: Hart-Davis, 1955)

p 0 91. 30. Beja, op. cit. 31. CalTech notes. 32. Edel, op. cit., p. 141. 33. CalTech notes. 34. Ibid. Select Bibliography

1. WORKS BY LAWRENCE DURRELL

The Alexandria Quartet (London: Faber and Faber, 1962). Art and Outrage: A Correspondence about Henry Miller between Alfred Perles and Lawrence Durrell (London: Putnam, 1959). Balthazar (London: Faber and Faber, 1958). Bitter Lemons (London: Faber and Faber, 1957). The Black Book: An Agon (Paris: Obelisk Press, 1930; New York: Dutton, 1960). Casesar' Vast Ghost (Lodon: Faber and Faber, 1990). CefalU (London: Editions Poetry, 1947); republished as The Dark Labyrinth (London: Faber and Faber, 1961). Clea (London: Faber and Faber, 1960). Collected Poems (London: Faber and Faber, 1960). Complete Poems, ed. J. Brigham (London: Faber and Faber, 1980). Constance, or Solitary Practices (London: Faber and Faber, 1982). The Durrell-Miller Letters, 1935-80, ed. I. MacNiven (London: Faber and Faber /Michael Haag, 1988). Esprit de Corps: Sketches from Diplomatic Life (London: Faber and Faber, 1957). The Greek Islands (London: Faber and Faber, 1978). An Irish Faustus: A Morality in Nine Scenes (London: Faber and Faber, 1963). Justine (London: Faber and Faber, 1957). Key to Modern Poetry (London: Peter Nevill, 1952). Lawrence Durrell and Henry Miller: A Private Correspondence, ed. George Wickes (London: Faber and Faber, 1963). Literary Lifelines: The Richard Aldington-Lawrence Durrell Correspondence, ed. I. MacNiven and H. T. Moore (London: Faber and Faber, 1981). Livia, or Buried Alive (London: Faber and Faber, 1978). Monsieur, or The Prince of Darkness (London: Faber and Faber, 1974) Mountolive (London: Faber and Faber, 1958). Nunquam (London: Faber and Faber, 1970). Panic Spring (London: Faber and Faber, 1937). Pied Piper of Lovers (London: C ass e 11, 1935). Pope Joan: The Curious History of Pope Joan, translated out of the modern Greek of Emmanuel Royidis by Lawrence Durrell (London: Verschoyle, 1954). Prospera's Ce 11: A Guide to the Landscape and Manners of the Island of Corcyra (London: Faber and Faber, 1945). Q uinx, or The Ripper's Tale (London: Faber and Faber, 1983). Reflections on a Marine Venus: A Companion to the Landscape of Rhodes (London: Faber and Faber, 1953). Sappho (London: Faber and Faber, 1950). Sauve Qui Peut (London: Faber and Faber, 1966). Sebastian, or Ruling Passions (London: Faber and Faber, 1983).

438 Select Bibliography 439 Selected Poems (London: Faber and Faber, 1956). Selected Poems, 1935-1963 (London: Faber and Faber, 1964). Sicillian Carousel (London: Faber and Faber, 1977). A Smile in the Mind's Eye (London: Wildwood, 1980). Spirit of Place: Letters and Essays on Travel, ed. A. G. Thomas (London: Faber and Faber, 1969). Stiff Upper Lip: Life among the Diplomats (London: Faber and Faber, 1958). Tunc (London: Faber and Faber, 1968). White Eagles over Serbia (London: Faber and Faber, 1957).

2. INTERVIEWS AND RECOLLECTIONS BY LAWRENCE DURREL

--, 'From a Winter Journal', in Penguin New Writing, 32, ed. J. Lehmann (London: Penguin, 1947). --,'From a Writer's Journal', Windmill, vol. 2, no. 6, 1947. --, 'The Kneller Tape', in Moore, Harry (ed.), The World of Lawrence Durrell (Carbondale, Ill.: Southern Illinois University Press, 1962). --,'The Poetic Obsession of Dublin', Travel and Leisure, Autumn 1972. Durrell, L., Blue Thirst (Santa Barbara, Cal.: Capra Press, 1975). --Writers at Work: The Paris Review Interviews, second series, ed. George Plimpton (Harmondsworth: Penguin, 1977). --, 'Les Vies Singulieres de Lawrence Durrell', Les nouvelles littereraires, no. 2629,30 March-6 April1978. --,'From the Elephant's Back', Fiction Magazine, vol. 2, no. 3, Winter 1983. --,'Lawrence Durrell en dix mouvements', Magazine Litteraire, no. 210, September 1984. --, 'Entretien avec Lawrence Durrell', Construire no. 4, 23 January 1985. Green, R., 'Lawrence Durrel: The Spirit of Winged Words', Aegean Review [n.d.].

3. STUDIES OF THEW ORK AND LIFE OF LAWRENCE DURRELL

Alyn, Marc, Lawrence Durrell: The Big Supposer (London: Abelard Schuman, 1973). Brown, Keith, 'Lawrence Durrell', in British Writers, supplement 1: Graham Greene to Tom Stoppard, ed. I. Scott-Kilvert (New York: Scribner's, 1987). Cartwright, Michael, On Miracle Ground: Proceedings of the First National Lawrence Durrell Conference, special issue of Deus Loci, vol.5, no. 1 (1981). Cox, Shelley; The Lawrence Durrell Papers at Southern Illionois University at Car- bondale (Carbondale, Ill.: Southern Illinois University at Carbondale, 1988). Deus Loci, eds J. A. Brigham and I. MacNiven (1977-81). Deus Loci: The Lawrence Durrell Journa 1, ed. I. MacNi ven, n.s. 1 (1992). Durell, Gerald, The Garden of the Gods (London: William Collins, 1978). 440 Select Bibliography --,My Family and Other Animals (London: Rupers Hart-Davis, 1956). Durrell, Sappho, 'Journals and Letters', in B. Buford (ed.), Granta, no. 37, 'The Family', (Autumn 1991). Fraser, G. S., Lawrence Durrell: A Study, with a bibliography by Alan G. Thomas (London: Faber and Faber, 1968). Hogarth, Paul, The Mediterranean Shore: Travels in Lawrence Durrell Country (London: Pavilion, 1988). Labrys, no. 5, ed. G. B. Young and J. Matthews, special Lawrence Durrell issue (1979). MacNiven, Ian, 'The Quincunx Quiddified: Structure in Lawrence Durrell', in L. B. Gamache and I. MacNiven (eds), The Modernists: Studies in a Literary Phenomenon (London: Associated University Presses, 1987). -- and C. Pierce (eds), Twentieth-Century Literature, Lawrence Durrell special double issue, vol. 33, no. 3 (Fall1987); vol. 33, no. 4, (Wmter 1987). Markert, L. W. and C. Pierce (eds), On Miracle Ground II: Second International Lawrence Durrell Conference Proceedings (Baltimore, Md: University of Baltimore, 1984). Nin, Ana"is, The Diary of Anais Nin, vol. 2: 1934-1939 (New York: Swallow Press and Harcourt, Brace and World, 1967). --,ibid., vol. 6: 1955-1966 (New York: Harcourt Brace Jovanovich, 1976). --,ibid, vol. 7: 1966-1974 (New York: Harcourt Brace Jovanovich, 1980). Pinchin, Jane, Alexandria Still: Forster, Durrell and Cavafy (Princeton, NJ: Princeton University Press, 1977). Pine, R., The Dandy and the Herald: Manners, Mind and Morals from Brummel to Durrell (Basingstore: Macmillan Press, 1988). Steiner, George, 'Lawrence Durrell and the Baroque Novel', in Language and Silence (London: Faber and Faber, 1967). Unterecker, John, Lawrence Durrell (New York: Columbia University Press, 1964). Volkoff, Vladimir, Lawrence le magnifigue: essai sur Lawrence Durrell et le roman relativiste (Paris: Juillar d/l' Age d'Homme, 1984).

4. ANA

Barthes, Roland, A Lover's Discourse, trans. R. Howard (London: Penguin, 1990). Bergson, Henri, Time and Free Will: An Essay on the Immediate Data of Consciousness, trans. F. L. Pogson (London: Allen and Unwin, 1910). Bette lheim, Bruno, The Empty Fortress: Infantile Autism and the Birth of the Self (New York: The Free Press, 1967). --, The Uses of Enchantment: The Meaning and Importance of Fairy Tales (London: Penguin, 1978). Cavafy, Constantine, Poems by C. P. Cavafy (London: Chatto and Windus, 1951). David-Neel, Alexandra, Buddhism (London: Bodley Head, 1939). --,My Journey to Llhasa (London: Heinemann, 1927). --,With Magicians and Mystics in Tibet (London: John Lane, 1931). Derrida, Jacques, Writing and Difference, trans. A. Bass (Chicago: University of Chicago Press, 1978). Select Bibliography 441 Dostoyevsky, Feodor, Notes from Underground, trans. J. Coulson (London: Peguin, 1962). Eco, Umberto, Semiotics and the Philosophy of Language (London: Macmillan, 1984). Groddeck, Georg, The Book of the It (London: Vision Press (reprint, with introduction by L. Durrell, 1961). Jameson, Fredric, 'Postmodemism and Consumer Society', in The Anti­ Aesthetic: Essays on Postmodern Culture, ed. Hal Foster (Port Townsend, Wa: Bay Press, 1983). Jung, Emma, and von Franz, Marie-Louise, The Grail Legend, trans. A. Dykes (London: Hodder and Stoughton, 1971). Kearney, Richard, The Wake of Imagination: Ideas of Creativity in Western Culture (London: Hutchinson, 1988). --, (ed.), The Irish Mind: Exploring Intellectual Traditions (Dublin: Wolfhound, 1985). Keeley, Edmund, Cavafy's Alexandria: Study of a Myth in Progress (London: Hogarth Press, 1977). Kipling, Rudyard, Kim (London: Macmillan, 1908 (pocket edition). Kundera, Milan, The Art of the Novel (London: Faber and Faber, 1988). Lacarriere, Jacques, The Gnostics, reprint with a foreword by L. Durrell (San Francisco: City Lights, 1989). Laing, R. D., The Divided Self: An Existential Study in Sanity and Madness (London: Penguin, 1965). --,Self and Others (London: Peguin, 1971). Lao Tzu, Tao te Ching, trans D. C. Lau (Harmondsworth: Penguin, 1963). Lewis, C. S., The Allegory of Love: A Study in Mediaeval Tradition (New York: Oxford University Press, 1958). Miller, Henry, The Colossus of Maroussi (Harmondsworth: Penguin, 1950). Rank, Otto, Art and Artist, trans. C. F. Atkinson (New York: Knopf, 1932). Ricoeur, Paul, The Rule of Metaphor: Multi-Disciplinary Studies in the Creation of Meaning in Language, trans. R. Czerny (London: Routledge and Kegan Paul, 1978). Rougemont, Denis de, Passion and Society (London: Faber and Faber, 1962). Sade, Marquis de, Justine (Paris: Olympia Press, 1954). Spengler, Oswald, The Decine of the West, 2 vols (London: George Allen and Unwin, 1926). Steiner, George, After Babel: Aspects of Language and Translation (Oxford: Oxford University Press, 1975). Stekel, William, The Homosexual Neurosis (New York: Emerson, 1950). --,Sadism and Masochism: The Psychology of Hatred and Cruelty (New York: Liveright, 1929; reprint Washington Square Press, 1968). --, Extraterritorial: Papers on Literature and the Language Revolution (Harmondsworth: Penguin, 1975). --, Real Presences (London: Faber and Faber, 1989). Tibetan Book of the Dead, ed. W. Y. Evans-Wentz (London: Oxford University Press, 1927). Unamuno, Miguel de, How to make a Novel in Novela/Nivola, trans. A. Kerrigan (Princeton, NJ: Princeton University Press, 1976). Index

Adam, Villers de l'Isle Balfour, Patrick, 426 Axel, 227 Balkans, see Yugoslavia Adorno, Theodor, 131, 138, 212 Ballantyne, R. M., 89 adultery, 224-5, 234 Balzac, H. de, 101, 183, 241 aesthetics, 11, 127, 160, 287, 300, 316; Banville, John, 353 see also politics Birchwood, 357 agon,34,126, 146,171-2,180,383 Doctor Copernicus, 357 Aldington, Richard, 10, 46, 48, 202, Nightspawn, 357 389,406--7 Bardo Thodol: see Tibetan Book of the All Men Are Enemies, 46, 389 Dead Death of a Hero, 46, 355, 389 Bardot, Brigitte, 258 Alexandria, see Egypt Barker, George 101 alter ego, 6, 8, 69, 73, 110, 158, 165, Barnes,~una,55,390 174, 186, 189, 192, 204, 255; see Nightwood, 289-90, 294 also double doppelganger baroque 17, 83, 96, 212, 223, 235, 240, Alyn, Marc, 150 242-3,339,366,367,382 Amadis de Gaul, 365 Barthes, Roland, 197,206, 223,230, Amis, Kingsley, 53 356,371 amour courtois, 89, 92, 116, 169, 173, Baudelaire, Charles, 19, 29, 39,239 Chapter 9 passim, 293 Beckett, Samuel, 133, 144, 153-4, anagnorisis, 34, 74, 300, 317, 331, 177,256,278,281-3,288,383 335-6,347,353 Waiting for Godot, 346 androgyny, 94 Beethoven,L.van,147-8 Angkor Wat temple, 330 Beja, Maurice, 386 anima/animus,64-5,71,92,224,350 Beowulf, 365 anomie,202-3 Bergson, Henri, 81, 84, 96--7, 103-4, Antaeus, 112, 380 113 Antigone, 350 Berkeley, George, 274,277,279 anxiety, 10, 202-3, 372 Bettelheim, Bruno, 78, 230, 240, 379 Aragon, Louis, 167 Empty Fortress, 402 architecture, 95, 112, 207, 223, 262-3, Uses of Enchantment, 391, 404 272,330 biography, 2, 3 Arendt, Hannah, 379 Blake, William, 3, 124-5, 187, 276, Argentina, 40-1 312,368,387 Aristophanes, 120 Bleuler, Eugen, 352 Aristotle, 283, 298 Bly, Robert Auden, W. H., 82, 102 Iron John, 300 Austen, Jane, 364 Booth, Wayne C., 416--17 autism,59-60,65,70,76,109, Borges, J. L., 210, 364, 382 Chapter 6 passim, 205, 227, 229, Boulez, Pierre, 307 291,293-4,301,308,314-15, Boysson, Ghislaine de see Durrell, 326, 347, Chapter 14 passim Ghislaine Avignon, see Provence Bradbury, Malcolm, 90 Brahms, Johannes, 326 Bakheng temple, 330-1 Brassai, 32

442 Index 443

Brigham, James A., 381 correspondance, 112, 136, 217, 295, Brhlk,llndre,419 339 Brach, Hermann, 349, 382-3 cosmography, 112, 157, 248, 262-3, Brown, Keith, 109,149, 155, 164,311, 298 339,406,430 Cox, Shelley, 388 Browning, Robert, 5, 380 Crashaw, Richard, 93 Bruno, Giordano, 93, 101-3, 344 criticism, 3, 260-1 Buchan, John, 27, 87 Cullingford, Elizabeth, 279-80 Buchan, William Dunbar, 60-2 Cyprus, 27, 42, 45, 120, 252ff., 275-6, Buddhism, 25, 27, 88, 98, 100, 113, 393-4,397-8 117, 121, 156, 194, 198-9, 226, 277,279-80,345,356,384 Danby, John, 406 Burgess, llnthony, 53 Dante, Alighieri, 379,427 Burma,25,81 Darley, George, 276-7 Burton, Richard, 47 Darrieux, Danielle, 258 Byrne, Mary, 220 Darwhl, Charles, 80, 96, 211 Dasenbrock, R. W., 390 Cabala, 97, 136, 185, 210, 224, 313 David, Neel, Alexandra, 26, 96, 194, Caduceus, 332, 394-5; see also 199,355,391,393 Ophitism Buddhism, 432 Caduceus Press 29, 114; see also My Journey to Lhasa, 98 Ophitism decadence,23, 128-9,140,199-200, California Institute of Technology 212,219,260,315,347 (CalTech, D's lectures at), 49, Defoe, Daniel, 244 201-3,241,252,269,387,396,418 Robinson Crusoe, 387 Campbell, Joseph, 301 Delta, 32 Campion, Thomas, 93 Derrida, Jacques, 15, 330, 418 Canetti, Elias, 175, 349 Descartes, Rene, 210, 298, 366 Auto-daje, 294 Dickens, Charles, 93, 352 Capek, Karel, 32 difficulty, 8, 15, 17-18,220,263, Cartwright, Michael, 285, 423 374ff.; see also writing Cathars, 234, 335--6, 347 Disraeli, Benjamin, 20 causality, 114-16, 172,365--6,369 Dixie, (D's mother's surname), 21, Cavafy, C. P., 82,175,190-1,198,270, 27,394 274 doll, 265--6, Chapter 12 passim, 376, Cervantes, M. de, 338, 364 425 Chang, Jolan, 50,380 Donne, John, 92, 230 childhood, 6, 7, Chapters, 1-3 Dostoyevsky, F., 101, 150, 175, 241 passim, 136, 141, 235, 277, 382, Notes from Underground, 260, 308, 403 424 Cocteau, Jean, 32 double/ doppelganger, 69, 72, 74, 101, Cohen, Eve see Durrell, Eve 134-5,140,232,237,241,277, Comfort, Alex, 175 331,338,350,367 Connolly, Cyril, 36 double-blhld see syzygy Conrad, Joseph, 10, 202, 242, 382-3 Douglas, Keith, 38 Cooper, David, 212 dromomania, 59-60, 308, 337; see also Copernicus, Nicholas, 320 vagabonds Corfu, 29££., 36, 46, 75, 96, 107-8, 127, duality, 114-17 372 Dumas, Alexandre, 89 444 Index Durrell, Claude (third wife), 44-7, 'Book of the Dead', 34, 37, 39, 96, 51,72 109,148,165,178-82,194, Durrell, Eve (second wife), 38, 40, 329-30 201 'Book of Miracles', 34, 329-30, Durrell, Gerald Malcolm (brother), 335,363 30,52,399 'Book of Time', 34, 329-30 Birds, Beasts and Relatives, 30 Clea, 22, 73-4, Chapters 7-9 Garden of the Gods, 30 passim,296 My Family and Other Animals, 30 Constance, 18, 42, 50, 56, 281, Durrell, Ghislaine (fourth wife), Chapters, 13-15 passim 49-50 Dark Labyrinth, 31, 47, 69-70, 99, DURRELL, Lawrence George 127, Chapters 6 passim, 178, family: 21, marriages, 29, 37, 44, 286,355,378,381 49-50,51;children,36,40,51 Judith, 9, 47, Chapter 10 passim 398 life and career: birth, 21, 77; Justine, 43, 44, 45, 85, 146, schooling, 24, 28; early Chapters 7-9 passim, 373 employment, 28; in Paris, 32, Livia, 74, 95, Chapters 13-15 edits, Delta 32, adopts, passim pseudonyms, 33,45,59 [see Monsieur, 34, 49, 50, 63, 95, 266, Epfs, Oscar; Norden, Chapters 13-15 passim Charles]; enters public Mountolive, 31, 44-5, 68, Chapters service, 37; edits Personal 7-9 passim 270, 276 Landscape,38;worksin Nunquam, 13, 14, 15,42, 45, 49, 55, Dodecanese, 39, Belgrade, 184, 206, Chapters 10-12 39-40, Argentina, 40, passim 366 Cyprus, 40, 42; wins Duff Panic Spring, 28ff., 35, 69, 85, 133, Cooper Award, 45; moves to Chapter 6 passim, 193,266 Provence, 46-7; visits USA, Pied Piper of Lovers, 6, 28ff., 69, 49, Ireland, 49, 277-8; ill 76-7,89,98, 119, 133, Chapter health, 51; partnership with 6 passim, 193, 374,403 Franc;oise Kestsman, 52-3; his The Placebo', 25, 49, 56, 59, 181, horoscopes, 60-3 186, 234, Chapter 10 passim, works: 290,309,360,378,425 NOVELS: PopeJoan,39,49,91, 131,247,256 Alexandria Quartet,2, 3,6, 7-8, 12,23, Quinx,49, 124, 193, Chapters, 30,34,35,44,48,57,61,95, 13-15 passim Chapters 7-9 passim, 251, Revolt of Aphrodite, 3, 6, 7, 12, 28, 339-40 30,48,95, 117,173,236, 'The Aquarians', 129, 178-9 Chapters 10-12 passim, Avignon Quintet, 3, 12, 14, 15, 24, 345-6 27, 30, 34, 41, 50, 56, 58, 59, 'Sappho' [Dark Peninsula'], 48, 123,303, Chapters 13-15 143-4,266 passim Sebastian, 247, Chapters 13-15 Balthazar, 13, Chapters 7-9 passim passim Black Book, 1, 2, 3, 6, 8, 9, 17, 29, 34, Tunc,4,13,14,15,25,42,45,49,55, 35,44,57,60,68,73,93,95, 206,221, Chapters 10-12 Chapter 6 passim, 175, 178, passim 197,259,280,290,297,299, White Eagles Over Serbia, 45, 49, 325,328,354,359,370,390 87-8,99,250-2 Index 445

PLAYS, MUSICALS, FILMS Ten Poems, 29 Acte, 47, 124 'Themes Heraldic', 125 'Adam and Eve', 39,141-5 'The Three Sons', 117 'Black Honey', 39 Transition, 29 'Cleopatra' (film script), 9, 47, 48 Tree of Idleness, 130 'Hangman', 48, 25~0 Vega and Other Poems, 130 Irish Faustus, 47, 124, 278--91, 314, 370 TRAVEL: 24, 34 'Little Red Riding Hood', 42 Bitter Lemons, 27, 40, 44, 45, 99, Sappho,18,47,48,65,107, 124, 165,247,252-6 141-5,197,203,266,373 Caesar's Vast Ghost, 17, 24, 42, 49, Ulysses Come Back, 48, 72, 140, 264, 52-3,60,123,124,127,348--9, 386,402-3 372, Chapter 15 passim 'Worms', 48,259-60,300 Greek Islands, 49, 119 Prospera's Cell, 30, 44, 107--8, 110, 146,346 POEMS: Chapter 5 passim Reflections on a Marine Venus, 39, 'Adam', 126 53, 120 Anecdotes', 66, 125, 282 'The Sicilian Carousel, 27, 34, 349 'A Soliloquy of Hamlet', 75, 137--8 ' At Corinth', 139 ESSAYS AND LECTURES: 'The Beginning', 128, 133 Blue Thirst, 63 Bromo Bombastes, 29 'Cosmography of the Womb', 'Byron', 134-5 114-15, 157 Cities, Plains and People, 26, 39, 76, 'Hamlet, Prince of China', 32, 75, 127,130,354 100-1,292,332 'Conon in Alexandria', 182-3 Key to Modern British Poetry, 7, 32, 'Conon in Exile', 135-6 39, 66, 72-3, 80, 84, 91, 93, 97, 'Crisis', 128--9 101-3, 127, 130, 165, 175, 184, 'Dark Grecian', 140 209,221,283,365 'Echoes', 128 'Minor Mythologies', 87-9,370 'Fangbrand', 134 'Shakespeare and Love', 119 'Happy Vagabond', 133 A Smile in the Mind's Eye, 27, 50, 'In Arcadia', 139-40 52,121,193,303,378,380,410 'In Europe', 144 Spirit of Place, 35, 54 'fe est un Autre', 73, 134-5 'Tao and its Glozes', 50, 101, 'Love Poems', 125 113-4,378 'Near El Alamein', 133 'Nemea', 120, 124, 138--40, 173, 193 OTHER PROSE: 'On Ithaca Standing', 119 'Adam and Eve', 39 'Paris Journal', 134 'Antrobus' stories, 23, 28, 30-1, 40, 'The Pilot', 141, 276 131, 184, 203, Chapter 10 Private Country, 29-30,39, 110, passim 127,130 'Asides of Demonax', Chapters 14 Quaint Fragment, 29, 130 and 15 passim Red Limbo Lingo, 130, 301, 362 'Asylum in the Snow', 1, 32, 76, 'The Sermon', 138,259 115-6,121-2,124,131,305, 'The Sirens', 140 354 'A Small Scripture', 134 'The Cherries', 32 'Sonnet Astray', 132-3 'Continental Sunday', 28--9 446 Index Esprit de Corps, 40, 45, Chapter 10 Empson, William, 101 passim Encyclopaedia Britannica, 60, 96, 115 'From the Elephant's Back', 24, 58, England (D.'s relations with), 21ff., 83 45,50,67-8,78,82,98,137, 155, 'Letter in the Sofa', 191 242, Chapter 10 passim, 275, 'Return of the Native', 46 374 Sauve Qui Peut, 40, Chapter 10 enosis, 43, 253 passim Enright, D. J., 190 Stiff Upper Lip, 40, Chapter 10 EOKA,43 passim Epfs, Oscar (D's pseudonym), 59, 'Village of Turtle Doves',49 405 Chapter 10 passim Erasmus, Desiderius, 243 'Will-Power Man', 48,431 Eriugena, John Scottus, 275,279 'Zero', 1, 32, 76, 115-16, 122, 124, Evans-Wentz, E. Y., 194 131 extraterritorial, 8, 24, 82, 91, 244, 272, 382-3 Durrell, Lawrence Samuel (father), 21,30,45,51,67-8,78,392 fairy story, 16ff., 57, 353 Durrell, Leslie Stewart (brother), 30 Fanon, Fritz, 383-4 Durrell, Louisa Florence (mother), Faust, 75, 136, 178, 249, 284ff., 319, 21, 30, 44, 77, 399; see also Dixie 349,370,378 Durrell, Margaret Ruth (sister), 30 Fedden, Robin, 38 Durrell, Margery Ruth (sister), 30 field, 115, Chapter 7 passim, 219, 223, Durrell, Nancy (first wife), 29ff., 37, 236,244,293,315,344 51 fifth province, Chapter 11 passim, Durrell, Penelope {daughter),36, 51 329-30 Durrell, Sappho-Jane (daughter), 3, Fitzrovia, 39 40,42,44,45,51,65,71,72,77 Fletcher, lain, 38 folk tale, 16ff., 57, 353 Eco, Umberto, 334, 359 Ford, Ford Madox, 116-17,202,419 Edel, Leon, 386-7 The Good Soldier, 203, 383 Eden, Sir Anthony, 42,251 Forster, E. M., 37, 82, 337 Egypt, 37ff., 46, 70, 75, 127, Chapter four, rule of, 116-17,233-4,241, 7 passim 313, 344, 418 328-9,387 Egyptian Book of the Dead, 84, 371-2, Fowles, John, 353 418 French Lieutenant's Woman, 371 Einstein, Albert, 83, 283, 352 Magus,371 Eliot, George, 364 Fraenkel, Michael, 32 Eliot, T. S. 5, 11, 29, 34, 36, 52, 93, Bastard Death, 312 127-8,137,149,203,212,221, Fraser, G. S., 5, 9, 38, 89, 138, 266, 285 248,327,364 Frazer, Sir James, 345 Cocktail Party, 141 Freud, Sigmund, 68, 80, 83, 95, 117, 'Gerontion', 101, 103, 133, 141 149,172,204,221,233,297,354, The Waste Land, 155,312, 427 372,404 Elizabethan literature, 3, 15, 16, cases of 'Little Hans' and Dora, 24-5,48,80,83,92-4,102,149, 336 155,242-4,259,299,312,339, Friel, Brian, 419 356,406-7 Frost, Robert, 384 EHmann, Richard, 132 Fry, Northrop, 353 Index 447 garne,16,175,186,188,190,196,277, Heaney, Seamus, 138 313 Hecuba, 350 Gascoyne, David, 32, 96, 396 Henty, G. H., 89 Gauntlett, Arthur, 60-2, 72 Heraclitus, 81, 84, 110, 113, 119, 122 Gawain, 365 Heraldic Universe, 10, 13, 14, 17, 59, Gawsworth, John, 28-9, 394 89, 94, 97, Chapters 4 and 5 Gerhardie, William, 10, 82, 390 passim, 153, 169-70, 177, 194, gnomic aorist, 111, 125, 130, 157, 181, 255-6,262,280,284,295,312, 187,256,264,302 314,327,340,361,376 Gnostic Gospels, 150, 312, 328 Hermes, Trisrnegistus, 111, 115 gnosticism, 27, 79, 95, 97, 111,117-18, Hesse, Hermann, 10,104 172,236,240,286,313,328,335, Himalayas, 22 343,345,347,362 Hobbes, Thomas, 71-2 Godshalk, William, 426 Hofrnannsthal, Hugo von, 352 Goethe, J. W. von, 241 Hogarth, Paul, 436 Werther, 348 Horner, 256, 370 Golding, William, 99 homosexuality, 225,234,239,241-2, Goncharov, Ivan 334 Oblomov, 227 Hope [Hawkins], Anthony, 89 Gourrnont, Rerny de, 405-6 Hopkins, G. M., 101, 162, 387 Grail legends, Chapters 13, 14, Hough, Graham, 91 passim; see also quest house, 9, Chapter 3 passim Greacen, Robert, 415 Howe, Graham, 114, 180, 410 Greece, 36, 107-8, 119, 125-6, 264, Husser!, Edmund, 36, 369 274,349,398 Huxley, Aldous, 97, 149, 382 Greene, Graham, 53 Point Counter Point, 179 Greene, Robert, 92, 316 Huysrnans, J.-K., 95, 147 Groddeck, Georg, 58-9, 63, 68, 95-7, A Rebours, 227 122,245 Book of the It, 61, 88, 403 irnage,72,86-7,94,98-100, 132-3, Guirdharn, Arthur 158,163,173-4,176,238,291, Cathars and Reincarnation, 335 328,348 Guyon, J.-M. de laM., 93, 153 inces4217,224-5,234,238-9,241,334 included middle, 66, Chapter 11 Haag, Michael, 53, 54 passim Haggard, H. Rider, 26 Indeterminacy, principle of, 102, King Solomon's Mines, 369 121,295,408-9 She,88,90,304 India, Chapter 1 passim, 82, 98, 113 Hamilton, Patrick, 82 indifference [gleichgultigkeit], 163, Twenty Thousand Streets Under the 170 Sky, 95, 250, 407-8 Ionesco, Eugene, 289 Hamlet: see 'Hamlet, Prince, of Ireland and Irishness, 27-8, 49, 64, China' under Durrell: Writings 66,78-9,98,197,255,265,267, Harrison, Austen, 272 Chapter 11 passim, 294, 344, 350, Hartley, L. P., 171 374 Havel, Vaclav, 11 irony, 124,220,229,238-9,281 Hawkes, John 353 Isherwood, Christopher, 82 Blood Oranges, 373 islornania 39, Chapter 4 passim, 244, Second Skin, 373 252,308 448 Index Jacques le fataliste (Diderot), 364 Lautreamont [Ducasse], 92, 147 James, Henry, 90,202,387 Chants de Maldoror,227,413-14 Jameson, Fredric, 369ff. Lawrence, D. H., 3, 27 Jeans, James, 209, 307 Etruscan Places, 46 Jonson,Ben,92,259,265,284 Leavis, F. R., 10, 382-3 The Alchemist, 369,424 Lehmann, Rosamund, 43 Josipovici, Gabriel, 15, 187 Leigh, Fermor, Patrick, 43-4 Jowett, Benjamin, 298 Lemon, Lee, 377 Joyce, James, 10, 45, 82, 84, 103, 110, Levey, Michael, 85 187,207,221,274,278,279, Levi, Eliphas, 57, 316, 323 281-2,352,381,383,427 Levi-Strauss, Claude, 307 'A Painful Case', 164 Lewis, Matthew, 91 Ulysses, 312, 336 Lewis, Wyndham, 387 Jung, C. G., 64-5, 68, 85, 91, 95, 117, Liddell, Robert, 190 204,277,279-80,406 Lively, Penelope, 190 Synchronicity, 172 Llosa, Mario Vargas, 383 Jung, Emma and von Franz, M.-L., Real Life of Alexandra Mayta, 270, 240, 344ff. 425 Lollogrigida, Gina, 258 Kafka,Franz,99-100,306,308,349 Loren, Sophia, 47,266 Katsimbalis, George, 36-7 Luke, Sir Harry, 43 Kearney, Richard, 363, 378 Wake of Imagination, 366 Macaulay, Rose, 44 Keats, John, 72, 219 Machiavelli, Niccolo Keeley, E. M., 418 The Prince, 363 Kestsman, Fran<;oise, 52,385,399 MacNeice, Loius, 144-5, 301 Kharagiozi, 44 MacNiven, Ian, 36, 44, 95, 329, 330, Kierkegaard,Seren,63, 109,149-50 347 Kinross, Patrick, 44 Macon,63,401 Kipling, Rudyard, 22, 25-6, 81, 88, madness, 10, 76, 137, 172, 175, 228, 90,95 248,263,288,305,308,326,336, Kim, 22ff., 54, 64,89-90,97-100, Chapter 14 passim 151-2,226,250,318,339,376, Maeterlinck, Maurice, 96, 102 403 mage,68,70, 111,241-2,268-9,272, Knights, L. C., 102 371 Kratinos, 421 Magnani, Anna, 258 Kraus, Karl, 383 Mahfouz,Naguib,51, 190,383 Krishnamurti, 110 Malraux, Andre, 383 Kundera, Milan, 36, 41, 89, 169, 203, mandala, 112, 156, 277, 332, 362, 410, 331-2,338,364 415 Art of the Novel, 348 Mann, Thomas, 10, 90-1,99-100, 349,382 Lacarriere, Jacques, 117-18, 199,399 Magic Mountain, 154 Ladurie, E. LeRoy, 335 Manning, Olivia Laforgue, Jules, 241, 373 Levant Trilogy, 38, 190 Laing, R. D., 67, 170, 209, 306, 308, map-making, 13, 125, 161, Chapter 348 7, passim, 211, 223, 272, 327, 378, Lao, Tzu,72,75, 100-1,111,118,237, 411 355, 385; see also Tao Te Ching Marcus, Steven, 404 Index 449

Marlowe, Christopher, 92-3 Moore, Stephanie, 178, 359 Doctor Faustus, 284-5, 320 Moricand, Conrad, 6G-1 Marston, John, 92-3 Morrison, Ray, 390 Marvell, Andrew, 93 Mott, Francis, 68, 77, 96, 403 Marx, Karl, 80 Mumford, Lewis, 169, 230 Mayan culture, 113 Musil, Robert, 100,241 McFarlane, James, 90 Myers, Nancy: see Durrell, Nancy McOrlan, Pierre, 52 mythopoeism. 164,236, 255, Medea, 350 Chapter 11 passim, 310 Mernmi, Albert, 383-4 memory, 172, 344, 358ff. Nabokov, Vladimir, 100,242,382-3 Mendilow, A. A., 101, 174-5 Despair, 367 Mercier, Vivian, 345 Nash, Thomas, 92-3,259 merveilleux, 16, 23, 62, 63, 88-9, 119, Nerval, Gerard de, 391 142,163,210,235,244, Nietzsche, Friedrich, 70, 380 Chapters, 13-15 passim, 405 New Signature poets, 142 metaphor, 9, 11, 74, 110, 112, 124, Nin, Ana'is, 10, 11, 32-3, 34, 61, 78, 130,169,175-6,184,191,201, 122,304,317,339,354 Chapter 8 passim, 224, 238, 277, Children of the Albatross, 396 311, 315, 366 Winter of Artifice, 33, 96, 131 metaphysical speculation, 11, 45, nineteenth century, 3, 65-6, Chapter 121, 132, 149, 156, 161, Chapter 3 passim, 147, 202, 371 7 passim, 224, 226, 234, 237, 244, Norden, Charles (D's pseudonym), 338,343,371 33, 45, 59, 396 Michaux, Henri, 384 Middleton, Thomas, 92-3 O'Brien, Flann, 67 Miller, Henry, 10, 11, 22, 31, 32-4, At Swim-Two-Birds, 186, 289, 364 43-4,49-50,51,59,60,95,108, O'Brien, Kate 115,120,187,248,251,293,336, Land of Spices, 383 339,390 O'Connor, Frank Colossus of Maroussi, 36, 120 Backward Look, 282 Max and the White Phagocytes, 33 Oedipus, 350 Plexus, 311 ophitism, 332-3, 337 Sexus, 43-4 Orczy, Baroness, 89 Tropic of Cancer, 31, 43, 96, 131 orientalism, 20-1, 170,254,418,423 Tropic of Capricorn, 43 other, see alter ego World of Sex, 422 Overbury, Sir Thomas, 316 Miller, Karl, 74,412 Milosz, Czeslaw, 223 Pagels, Elaine, 338 Milton, John, 94, 312, 331, 379, 387 Paracelsus, 110, 112, 204, 222 'Minor Mythologies', 10, 27,87-90, Parr, Thomas, 93 123-4,328 Pater, Walter, 3, 83, 85,89-90,94, miracle: see merveilleux 104, 153, 212, 216 mirror, Chapters 7 and 8 passim, Marius the Epicurean, 88 366-7 Preles, Alfred, 32, 248 mordernism, 9G-1, 165 Pessoa,Fernando,109,234,413 Molinos, Miguel de, 93, 153 Petronius, 49, 155, 260, 326 Moore, Harry T., 406-7 Satyricon, 97, 144,294,298-9,311, Moore, Nicholas, 32 431 450 Index Pierce, Carol, 192, 436 Ridler, Anne, 101 Plato, 111, 121, 131, 184, 234, 296, Rilke, R. M., 221 310,379 Rimbaud, Arthur, 62, 72, 101, 134-7, Phaedo,381 155,226,241,310 Protagoras, 389 Roman de la rose, 225, 234, 365 Symposium, 209,242 Rosenbaum,S.P.,85 Theatetus, 298,310-1,337 Rougemont, Denis de, 223, 225-6, 378 Poe, Edgar Allan, 147 Rushdie, Salman, 2, 383, 429 Polanski, Roman, 434 politics, 11, 12, 161, 269, 353; see also Sade, Marquis de, 199-200,219,223, aesthetics 239 Pound, Ezra, 86-7 Said,Ed~ard, 15,383-4,418,423 Pre-Raphaelitism, 89, 133 Sappho (poetess), 94,375 Prokosch, Frederic, 55, 100 Sartre, J.-P., 369-70, 383 Proteus, 61, 112 Saurat, Denis, 114,410-11 Proust, Marcel, 10, 84, 183, 207-8, schizophrenia, 33-4,56,59-60, 140, 221,223-4 172,288,306,312,314-15,348, Ala Recherche du Temps Perdu, 192, 353,369 241 Schlegel, Friedrich, 237 Provence,21,24,28,49,52-3,59-60, Schopenhauer, Arthur, 96 70, 120,274,308,344,372,380ff. Panerga and Parligomena, 365-6 Pynchon, Thomas, 100, 353 Seferis, George [Seferiades], 36-7, v; 375 44,138,384 Pythagoras, 111 semantic disturbance, 72-3, 102, 155, 208-9,211,294,374 quest, 4, 6, 16, 20, Chapter 2 passim, sexual curiosity, 11, 45, 132, 149, 97-100, 104, 121, 149, 159-63, Chapter 7 passim, 224, 226, 234, 172-3,175,186,188,190,234, 237,244,338,343,371 240,264,266,277,313,318, shado~, 68-9,71,92, 140,232, 277, Chapters 13-15 passim 314,350 quiddity, 93-4, 111, 120, Chapter 5 Shakespeare, William, 92, 95,230, passim, 235, 292, 362 265,331,421 quietism, 69-70, 93, 153 Tempest, 47-8, 110, 129 quincinx, 50, 115, 234, 277, 327ff., 362 Sha~, G. B.,29, 80 Shelley, P. B., 94,333,369 Rabelais, Fran<;ois, 311 Sidney, Philip, 92 Raiders of the Lost Ark, 369 Simenon, Georges, 8, 371 Rank, Otto, 34, 68, 224, 295, 353, simile, 214-15,226 369-70 Si~ell, Edith, 101 Art and Artist, 34, 39, 59, 108, 129, skandha,86,332,347 154,307-8,339,345,412 Smart, Walter, 191 Trauma of Birth, 77-8, 410 Smollett, Tobias, 364 Redonda, 28, 394 Roderick Random, 186 Reichel, Hans, 32, 96, 395 sparagmos, 34, 180, 295, 298 relativity, 27, 181, 217, 287; see also Spencer, Bernard, 38 Bergson; Einstein Spender, Stephen; 82 Rhodes,39,65, 107-8,148 Spengler, Os~ald, 41, 96, 122, 200-1, Ricoeur, Paul, 15, 172, 192,201, 204, 297,301-2,336-7,339,348,369, 214-17,370 379 Index 451 Decline of the West, 41, 97 Tibet, 22-3,38,50-1, 53, 64, 78-9,81, Spenser, Edmund, 92 84, 96, 98, 120, 165, 179, 194, Stark, Freya, 43-4 279,328,347,374 Starkie, Enid, 136 Tibetan Book of the Dead, 84, 90, 194, Stein, Gertrude, 63 279-80,283,371-2 Steiner, George, 5, 11-12, 15, 24, 26, 'Tibetan novel', 16, 24, 50, 118, 156, 102,171,185,210-11,239,242, 181,279, Chapters 13--15 passim, 288,294,382,419 347,354,383 After babel, 208, 411 Tiller, Terence, 38 Extraterritorial, 24 time,7,83,107, 117,173-4,176,223, Real Presences, 15,408-9 287,340,345 Stekel, William, 65, 68, 96, 377 trap, 358ff. Homosexual Neurosis, 239 Tymms,R., Sadism and MJJsochism, 425 Doubles in Literary Psychology, 391 Stendhal (M. H. Beyle), 336 Stephanides, Theodore, 30, 41,43 Ulysses: see Ulysses Come Back (under Island Trails, 31, 44, 398 Durrell: Works) Sterne,Laurence,364,382 Unamuno, Miguel de, 31, 96, 104, Tristram Shandy, 186, 333, 355 297,360,363-4,382 Stevens, Wallace, 379-80 Abel Sanchez, 400-1,412 Stevenson, R. L., 101 How to Make a Novel, 368, 414 Stoneback, Harry, 416 Mist, 31, 176, 236, 364ff., 395 Storr, Anthony, 82-3 Upanishads, 25, 280, 286 Stuart, Francis Redemption, 383 vagabonds,49,59-60,278,308,372 Swift, Jonathan, 244, 387 Vaughan, William, 128 symbol and symbolism, 212-13 Verlaine, Paul, 5 Symonds, J. A., 284 Villa, Seurat, 33 syzygy,4, 71,78,100,385 Vincendon, Claude, see Durrell, Claude

Tambimittu, 39 Wagner, Richard, 345 Tantrism see Buddhism Walden (Henry Thoreau), 252 Tao,25,50, 110,112-13,130-1,171, Warhol, Andy, 366 256,285,378,383 Webster, John, 268 Tao Te Ching, 90, 97, 101, 300, 355, Wells, H. G., 88 363,408 White, Antonia, 32 Tarot,6, 12,132,186,334 Whitehead, A. N., 105, 113 Taylor, Elizabeth, 47 Wilde, Oscar, 29, 51, 101,212, Taylor, Sherwood, 311 218-19,274-5,283,287,399 Templars,95, 117,313,336,347,426 The Picture of Dorian Gray, 227 Tennyson, Alfred, 101 Salome,227 Tertullian, 175 Wilkinson, G. and P., 29-30; see also Thomas, Alan, 39, 45 Caduceus Press Thomas, D. M. Williams, Raymond, 26 White Hotel, 306 Wodehouse, P. G., 45, 87 Thomas, Dylan, 32, 39, 101 Woolf, Virginia, 202, 364 Thorpe, W. H. Wordsworth, William, 3,12-13,27, Science, Man and Morals, 307 66-7,113,126,212,370,409 452 Index Wotton, Henry, 23, 392 Purgatory, 144 writing act of, 5, 20, 100, 169, 193, Young, G., 197,210,220,232,320, Chapter Constantinople, 426 14 passim, 400, 418 Yugoslavia, 38-41,250-1

Yeats, W. B., 3, 48, 56, 60, 82, 90, 110, 113, 125, 132-3, 148, 219, 274, Zarian, Constant, 31, 75 278,279-81,299,361,382-3,402 Zetterling, Mai, 47-8 A Vision, 360 Zorba the Greek (Nikos Death of Cuchulain, 138 Kazantzakis), 270