Scope and Contents

The image on the page is of a fragmented gray man's portrait framed in the original text of the page. this portion is painted over with a light orange paint and drawn with fine black ink lines. The text reads, "I could be a book explaining everything on margins - I could be a photograph lifted from his heart, - Ah! To-morrow" -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads "pasted on to the present- see, it is nine eleven - the time singular - which broke down illusion - I Love New York!" -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads "scribe the once or twice story - scribe the story reveal a sister story - see now the arts connect - a veil thrown over a veil, as changes made the book continue" -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads "the found friend a book to be recast - only connect - here is art coming to claim a little white opening out of thought" -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads "we men and women who are life - we are the people - the good the evil the incomplete - the good and evil, the necessary". -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads "an invitation it was not possible to refuse. martyr art - The champagne art which had the Muses of feeling, follow-things financial - o show us the way to the gravy train". -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads "as years went on, you began to fail better" -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads "that girl's eyes met his and her scarlet lips had his name on - the only thing to be done with a muse is love our poem of the pulses-- - you like it, that wild and soaring pulse and poke of love--surely you, - night - , and the time will come". -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads "Miss M rave Lady entertainment Lady Miss M the prospect he dreamt of - clasp a prospect to-night, - GRENVILLE, that night in his bed found a Piccadilly girl - cool - the moment to begin a diary. his memoranda moment". -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads "at last in a bed the curves of the congruous joined Princess and priest - lingual let us come across large ruinous sprouting red luxuries - Compared with London, all shadowland ; and the numb who shuffled round work ville helpless - between the cheeks he emitted unciation by unciation the gradually eased delight". -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads "walls - ketry, and cullis were sent for and a dozen identified, he knew to be engaged - The agent carefully knew nothing; - of which four sped away into the level limitless land and camped in clearings, on the borders of shadow - Western Europe had changed - walls looked down on it, towers and guard-rooms,". -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads "We have been there; we have seen bourgeois pictures. So quettish and rudged - We saw rooms--galleries--full we know all about you; you laughing gnomis qually and noy - "My dear Prince Pooh!" retorted the Princess, laughing, as fine ladies nuine ympa rievan- uffer noy rievan". -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads "home, ridiculous. - thought ridiculous - here was a woman - a vision beyond the pale of shy ideas - sonry blic adula derstan ked". -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads "picture a bedroom. see a girl Eve under the zing of the muse - see here is toge - under the flickering frock a dancing heart and under the watching photograph eyes that looked - picture The Feeling - under her dress came to his glancing the perfect piece of the world a woman's small well-poised eagerness." -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads "a child - success sucess confronted him with all the old intoxication, and the hollow music. prize the world, and the rich gulf days - alone in his bedroom a small mineral invalid". -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads "night rhythm darkness rose from his rhymes - batter my heart - in fragments of shadow - a rhythm thought". -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads "scenes out of an opera - Licht - First came quiet grass green scenery smiling. - Then Came wild ternated greens and nailed saints looked through brawling foliage, - then came a painted word - interval". -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads "three three - four - This silence vibrating--a heart echoing listen - toge playing toge - the life about him". -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads "turn - turn - subject to subject lightly listened moral music ; with wonder, - the warm trees, listening - the moving butterfly listening - at the limits of lamp-lit time "Listen," the music turned" This poem is about the appreciation of music as an abstract form of expression. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The poem reads "hail bright Vice - after he had indulged himself in the pleasure district Palladio still smelt of fields and damp thoughts - a moment no fresco reflected - He had just been stuccoed - Paul Veronese. he suddenly ejaculated, You know Veronese-- - above the sideboard. up in the cupboard on the wall ; On the contrary," Paolo [Paul] Veronese (1528 "“ 19 April 1588) was an Italian painter of the Renaissance in Venice, famous for paintings such as The Wedding at Cana and The Feast in the House of Levi. He adopted the name Paolo Cagliari or Paolo Caliari,[1] and became known as "Veronese" from his birthplace in Verona. Veronese, Titian, and Tintoretto constitute the triumvirate of pre-eminent Venetian painters of the late Renaissance (sixteenth century). Veronese is known as a supreme colorist, and for his illusionistic decorations in both fresco and oil. Andy may refer to Antonio Badia whom Veronese apprenticed with in his early artistic career (Wikipedia) His most famous...