I said to Frobenius … invented a mechanism etc… .”: Pound is recalling his invitation to Frobenius to attend the first performance of Antheil's opera, Transatlantic (cf. note GK 71). By referring to Frobenius as a Geheimrat (privy councillor), Pound acknowledges the anthropologist's prominence.

Ito: Michio Ito (c.1892–1961), Japanese Noh dancer, who performed in Yeats's play At the Hawk's Well in 1916 and rented Pound's Church Walk flat in London, where he most likely saw the photo of the Noh actor Umewara Minoru (1828–1909) on Pound's mantleshelf (cf. note GK 276). In Canto 77, Pound remembers Ito's meeting with then-Prime Minister H. H. Asquith in 1914 (77/489).

Bach, Lubek, Tielmann: Covering the Rapallo concerts of 1934 in Il Mare, Pound notes that Munch played preludes and fugues by Bach (cf. note GK 153), an intermezzo in six parts of Clavier Ubung (1728) by Hamburg-based composer, organist, and teacher Vincent Lubeck (1654–1740), “followed by a Telemann masterpiece, a magnificent cantata (1725)” (cf. notes GK 60, 134–35, 151–52). Hence, “Tielmann” may refer to Georg Philipp Telemann (1681–1767), the most prolific German composer of the first half of the eighteenth century, whose chamber music also featured in the Rapallo programs of 1936. Pound's spelling nonetheless also suggests Tielman Susato (c.1510–70), Dutch Renaissance composer, editor, and publisher.

The Stammbuch, Minnelied: “The Stammbuch” is a misreading of Hans Sachs's Das Standebuch (The Book of Trades), while Minnelied refers to the German courtly love song (cf. note GK 202–3).

Burns’ wish for a mirror: Allusion to the closing stanza of “To a Louse” by the Scottish poet Robert Burns (1759–96): “O wad some Pow'r the giftie gie us / To see oursels as others see us!”