Belly Dancer

'There it is!–
You play beside a death-bed like a child,
Yet measure to yourself a prophet's place
To teach the living. None of all these things,
Can women understand. You generalise,
Oh, nothing!–not even grief! Your quick-breathed hearts,
So sympathetic to the personal pang,

Unlike the ashes that make their home with hot coals, snails prefer moist earth. Go on: they advance while gluing themselves to it with their entire bodies. They carry it, they eat it, they shit it. They go through it, it goes through them. It’s the best kind of interpenetration, as between tones, one passive and one active. The passive bathes and nourishes the active, which overturns the other while it eats.

(There is more to be said about snails. First of all their immaculate clamminess. Their sangfroid. Their stretchiness.)

One can scarcely conceive of a snail outside its shell and unmoving. The moment it rests it sinks down deep into itself. In fact, its modesty obliges it to move as soon as it has shown its nakedness and 
revealed its vulnerable shape. The moment it’s exposed, it moves on.

During periods of dryness they withdraw into ditches where it seems their bodies are enough to maintain their dampness. No doubt their neighbors there are toads and frogs and other ectothermic animals. But when they come out again they don’t move as quickly. You have to admire their willingness to go into the ditch, given how hard it is for them to come out again.

Note also that though snails like moist soil, they have no affection for places that are too wet such as marshes or ponds. Most assuredly they prefer firm earth, as long as it’s fertile and damp.

They are fond as well of moisture-rich vegetables and green leafy plants. They know how to feed on them leaving only the veins, cutting free the most tender leaves. They are hell on salads.

What are these beings from the depths of the ditches? Though snails love many of their trenches’ qualities they have every intention of leaving. They are in their element but they are also wanderers. And when they emerge into the daylight onto firm ground their shells will preserve their vagabond’s hauteur.

It must be a pain to have to haul that trailer around with them everywhere, but they never complain and in the end they are happy about it. How valuable, after all, to be able to go home any time, no matter where you may find yourself, eluding all intruders. It must be worth it.

Here, in the darkness, where this plaster saint
Stands nearer than God stands to our distress,
And one small candle shines, but not so faint
As the far lights of everlastingness,
I’d rather kneel than over there, in open day
Where Christ is hanging, rather pray
To something more like my own clay,
Not too divine;

Farewell (sweet Cooke-ham) where I first obtained
Grace from that grace where perfect grace remained;
And where the muses gave their full consent,
I should have power the virtuous to content;
Where princely palace willed me to indite,
The sacred story of the soul’s delight.
Farewell (sweet place) where virtue then did rest,
And all delights did harbor in her breast;
Never shall my sad eyes again behold
Those pleasures which my thoughts did then unfold.
Yet you (great Lady) Mistress of that place,
From whose desires did spring this work of grace;
Vouchsafe to think upon those pleasures past,
As fleeting worldly joys that could not last,
Or, as dim shadows of celestial pleasures,

Act 2, Scene 2
Clindor, a young picaresque hero, has been living by his wits in Paris, but has now drifted to Bordeaux, to become the valet of a braggart bravo named Matamore. He is chiefly employed as a go-between, carrying Matamore's amorous messages to the beautiful Isabelle—who only suffers the master because she is in love with the messenger. clindor
Sir, why so restless? Is there any need,
With all your fame, for one more glorious deed?
Have you not slain enough bold foes by now,

But do not let us quarrel any more,
No, my Lucrezia; bear with me for once:
Sit down and all shall happen as you wish.
You turn your face, but does it bring your heart?
I'll work then for your friend's friend, never fear,
Treat his own subject after his own way,
Fix his own time, accept too his own price,
And shut the money into this small hand
When next it takes mine. Will it? tenderly?
Oh, I'll content him,—but to-morrow, Love!
I often am much wearier than you think,
This evening more than usual, and it seems
As if—forgive now—should you let me sit
Here by the window with your hand in mine
And look a half-hour forth on Fiesole,

Old now,
your eyes nearly blank
from plotting the light's
movement over the years,
you clean your Almanac
and place it next
to the heart of this letter.
I have you in mind,

1
I sing the body electric,
The armies of those I love engirth me and I engirth them,
They will not let me off till I go with them, respond to them,
And discorrupt them, and charge them full with the charge of the soul.

Was it doubted that those who corrupt their own bodies conceal themselves?
And if those who defile the living are as bad as they who defile the dead?
And if the body does not do fully as much as the soul?
And if the body were not the soul, what is the soul?

2
The love of the body of man or woman balks account, the body itself balks account,
That of the male is perfect, and that of the female is perfect.

The wanton troopers riding by
Have shot my fawn, and it will die.
Ungentle men! they cannot thrive
To kill thee. Thou ne’er didst alive
Them any harm, alas, nor could
Thy death yet do them any good.
I’m sure I never wish’d them ill,
Nor do I for all this, nor will;
But if my simple pray’rs may yet
Prevail with Heaven to forget
Thy murder, I will join my tears
Rather than fail. But oh, my fears!
It cannot die so. Heaven’s King
Keeps register of everything,
And nothing may we use in vain.