early morning. down to the shore again to find a place to grieve. the place he left lingering. here the ropes were loosed [here he gave me kisses on the shore, here he left] she said
and while she thought and looked and felt, looking out along the shore, in liquid space, she saw—far off not sure—a body or something in the water— wondered what, but then the waves pulled it by—still
To-night again the moon’s white mat Stretches across the dormitory floor While outside, like an evil cat The pion prowls down the dark corridor, Planning, I know, to pounce on me, in spite For getting leave to sleep in town last night. But it was none of us who made that noise, Only the old brown owl that hoots and flies
How did you come How did I come here Now it is ours, how did it come to be In so many presences? Some I know swept from the sea, wind and sea, Took up the right wave in their fins and seal suits, Rode up over the town to this shore Shining and sleek
You rose from our embrace and the small light spread like an aureole around you. The long parabola of neck and shoulder, flank and thigh I saw permute itself through unfolding and unlimited minuteness in the movement of your tall tread, the spine-root swaying, the Picasso-like éclat of scissoring slender legs. I knew some law of Being was at work. At one time I had said
Wolleward and weetshoed wente I forþ after As a recchelees renk þat [reccheþ of no wo], And yede forþ lik a lorel al my lif tyme, Til I weex wery of þe world and wilned eft to slepe, And lened me to a lenten, and longe tyme I slepte; | Reste me þere and rutte faste til Ramis palmarum. Of gerlis and of Gloria laus gretly me dremed, And how Osanna by Organye olde folk songen,
O the Raggedy Man! He works fer Pa; An' he's the goodest man ever you saw! He comes to our house every day, An' waters the horses, an' feeds 'em hay; An' he opens the shed—an' we all ist laugh When he drives out our little old wobble-ly calf; An' nen—ef our hired girl says he can— He milks the cow fer 'Lizabuth Ann.—
Difficile est proprie communia dicere HOR. Epist. ad Pison I Bob Southey! You're a poet—Poet-laureate, And representative of all the race; Although 'tis true that you turn'd out a Tory at
[FOR WARREN WINSLOW, DEAD AT SEA] Let man have dominion over the fishes of the sea and the fowls of the air and the beasts of the whole earth, and every creeping creature that moveth upon the earth. I
Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs, And towards our distant rest began to trudge. Men marched asleep. Many had lost their boots, But limped on, blood-shod. All went lame; all blind; Drunk with fatigue; deaf even to the hoots Of gas-shells dropping softly behind.
And then went down to the ship, Set keel to breakers, forth on the godly sea, and We set up mast and sail on that swart ship, Bore sheep aboard her, and our bodies also Heavy with weeping, and winds from sternward Bore us out onward with bellying canvas, Circe’s this craft, the trim-coifed goddess. Then sat we amidships, wind jamming the tiller,
1 The brutal Lord of All will rip us from each other—leave the one to suffer here alone. No need belief in god or hell to postulate that much. The dance: hands touching, leaves touching—eyes looking, clouds rising—lips touching, cheeks touching, arm about . . . Sleep. Heavy head, heavy arm, heavy dream—: Of Ymir’s flesh the earth was made and of his thoughts were all the gloomy clouds created. Oya!
________________ Out of bitterness itself the clear wine of the imagination will be pressed and the dance prosper thereby.
2 To you! whoever you are, wherever you are! (But I know where you are!) There’s Dürer’s “Nemesis” naked on her sphere over the little town by the river—except she’s too old. There’s a dancing burgess by Tenier and Villon’s maitresse—after he’d gone bald and was skin pocked and toothless: she that had him ducked in the sewage drain. Then there’s that miller’s daughter of “buttocks broad and breastes high.” Something of Nietzsche, something of the good Samaritan, something of the devil himself,—can cut a caper of a fashion, my fashion! Hey you, the dance! Squat. leap. Hips to the left. Chin—ha!—sideways! Stand up, stand up ma bonne! you’ll break my backbone. So again!—and so forth till we’re sweat soaked.
________________ Some fools once were listening to a poet reading his poem. It so happened that the words of the thing spoke of gross matters of the everyday world such as are never much hidden from a quick eye. Out of these semblances, and borrowing certain members from fitting masterpieces of antiquity, the poet began piping up his music, simple fellow, thinking to please his listeners. But they getting the whole matter sadly muddled in their minds made such a confused business of listening that not only were they not pleased at the poet’s exertions but no sooner had he done than they burst out against him with violent imprecations.
3 It’s all one. Richard worked years to conquer the descending cadence, idiotic sentimentalist. Ha, for happiness! This tore the dress in ribbons from her maid’s back and not spared the nails either; wild anger spit from her pinched eyes! This is the better part. Or a child under a table to be dragged out coughing and biting, eyes glittering evilly. I’ll have it my way! Nothing is any pleasure but misery and brokenness. THIS is the only up-cadence. This is where the secret rolls over and opens its eyes. Bitter words spoken to a child ripple in morning light! Boredom from a bedroom doorway thrills with anticipation! The complaints of an old man dying piecemeal are starling chirrups. Coughs go singing on springtime paths across a field; corruption picks strawberries and slow warping of the mind, blacking the deadly walls—counted and recounted—rolls in the grass and shouts ecstatically. All is solved! The moaning and dull sobbing of infants sets blood tingling and eyes ablaze to listen. Speed sings in the heels at long nights tossing on coarse sheets with bruning sockets staring into the black. Dance! Sing! Coil and uncoil! Whip yourselves about! Shout the deliverance! An old woman has infected her blossomy grand-daughter with a blood illness that every two weeks drives the mother into hidden songs of agony, the pad-footed mirage of creeping death for music. The face muscles keep pace. Then a darting about the compass in a tarantelle that wears flesh from bones. Here is dancing! The mind in tatters. And so the music wistfully takes the lead. Ay de mí, Juana la Loca, reina de España, esa está tu canta, reina mía!
The thing written is a sexual thing, may bite, tell a truth some have died for, even the most casual initialing is a touch of love and what love goes for. A sometime thing, it smiles or has an ugly grin, on the page or wall may be holy and a sin. Writing wants, must have, must know, is flesh, blood, and bone,
In a somer seson, whan softe was þe sonne, I shoop me into [a] shrou[d] as I a sheep weere, In habite as an heremite, vnholy of werkes, Wente wide in þis world wondres to here. Ac on a May morwenynge on Maluerne hilles Me bifel a ferly, of Fairye me þoȝte. I was wery forwandred and wente me to reste Under a brood bank by a bourn[e] syde;
Ce qui est beau à Leningrad, c’est Saint Petersbourg. What fellow traveller returned from the U.S.S.R., Burdened with souvenirs in the form of second thoughts, said That, rephrasing the Slavic platitude as a reactionary epigram? Thence One must count oneself privileged to have escaped empty-handed, Frisked in exit by the incompetent customs of the country Who got everything backwards, inspecting my papers with a glass: Bourgeois formalism apart, my handwriting looks like a decadent cipher.
Est brevitate opus, ut currat sententia, neu se Impediat verbis lassas onerantibus aures: Et sermone opus est modo tristi, saepe jocoso, Defendente vicem modo Rhetoris atque Poetae, Interdum urbani, parcentis viribus, atque Extenuantis eas consulto. (Horace, Satires, I, x, 17-22)
Canto III appeared in the July, 1917 issue of Poetry. Originally part of what scholars call the "Ur-Cantos," this version of Canto III was later edited by Pound to become Canto I of his collected Cantos. The section that eventually became Canto I is highlighted in blue in the poem below. —THE EDITORS
III
Another's a half-cracked fellow—John Heydon, Worker of miracles, dealer in levitation, In thoughts upon pure form, in alchemy, Seer of pretty visions ("servant of God and secretary of nature"); Full of plaintive charm, like Botticelli's, With half-transparent forms, lacking the vigor of gods. Thus Heydon, in a trance, at Bulverton, Had such a sight: Decked all in green, with sleeves of yellow silk
Je vois les effroyables espaces de l’Univers qui m’enferment, et je me trouve attaché à un coin de cette vaste étendue, sans savoir pourquoi je suis plutôt en ce lieu qu’en un autre, ni pourquoi ce peu de temps qui m’est donné à vivre m’est assigné à ce point plutôt qu'à un autre de toute l’éternité qui m’a précédé, et de toute qui me suit.
—Pascal, Pensées sur la religion
The approach of a man’s life out of the past is history, and the approach of time out of the future is mystery. Their meeting is the present, and it is consciousness, the only time life is alive. The endless wonder of this meeting is what causes the mind, in its inward liberty of a frozen morning, to turn back and question and remember. The world is full of places. Why is it that I am here?
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