They have set aside their black tin boxes, scratched and dented, spattered with drops of pink and blue; and their dried-up, rolled-up tubes of alizarin crimson, chrome green, zinc white, and ultramarine; their vials half full of gold powder; stubs of wax pencils;
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.
"Just the place for a Snark!" the Bellman cried, As he landed his crew with care; Supporting each man on the top of the tide By a finger entwined in his hair.
"Just the place for a Snark! I have said it twice: That alone should encourage the crew.
I ply with all the cunning of my art This little thing, and with consummate care I fashion it—so that when I depart, Those who come after me shall find it fair And beautiful. It must be free of flaws— Pointing no laborings of weary hands;
A month or twain to live on honeycomb Is pleasant; but one tires of scented time, Cold sweet recurrence of accepted rhyme, And that strong purple under juice and foam Where the wine’s heart has burst; Nor feel the latter kisses like the first.
Once yet, this poor one time; I will not pray Even to change the bitterness of it, The bitter taste ensuing on the sweet, To make your tears fall where your soft hair lay All blurred and heavy in some perfumed wise Over my face and eyes.
I am that which began; Out of me the years roll; Out of me God and man; I am equal and whole; God changes, and man, and the form of them bodily; I am the soul.
Before ever land was, Before ever the sea, Or soft hair of the grass, Or fair limbs of the tree, Or the fresh-coloured fruit of my branches, I was, and thy soul was in me.
First life on my sources First drifted and swam; Out of me are the forces
A VISION.
Coming down a golden street
I beheld my vanished one,
And he moveth on a cloud,
And his forehead wears a star;
And his blue eyes, deep and holy,
Fixed as in a blessed dream,
See some mystery of joy,
The wind rests its cheek upon the ground and feels the cool damp And lifts its head with twigs and small dead blades of grass Pressed into it as you might at the beach rise up and brush away The sand. The day is cool and says, “I’m just staying overnight.” The world is filled with music, and in between the music, silence And varying the silence all sorts of sounds, natural and man made: There goes a plane, some cars, geese that honk and, not here, but Not so far away, a scream so rending that to hear it is to be
AH whither, Love, wilt thou now carry me? What wontless fury dost thou now inspire Into my feeble breast, too full of thee? Whilst seeking to aslake thy raging fire, Thou in me kindlest much more great desire, And up aloft above my strength dost raise The wondrous matter of my fire to praise.
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
Let it not your wonder move, Less your laughter, that I love. Though I now write fifty years, I have had, and have, my peers; Poets, though divine, are men, Some have lov'd as old again. And it is not always face, Clothes, or fortune, gives the grace; Or the feature, or the youth. But the language and the truth, With the ardour and the passion, Gives the lover weight and fashion. If you then will read the story, First prepare you to be sorry That you never knew till now
1 Afoot and light-hearted I take to the open road, Healthy, free, the world before me, The long brown path before me leading wherever I choose.
Henceforth I ask not good-fortune, I myself am good-fortune, Henceforth I whimper no more, postpone no more, need nothing, Done with indoor complaints, libraries, querulous criticisms, Strong and content I travel the open road.
The earth, that is sufficient, I do not want the constellations any nearer, I know they are very well where they are, I know they suffice for those who belong to them.
That Whitsun, I was late getting away: Not till about One-twenty on the sunlit Saturday Did my three-quarters-empty train pull out, All windows down, all cushions hot, all sense Of being in a hurry gone. We ran Behind the backs of houses, crossed a street Of blinding windscreens, smelt the fish-dock; thence
With lovers, ’twas of old the fashion By presents to convey their passion; No matter what the gift they sent, The Lady saw that love was meant. Fair Atalanta, as a favour, Took the boar’s head her Hero gave her; Nor could the bristly thing affront her, ’Twas a fit present from a hunter.
With last night’s wine still singing in my head, I sought the tavern at the break of day, Though half the world was still asleep in bed; The harp and flute were up and in full swing, And a most pleasant morning sound made they; Already was the wine-cup on the wing. ‘Reason,’ said I, ‘’t is past the time to start, If you would reach your daily destination, The holy city of intoxication.’ So did I pack him off, and he depart With a stout flask for fellow-traveller.
Left to myself, the tavern-wench I spied, And sought to win her love by speaking fair; Alas! she turned upon me, scornful-eyed,
Pretty women wonder where my secret lies. I’m not cute or built to suit a fashion model’s size But when I start to tell them, They think I’m telling lies. I say, It’s in the reach of my arms, The span of my hips, The stride of my step,
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