The Scarecrow

My soul and I went to the great sea to bathe. And when we reached the shore, we went about looking for a hidden and lonely place.

But as we walked, we saw a man sitting on a grey rock taking pinches of salt from a bag and throwing them into the sea.

“This is the pessimist,” said my soul, “Let us leave this place. We cannot bathe here.”

We walked on until we reached an inlet. There we saw, standing on a white rock, a man holding a bejeweled box, from which he took sugar and threw it into the sea.

“And this is the optimist,” said my soul, “And he too must not see our naked bodies.”

Further on we walked. And on a beach we saw a man picking up dead fish and tenderly putting them back into the water.

“And we cannot bathe before him,” said my soul. “He is the humane philanthropist.”

And we passed on.

Eating is her subject.
While eating is her subject.
Where eating is her subject.
Withdraw whether it is eating which is her subject. Literally
while she ate eating is her subject. Afterwards too and in be-
tween. This is an introduction to what she ate.
She ate a pigeon and a soufflé.

At hawthorn-time in Wiltshire travelling
In search of something chance would never bring,
An old man’s face, by life and weather cut
And coloured,—rough, brown, sweet as any nut,—
A land face, sea-blue-eyed,—hung in my mind
When I had left him many a mile behind.
All he said was: “Nobody can’t stop ’ee. It’s
A footpath, right enough. You see those bits
Of mounds—that’s where they opened up the barrows
Sixty years since, while I was scaring sparrows.
They thought as there was something to find there,
But couldn’t find it, by digging, anywhere.”

To turn back then and seek him, where was the use?
There were three Manningfords,—Abbots, Bohun, and Bruce:

He saw her from the bottom of the stairs
Before she saw him. She was starting down,
Looking back over her shoulder at some fear.
She took a doubtful step and then undid it
To raise herself and look again. He spoke
Advancing toward her: ‘What is it you see
From up there always—for I want to know.’
She turned and sank upon her skirts at that,
And her face changed from terrified to dull.
He said to gain time: ‘What is it you see,’
Mounting until she cowered under him.
‘I will find out now—you must tell me, dear.’
She, in her place, refused him any help
With the least stiffening of her neck and silence.
She let him look, sure that he wouldn’t see,

‘Nam Sibyllam quidem Cumis ego ipse oculis meis vidi in ampulla pendere, et cum illi pueri dicerent:Σίβυλλα τίθέλεις; respondebat illa:άποθανεîνθέλω.’ For Ezra Pound
il miglior fabbro. I. The Burial of the Dead

I go again to the sea and converse with Ovid
whose verses like the Romanian coast roll along
so wide and subdued: waves that wait for the ice to break.

My poet, you that make what I sing to thousand years old,
ancient boundary stone on the edge of the Romanian language,
you the gulls have elected on to the governing board of our
epics,
of our song-grief you turned into Latin and gave

This was a true happening but (as you
will see shortly) not such as would ready me
for future ones. What has brisk disaster
to do with a leisurely ordeal?
Neither event, as you will notice also,
has made me an understanding man.
It was my watch one night, away then on
the sea, when leaning on a couple of crates

It’s a spring morning; sun pours in the window
As I sit here drinking coffee, reading Augustine.
And finding him, as always, newly minted
From when I first encountered him in school.
Today I’m overcome with astonishment
At the way we girls denied all that was mean
In those revered philosophers we studied;
Who found us loathsome, loathsomely seductive;

I went to turn the grass once after one
Who mowed it in the dew before the sun.

The dew was gone that made his blade so keen
Before I came to view the levelled scene.

I looked for him behind an isle of trees;
I listened for his whetstone on the breeze.

But he had gone his way, the grass all mown,
And I must be, as he had been,—alone,