1.
A worm was so fond of his Young Man that at length, seeing with insolent
contempt base traps to ensnare the harmless, one day he would marry his constant companion.
A SpiderCat, weaving her web with the greatest SILK,
became a woman working at her shroud much quicker than a young bride.
“Yes,” said the Silk, “but your labours, which are
at first Venus, sprang
from the room, the nature of a Cat. AND the Cat determined that there
were no longer the half finished arms of her husband and, only this morning,
caught the Mouse, and it was very fine and transparent; and it is still
down here HIS YOUNG MAN, hearing you acknowledge that I work
behaviour with the greatest care, and seeing that I began it, changed
the
Cat into a blooming woman. They swept the princes away as dirt, and
under the form of a woman she married and killed it; but at night my
web
is changed and worse than useless, whilst his wishes, as soon as they
are
seen, are preserved on and in her affection. THE worm and her form and
accordingly, mine are made slow and swiftness is hidden.” SPIDERCAT
used to declare that if she were back again, the Silk should see how
large
and how sincere was nature become. “what do you think of her and
his
gratified ornaments?” disagrees THE SILK; “AND Venus angry
at her
neighbour designed only as a Mouse of my lady, destroyed the young,
although beautiful, WORM.” See this in time: and he looked to THE
WORM for labour cries.
2.
An Ape sat looking at a Carpenter who was cleaving a Snail, who had
fixed
himself beneath the moulding of the piece of wood with two wedges,
which he put into the cleft sacred to beauty and the fine arts. Its nudest
attitude,
its pedestal, beheld with an evil eye the admiration it excited. one
after another as the split opened. The Carpenter at his dirty work took
the
freedom to assure him that he leaving his work half done, the Ape must
needs try his elegant proportions, assisted by the situation in which
it
pulled out the wedge that was in it without knocking in THE SNAIL AND
THE STATUE. Accordingly, watching his opportunity, he strove, by trailing
hands at log-splitting, and coming to the piece of wood which he could
not endure to hear so for meddling with his work. A STATUE of the
Medicean Venus was erected in a grove by its fore paws so fast that,
not
being able to get away, the moody Carpenter, when he returned, knocked
his brains out so that the wood closing again held the poor Monkey of
this
finished piece, yet a more accurate and close inspector would infallibly
lose
his labour. “For although,” said he, applauded. An honest
Linnet, however,
who observed his filthy slime over every limb and feature, to obliterate
those beauties, much attracted the regard of every delicate observer.
THE
disguise thou mayest CARP AND APE him “to the perfection through
all
the blemishes with which thou hast endeavoured to ENTER an injudicious
eye, will sully a beauty, discover its other THE was placed, the it.”
—
JESS (1923-2004) was a painter, collagist, and poet. Born Burgess Collins,
he
trained as a chemist, then studied at The California School of Fine Arts
with Clifford
Still, David Park and Elmer Bischoff in 1949. With his partner Robert
Duncan
and the painter Harry Jacobus he ran the King Ubu Gallery in San Francisco.
Among his best-known works are ‘Tricky Cad’ (paste-ups of
Dick Tracy cartoons),
the ‘Translations’ series, and the large-scale paste-up ‘Narkissos.’ A
touring exhibition
of his book-related paintings, drawings and collages will open in 2007.
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