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Osap’s Fables



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.



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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