The Hamlet (pp.343).

“Wait,” the old man said in a reedy, quavering voice. He was known through all that country. He had no kin, no ties, and he antedated everyone; nobody knew how old he was — a tall thin man in a filthy frock coat and no shirt beneath it and a long, perfectly white beard reaching below his waist, who lived in a mud-daubed hut in the river bottom five or six miles from any road. He made and sold nostrums and charms, and it was said of him that he ate not only frogs and snakes but bugs as well — anything that he could catch. There was nothing in his hut but his pallet bed, a few cooking vessels, a tremendous Bible and a faded daguerreotype of a young man in a Confederate uniform which was believed by those who had seen it to be his son. “Wait,” he said. “There air anger in the yearth. Ye must make that ere un quit a-bruisin hit.”

Le stoïcisme, religion qui na quun sacrement, — le suicide! (Baudelaire)

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Links below lead to vocabulary lists for each illumined chunk along with my (only half-comprehending, I fear) translations. The passage is Ovid’s telling of how the wild olive tree (oleaster) came into existence. Metamorphoses, 14.512-526.
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Hactenus Oenides, Venulus Calydonia regna
Peucetiosque sinus Messapiaque arva relinquit.
in quibus antra videt, quae, multa nubila silva
et levibus cannis latitantia semicaper Pan
nunc tenet, at quodam tenuerunt tempore nymphae.
Apulus has illa pastor regione fugatas
terruit et primo subita formidine movit,
mox, ubi mens rediit et contempsere sequentem,
ad numerum motis pedibus duxere choreas;
inprobat has pastor saltuque imitatus agresti
addidit obscenis convicia rustica dictis
,nec prius os tacuit, quam guttura condidit arbor:
arbor enim est, sucoque licet cognoscere mores
quippe notam linguae bacis oleaster amaris
exhibet: asperitas verborum cessit in illa.

*

runnng up a hill, the strain of doing so gradually and then more speedily rises up the legs, an accretion like the filling of two vials, two vials with a serum of “strain”, (“strain” being the expression of the resistance of reality to one’s activity — the surrealist director of the athlete’s mind above the beakers and burners of his legs, the scientist’s legs) the vials beneath the bunsen burner of ones peritoneum, then disappears when it should be in the abdomen; here it goes under the tunnel, so to speak, it is not felt there, is “subdominal”; then it reappears not as a sort of strain as formerly but as a desperate need for breath, it has transformed, the strain having risen but not without alteration, not continuously so

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lia…..b……vel
swin…ang…ines
ging..siron.. sand
Maryof Egypthami
dabashitru
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…Proposition, the sort of amateur writing that rather than being convex, toward the reader, is convex, toward the writer…
………… (What should be projected is suggested; what should be fully argued is outlined; what should be novelistic is diaristic; instead of the painting, the sketch; instead of the sketch or the painting, the precis, the treatment, the note about what it would be, the note about what it would be if it were to exist — but the author, artist, won’t make it exist; the author will make the note exist: the note which is to tell us both what the artwork was to have been and how it was to have be taken. This is “convex toward the writer.”)