hecker

Amateur essayist, anime & manga fan

Resident of Howard County, Maryland, systems engineer, and amateur essayist and data scientist. Author of the book That Type of Girl: Notes on Takako Shimura's Sweet Blue Flowers. Staff writer for Okazu.


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As I’ve previously mentioned, I’m a fan of poems about paintings, and poems about mythological subjects. This Sunday night’s poem scratches both those itches: W. H. Auden’s “Musée des Beaux Arts,” about the painting Landscape With the Fall Of Icarus, traditionally attributed to Pieter Breugel the Elder:


About suffering they were never wrong,
The old Masters: how well they understood
Its human position: how it takes place
While someone else is eating or opening a window or just walking dully along;

How, when the aged are reverently, passionately waiting
For the miraculous birth, there always must be
Children who did not specially want it to happen, skating
On a pond at the edge of the wood:
They never forgot
That even the dreadful martyrdom must run its course
Anyhow in a corner, some untidy spot
Where the dogs go on with their doggy life and the torturer’s horse
Scratches its innocent behind on a tree.

In Breughel’s Icarus, for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may
Have heard the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
Water, and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky,
Had somewhere to get to and sailed calmly on.

This painting inspired more than Auden; William Carlos Williams wrote another poem about it.

Getting back to Auden, those of you who’ve watched the film Four Weddings and a Funeral may also remember Auden’s poem “Funeral Blues,” which figured prominently in one of the film’s most famous scenes.

If you’d like to read more


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