When a joiner made the oak frame of this
long sash window, when a builder set it
in the wall, when a glazier puttied
in the panes that keep the weathers in their place,
all I would have seen were hedges, fields, ponds
and grazing dairy cattle – before the rise,
the decline and the fall, in a hundred
and sixty years, of so many empires.
When I stand on the back doorstep and search
for the stars amid the urban glare and the overcast
and then look down I see me silhouetted
in the gazebo’s windows – like the figure,
in ‘Las Meninas’, whom we see through
an open door, having paused climbing the stairs
to briefly watch paint capture majesty.
I think of Xerses, anticipating
victory over all of Greece, the world,
watching his armies cross the Bosporus
into Europe, suddenly weeping,
knowing that none of them would be alive
a hundred years from then – and longing
for the pillars and for the gardens
of Persepolis. A century or more
later, Alexander the Great will scourge
the city’s entire populace. Only
artifice will remain.
Alexander the GreatartificeBosporusEuropegardensgazebomajestypaintPersepolispillarsXerses‘Las Meninas’
Ian Craine
March 22, 2014I do like the way you lead into these poems with striking images – the installation of the sash window.
John Huddart
March 25, 2014Like ‘The Coat Hanger’, as Ian observes, the domestic image leads out into the world, and connects our lives to the histories of where we live and the events of a distant past. The poem honours classical history while making it clear that its significance is no greater than our own. So what remains of us – our thoughts, our works, our poems! Such artifice!