| About suffering they were never wrong,
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| The old Masters: how well they understood
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| Its human position: how it takes place
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| While someone else is eating or opening a window or just walking dully along;
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| How, when the aged are reverently, passionately waiting
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| For the miraculous birth, there always must be
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| Children who did not specially want it to happen, skating
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| On a pond at the edge of the wood:
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| They never forgot
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| That even the dreadful martyrdom must run its course
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| Anyhow in a corner, some untidy spot
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| Where the dogs go on with their doggy life and the torturer’s horse
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| Scratches its innocent behind on a tree.
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| In Breughel’s Icarus, for instance: how everything turns away
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| Quite leisurely from the disaster; |
| the ploughman may
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| Have heard the splash, the forsaken cry,
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| But for him it was not an important failure; |
| the sun shone
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| As it had to on the white legs disappearing into the green
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| Water, and the expensive delicate ship that must have seen
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| Something amazing, a boy falling out of the sky,
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| Had somewhere to get to and sailed calmly on. |
| Pieter Brueghel, The Fall of Icarus
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| Oil-tempera, 29 inches x 44 inches. |
| Museum of Fine Arts, Brussels. |