May 20, 2016

At The Sculptor's Studio

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Long after his final forms are cast,
And the sculptor's hands are mute,
The line forms daily at his door
To tour his institute.

Long after his final fire fades,
And the sculptor becomes his bones,
Two faces in his house are forming,
Melting out of frozen stone.

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To your right, the dreamer strains to wake,
And struggles within her sleep.
On your left, the convalescent, pale,
Lays back upon her sheet.

Their sanded eyes, their still, stone lips,
Emerge from drifts of solid snow,
And whisper life in tongues of brass,
To the shadows of their shapes below.

Plump matrons, muttering recipes,
Shuffle past them in a bunch,
And amble into the arid garden
To stand in line for lunch.

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Outside, within the ivy's cloak,
All wrangled by the wall,
The rain-scorched Burghers of Calais,
Gaze numbly on their final fall.

Tanned lovers stroll and pose beside
Those forms, and buff those metal hands,
To laugh and wander off quite calm,
In their sheltered, cozy bands.

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The Burghers' flesh and staring eyes,
Know no real pain, weep tears of time,
While those around, quite blithe, ignore
The sculptor's agony that they mime.

Yes we, quite modern, admire them.
We discuss the sacrifice they tell,
Then, laughing, use our selfie sticks
And pose knocking on The Gates of Hell.

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Posted by gerardvanderleun at May 20, 2016 10:58 AM
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Love it!

Posted by: Charlie at May 20, 2016 10:03 AM

I think Rodin knocked on the Gates of Hell with the best of them. He grabbed his peers by the ears and swept untold millions up into the casts of heaven. He awaits you, and the other Moderns, at the Pearly Gates.

Posted by: Casey Klahn at May 23, 2016 5:53 PM