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http://www.jstor.org
MARY ANN
A
Double
Breughel,
CAWS
Reading
Auden,
by
and
Design:
Williams
But here the speakers fell silent. Perhapsthey were thinking that there is a vast distance
between any poem and any picture;and that to comparethem stretcheswords too far. At
last, said one of them, we have reached the edge where painting breaksoff and takes her
way into the silent land. We shall have to set foot there soon, and all our words will fold
their wings and sit huddled like rooks on the tops of the trees in winter . . . But since we
love words let us dally for a little on the verge, said the other. Let us hold painting by the
hand a moment longer, for though they must part in the end, paintingand writing have
much to tell each other: they have much in common.
Virginia Woolf, Essayon Walter Sickert
ACT OF READING a poem devoted to a
painting (itself perhaps devoted to a myth
or a legend, to be read in its turn) is, like
making the poem or the painting, an experiment in one of the possible forms of representing. There is, of course, no way to avoid
the twin perils of what we might call afterness (after the painting, after the poem,
thus in third place or third-order experience, unless there is a legend or a story to
begin with, in which case it is in fourth place
or fourth-order) and aboutness (not involved in the drama or the story or the
landscape of the picture, or in the making
of either text). The distance Virginia Woolf
speaks of, between words and brushstrokes, is surely increased in the work of
the critic reading both texts. But might we
not take the opposite tack from a pessimistic
one and consider that these necessary distances we must take from what we are reading enable a re-vision of the very act of our
double reading? It might be thought that
we can gain a greater understanding of
exactly what process we are following at this
arm's-length from it.
THE
MARYANN CAWSis professorof French and comparative
literatureat Hunter College, and the GraduateSchool.
Several forms of refuge or attack are
open to us. We can, first of all, refer to only
historical and art-historical or literary
criteria of moments and schools and read
the period and style into the works, thus
setting correctly and even exhaustively our
point of view. Or then we can refer to any
number of works on the interdisciplinary
matters which concern us and take comfort
in some particular comparative mode. Or,
full of contemporary reading theory, we
can plunge into textual things, knowing we
are armed to the gills, making our attack a
fashionable one, based on Lacan, Derrida,
Marin, Lyotard, or whomever we choose.
Or then we can develop a modest theory of
critical and imaginative perception, in accord with the particular texts we are examining and the way we believe it best to
examine them. For example, a literary critic
might reflect on what it is to perceive the
work of art and its verbal response with an
eye in-structed or trained in and on matters
more verbal than visual: I have tried to do
this in my recent Eye in the Text: Essays on
Perception,Mannerist to Modern.1
This essay will take the latter tack, and
will have as the matter of its chief concern
the development of a form of reading appropriate to the specific texts it deals with.
324
Coming after, being about, it tries nevertheless for a form of creative seeing which
takes its direction from the twin objects of
sight themselves, following their inner
cohesion and instructions as to reading and
being read. The subject will be celebrated
poems about celebrated paintings of
Brueghel, about which a good deal has been
written; but instead of referring out to the
secondary works, it will take its own directions from within the texts, without other
theories or explanations, limiting itself to
what exactly we can know from the poem
about its own reading of the painting and,
in the first examples, of the legend related
to it.
This post-creation is meant to suggest,
quite simply, a way of reading and seeing,
of re-viewing or re-vising2 our view of, certain works, themselves alreadyjoined by the
painter, in the case of legend, and always by
the poet.
I. Borderingand Designing
The cohesion comes in the first instance
from the accumulated references in the
poetic text to design, to reading, and to how
things are linked. William Carlos Williams's
Pictures from Brueghel3 are about, among
other things, the relation between form and
seeing. His poem about the Cluny tapestries
concerns designing, bordering, tethering
or linking, and enclosure:
A Formal Design
This fleur-de-lis
at a fence rail
where a unicorn is
confined it is a tapestry
deftly woven
a milleflor
design the fleur-de-lis
with its yellow
petals edges
a fruiting tree formally
enough in
this climate
a pomegranate to which
a princely
collar round his
arching neck the beast
is lightly
tethered
CAWS
A FormalDesign as a poem teaches us how to
look at a tapestry and a poem, how they are
bordered or fenced in,4 at first invisibly, by
their very form and formality. It teaches
also how a design may create what is to be
brought, by design, into existence, which is
in part the lesson of the unicorn. The focus
falls on the smallest detail to initiate the
glance, as in the mile-uleurspattern of the
garden, usually fenced in. Here the glance
is doubly focussed by the linguistic emphasis on the deictic pointer: This, and the
visual rhyme, the border forming the front
and the end of the line: This ... lis.... and
also the end of the third line: is, so that the
decrescendo in length (four letters to three
to two) works in tandem with the crescendo
in semantic importance toward the verb is,
signifying the existence of the single thing
in the tapestry whose existence can be put in
doubt: the unicorn, which here is, is not.
And the paradox is underlined, or tethered
to the text, as the verb of assertion, is, is
further stressed by the excessive repetition
within the weave of the text which is a tapestry, and repetition of the verb within the
flower design: the fleur-de-lis, then by the
echoes, both visual and phonetic, in the
rhymes at the end and the beginning of
later lines: his . . . the beast is.
The tapestry of poem and silk words and
works its way deftly and delicately back
across the page toward the left, against the
ordinary run of the glance, from the Us to
the is in the penultimate line, to repeat the
stress laid upon the fabulous existence,
created by the poem itself, and within its
borders. This existence was already included within in the pointer: This, beginning the poem which in fact confines the
unicorn, the confine itself suggesting
thematically the birth of the beast from the
beast, in a confinement or a gestation gestured to.
The defintion is made clear, at the outset:
This fleur-de-lis . . .
... it is a tapestry.
And in its design, double, verbal in text and
visual in weave, the unicorn is created with
the borders illustrated, exactly at the edge
of the first three stanzas, where they hinge
with or edge upon the last three, "formally
325
A Double Reading by Design
enough ... in this climate." The creation is
confined between the edges, and in the circular fence, gently held by the light tethering of the poem.
Light, because the circle of the fence is
apparent only in its ellipsis: we know of the
fence and see its visual echo in the collar
around the arching neck, in what we know
to be a delicate confinement. The poem is
itself gently tethered and edged, taking
these terms from its body, to tie it with its
own substance. It is contained, shaped, and
circled, so deftly woven in its pattern as to
link the stanzas each to the next in the delicate S-curves of a no less absolute binding,
as part of a compound's verb split is from the
other part and thus leads to mind to it:
II. Insertion(about Icarus)
For a further reflection on how the painting includes the story, and encloses it, or
edges it, or inserts it within its own matter,
Williams's poem on Icarus can teach us
something about setting. The distancing of
the event at the outset marks the edge of the
text, its entrance, all the more perceptible
and significant as it responds to the way in
which legend enters the text and the scene.
Landscape with the Fall of Icarus
(confined
Verb is separated from object, act from that
which is acted upon:
edges
Ca a fruiting tree
the fencing
horn in the tapestry-and
in-as in the poem about the relation between fence and picture-mark themselves
as essential. The gestures of enclosing and
relating in fact point to themselves, in the
poem as it winds from one stanza to the
next, in speaking of how borders border.
)
and possessive adjective from thing possessed:
his (arching neck
The design is a graceful one for seeing
and reading, teaching us to observe the
lightest of curves and links. As Rilke describes part of this tapestry in Malte Laurids
Brigge, "Everything is there, Everything for
ever."5
Williams would not have made such a
claim for his own poem, of course, for it is
rather in the exclusions it makes from the
design which encloses it that it finds its own
light grace. To spell out even the flowers
within the fence would be to lose, necessarily, the very medieval and underplayed
splendor of what is seen. This is one of the
first lessons the aesthetic critic might learn:
suggestion is and not just for Mallarme, not
always explication. Fencing or framing or
pointing is sufficient without delineating
each detail. I am concerned above all with
the way the pointing-as in the unicorn's
According to Brueghel
when Icarus fell
it was spring
a farmer was ploughing
his field
the whole pageantry
of the year was
awake tingling
near
the edge of the sea
concerned
with itself
sweating in the sun
that melted
the wings' wax
unsignificantly
off the coast
there was
a splash quite unnoticed
this was
Icarus drowning
Each poem in the series about Brueghel
paintings has this type of initial firm line:
authority is attributed elsewhere, in this
case, and the reference is not only
explanatory-by the quotation of an outside source-but temporal and locative: a
picture of 1555, in the Musee des Beaux
Arts, in Brussels . . . Already this initial and
border stanza is structured with the contrast that is a frequent characteristic of
edges: since the contrast is however only
implied, an interpretative burden is placed
upon the reader. The fall (whenIcarusfell) is
CAWS
326
the contrary of it was spring, and suggests,
on a second level, a contrary convergence
between the motions of falling down and
springing up, the contract assumed and intensified, with its conceptual and visual and
phonetic elements merging to make the
interest of the framing pattern.
Moreover, the legendary event, placed in
the past tense, is inserted in the set of present participles, set off by the leading one:
according, placed in the stressed position.
Together with the spring, this incipit is a
temporal pointer, and leads to the labor of
ploughing, a spring centered even in the
picture, and that in turn to the verb tingling,
as in the light of an expected event, eagerly
anticipated: the spring serving as a border
conveys the notion of something about to
happen, seconded by the adverb near and
the noun edge, those key words marking the
pageantry not just as passive, but as an active wait. The sharp edge pictured between
sea and land is the source of the verbal
edginess, expressed by the participles, of
which the first is ploughing, including, as in
the French for ploughing, the reference to
hard work: labourerla terre. The participle
system is continued by the verb sweating,
which itself already contains the wing as a
metonymy of and a figure for the disaster
of Icarus, so that the flight, however heroic
in its attempt, however legendary in its outcome, will be always, is, and has been made
and seen within the human context. As the
human failure at transcendence is inserted
in the natural system of human labor, the
disaster is rendered understandable: unaided, flying simply does not work.
The bottom edge, marked by the disaster, although the action is never to be completed in picture or in poem, retains the
present participle and the observer within it
by a frontal gaze, directed at the pageantry,
at the sweep of soil against sea, and at the
event which is drastically decentered in the
moment of the initial gaze: it happens both
"unsignificantly" and unnoticed, not by the
reader perhaps-indeed,
certainly notbut by the tiller of the field and the observer
of the sky, both realists engrossed in the
natural, blind to the legendary. Only the
sky and the soil are readable for them, and
the legend would be lost, but for the reader,
and the title which keeps up the tradition.
For in picture as in poem, each element is
presented as ultimately concerned with itself: the sea is, Icarus was, we are. This a
statement, not a sermon, and no morality
attaches to the scene. There is a proper time
for ploughing, as in the proverb on which
the scene is based, and another time for
adventure, whatever its motive and its end.
Intermediary in position between the
working man and the doomed boy, the
sky-gazer takes another text than ours, but
serves, albeit unknowingly, in joining sky to
soil to sea. The painting reads like a tale of
three gazes: the worker's at the soil, his
companion's at the sky, and our own, at
Icarus, blinded and submerged. Thought
plays against sight, sight against blindness,
to increase our paradoxical involvement in
the picture, as it points to itself within the
poem. Just as at the beginning of A Formal
Design the poem opens with a pointing
finger, showing the exact moment:
when Icarus fell
it was ...
The expression prepares the presentation
of the full pageantry of the year, which also
was, and the two final stress points and
pointers which center the gaze on the exact
middle point of the event, which we might
have supposed decentered in the picture:
there was
a splash quite unnoticed
this was
Icarus drowning
That the entire poem should end with the
drowing event already prepared by the system of present participles and its initial recounting impulse: according, shows this
event to be deliberately set within a systematic, a linguistic frame, which stresses its own
reading:
according
spring
ploughing
tingling
sweating
drowning
327
A Double Reading by Design
The innermost point of the insetting is, in
this re-reading, also the most significant,
inserted as it is within the space and time of
legend and of the pointed presence of sight.
The Landscape, in this insighting, is to be
read with and in the Fall.
In line with this insetting and on the side,
as Breughel's Icarus is far to the side of the
canvas including him, Auden's Icarus poem
deliberately sets the legend at a distance
from the edge of the poem as the figure is
distanced in the canvas. 6This poem delays
even the mention of the painting itself until
the second stanza, and then turns away
from it, the reader's eyes trained only on
the aesthetics of the picture: green sea and
white legs, ploughing borders and a splendid ship. Brueghel's own paradoxical picture takes a decentered image in full
knowledge that it will catch our eye, even
from the title: it is in fact so desperately
displaced as to fascinate the gaze. All the
pointers point in fact to that figure, and the
whole paradox of decentering played
against the pointers focusses still more accurately, if ironically, the mind upon the
fall. Icarus, in the Brueghel picture and in
the two poems I am chiefly concerned with,
is deeply inserted and inset within frames
both locative (where his picture is, where he
falls, where we should be or not be looking)
and seasonal (it is spring....)
"Musee des Beaux Arts"
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 martydom 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 Brueghel'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.6
Auden's 1939 poem begins with the locative and general title: the Museum in Brussels houses this canvas, and others, being
the home of The Old Masters, who read as a
secondary title, after the announced topic:
About suffering, as if it were a course to be
taken. When the actual title of the picture is
mentioned in the second stanza, it is already
displaced from its ordinary initial position,
the reference to the actual painting situated
or inset far inside the frame of proper
names and places, at once centered and off
its normal position in the title place: it lies,
of course, at the heart of the text.
Brussels
Musee des Beaux Arts
Old Masters
Brueghel
Icarus
The same form of insertion and insetting
works for the specific topic of suffering in
its relation to the boy, and to his fall:
suffering
its human position
| disaster of Icarus
Enframing its figure deep within the
outer borders, the poem raises some essential questions as to the reading of and even
detection of its proper center, how do we in
fact see what is central in the poem? is our
perception reliable? are there several centers? Suffering cannot have an answer, but
the reading of it may be itself central to the
reading of a life, as of a text visual or verbal.
All the expressions in the poem which
mark the edge of the world seen as a picture, in whose corner the legend takes place
in terms both of the painting and poem
CAWS
328
mark the edge of perception itself, mark
the margins of what we see: the edge of the
world, the corner of perception, the legend
demanding to be read in a sense at once
semantic, linguistic, and poetic. All the
edges prepare the turning away of everything from the seemingly unimportant disaster; the turn of the poem coincides exactly
with the turn of the sight and feeling: the
observer's eyes are to be averted, as a boy is
forsaken in his cosmic plight. For the disaster is not, we are told, really very important,
if we compare it with the aesthetic stress of
the picture: ship and sea in their splendor,
dwarfing the human fate.
The cosmic frame gives the picture its
place, in legend and in life, and assigns the
values: the sun shone, as it had to, the ship
had somewhere to get to, and it got on. Even
as the repeated sibilants (expensive, seen,
something, sky, somewhere, sailed) anchor
the final lines of the frame, thus the meaning is forced outside the time of the poem as
event and its visual space to somewhere beyond, as in the poem's very last word: on.
Both the Auden and the Williams poems
and the picture are concerned with individual suffering, but they are also concerned with continuity, with the way the
universal may triumph over individual failure, simply by continuing past each human
disaster in its legendary presentation, no
matter how real, no matter how close-up, or
far away.
This kind of insertion of the figure in the
frame, then, leads the eye and the mind to a
flexible position where the central thought
can be read, even at an angle, and yet inserted in the main glance. The opposition
of the two points of view on Icarus and on
his insetting and side-setting is instructive
as to how we should direct our own glance;
such flexibility of perception is essential to
the parallel reading of visual and verbal
texts, and can be carried over to our own
reading.
includes him. The winter setting of white
clarity, not unlike a page, is given from the
outset: The over-all picture is winter, and
given as pictorial. The exemplary detail of
weather focusses the gaze, upwards: icy
mountains. The vertical distance thus immediately inscribed in the poem, will force
the movement of the gaze as all the texts
considered here undertake to do, in varying degrees of coercion.
The Hunters in the Snow
The over-all picture is winter
icy mountains
in the background the return
from the hunt it is toward evening
from the left
sturdy hunters lead in
their pack the inn-sign
hanging from a
broken hinge is a stag a crucifix
between his antlers the cold
inn yard is
deserted but for a huge bonfire
that flares wind-driven tended by
women who cluster
about it to the right beyond
the hill is a pattern of skaters
Brueghel the painter
concerned with it all has chosen
a winter-struck bush for his
foreground to
complete the picture . . .
The poem is to be readjust as we read the
picture, with a glance from overall whole to
part: from winter to winter mountain, from
the vague backdrop to the advancing figures: in the backgroundthe return . . . sturdy
hunterslead in, advancing, as the poem says,
from the left, exactly in the direction of the
reading gaze, toward the right, where the
women cluster to balance the other group
of sturdy figures, men leading to the
women, left to right, poem to picture. As the
text scans the visual arrangement, preposition answers preposition, for proper placing: leadin leads to the betweenand finally to
tCe beyond, through these directions, the
Directing a Reading
gaze finds at once its place and its time:
Williams's poem concerning The Hunters from the initial statement of winter, of evein the Snow gives verbal instructions for di- ning, in the general sweep of vision in the
recting the gaze within the picture. Al- overall canvas, down to the final arrest by
ready, in the title the snow claims our atten- winter, circling the poem in its white
tion, as does Icarus in the Landscape which pattern.
329
A Double Reading by Design
But the directions for seeing are still
more explicit: the gaze finds a notch to
center it with perfect horizontal and vertical
lines, through the antlers of the stag. The
cross as sighting frames, up and down, and
across, when the picture is seen through
these borders: betweenhis antlers the cold inn
yard. So the picture of the poem is presented already patterned by the gaze of a
painter, rather than by subject matter.
Neither Brueghel nor Williams is really
concerned with hunting or skating, but
rather with the pattern of sight itself:
the hill is a pattern of skaters
Brueghel the painter
concerned with it all
Brueghel the painter, and Williams the
poet, have framed the scene so as to concentrate the attention first upon the season,
then upon the time of day, then on the
procession and the sign on its broken hinge.
Its imperfect juncture attracts our attention
to the frame, to focus once more upon the
reading.
The line of sight, finally, begins with the
near: inn yard/women, and goes toward the
far: beyondthehill is a patternof skaters,before
returning to the foregrounding as the
proper focus of the painter concernedwith it
all for the satisfying completion of the picture, both his and ours. That the completed
picture should end with the imperfected
sign of suspension only leaves the broken
hinge hanging there, for future sightings.
Reading on the Slant
The Parable of the Blind
This horrible but superb painting
the parable of the blind
without a red
in the composition shows a group
of beggars leading
each other diagonally downward
across the canvas
from one side
to stumble finally into a bog
where the picture
and the composition ends back
of which no seeing man
is represented the unshaven
features of the destitute with their few
pitiful possessions a basin
to wash in a peasant
cottage is seen and a church spire
the faces are raised
as toward the light
there is no detail extraneous
to the composition one
follows the others stick in
hand triumphant to disaster
In The Parable of theBlind, the initial halfrhyme parable/horribleplaces an immediate
stress upon the very awfulness of the picture, presented with an accent on the terrible irony of painting a painting of the blind:
Painting the parable is then to picture the
kind of fall from which no lesson can be
learned, and yet this painting is about leading, as the Icarus picture is aboutsuffering. It
is in fact, not without a color red, as art
historians have pointed out, with some surprise at the awkwardness of the poem on
this point: since Williams probably saw the
painting in Vienna over 20 years earlier,
had he forgotten it?
The answer is, I think more interesting
than the question might suppose. What it in
fact leads us to is quite simply the reframing
of the statement, as it is read, here re-read
figuratively and aurally, because in a place
of blindness, nothing, whether or not vivid
in color, can be read, in any composition,
however artistic. Art for the eyes only is
sure to fail in the land of the blind.
Words occupy the center, partly in their
sound, and nothing can back them up by
reference to sight, so that the painting itself
bogs down. Because no seeing man is represented, the community of non-seers reinforces the sense of the pitiful, a word
stressed at first visually and then phonetically, as it is (with its prediction) coupled,
the terms sharing a typographical profile:
destitute
pitiful
Four letters in each protrude by their
height, the rounded and exactly mirrored
form of the d and the p followed by the
three upright consonants, thin and terrible
forms of the destitution toward which the
roundest of forms must move in that bleak
land, on its way toward death.
The figural irony is awful, for the faces
330
are raised, the stick is in hand, as if in readiness for an act of violence, whereas the violence is for the sightless victims: all they can
perpetrate upon others is a sense of pity. In
the downward slant of the inexorable
tragedy, we are forced as readers not to
be blind, if we would see the painting. For
the initial and terminal chiasmus, clearly
marked in two framing edges, enables those
two edges to fit together in a crossreflection:
horrible but superb
triumphant to disaster
Those fitting edges frame the conceptual
chiasmus implied at the center:
cottage (but) spire
spire (but)g
Edges and images join to reinforce the
reading of the diagonal thrust, so that the
figures are read into the final bog.
Reading Designs
From the light tethering of the texts here
chosen initially as a design and an indication of how to read these instructions for
reading, to the slant and the final fall, these
verbal images, however shuffled, however
light or grave, comic or tragic, seem perfectly keyed to the pictures they picture.
They can be read in terms of insertion and
framing, of centering and decentering, of
edging and junctures, from left to right,
background to foreground, and on a slant.
It should be the critic as reader of double
texts, visual and verbal, to learn how to see,
to design, to tether, and to interpret the
forms and functions of such parallel readings, illuminating the double images given
or chosen, as they shape reading itself,
perhaps on its way to sight.
As I began with a reflection on painting
and myth, I might close with one, repeating, in the form of this essay, that of the
circular fence we saw at the outset. All the
CAWS
accumlated myths of relations between the
arts are often no more than that: what we
see and read is often, and now finally, the
best clue we have as to how we should be
looking and seeing and knowing.
As a unicorn among the flowers with its
lady, or Icarus falling, is neither a right
representation nor a wrong one, the conviction and the concern about it lie in another
realm altogether; the conviction, and the
relation, are not that of the poem or the
picture to outward reality, or to fact or
"truth of representation." What matters is
rather the response of the poem to the myth
and to the tapestry or the painting; we do
not care what unicorns look like here, upon
the flowers, or Icarus, within the water, but
only as they are enclosed in the tapestry and
the painting and the page. What counts is
the relation between the unicorn and the
fence, Icarus and the ship and the water,
between fence and frame, between ship and
the passing of the pageantry, and our perception of all this. It is my conviction that
there are, within these texts and others like
them, clues about both our relation with the
texts (what we might call the "reading relation") and theirs with each other, about how
we should read all the relations concerned
here. It is to this sense of relation we should
relate, by the design of the text and by our
own.
1 Princeton University Press, 1981.
Henry James, in his preface to The Golden Bowl
(Harmondsworth: 1966), p. 17, makes an interesting
case for re-viewing as re-readings.
3 William Carlos Williams, Pictures from Brueghel
(New York, 1954), pp. 2, 3, 11, 40 for these poems.
Only when this paper was in proof did I discover
Wendy Steiner's discussion of these poems in her Colors of Rhetoric(University of Chicago Press, 1982).
4 For more discussion of edging, see my "Hedging
and Edging," in Annals of Scholarship(1982) (special
issue on representation). See, also, J. J. Gibson and
other specialists of perception on the difference made
for the eye by the edge.
5We see how unicorns come to be, on the other
hand, because they are, in Rainer Maria Rilke, Sonnets
to Orpheus (New York, 1942), pp. 76-77; and in his
prose poem on the tapestry, in Malte Laurids Brigge
(New York, 1949), p. 130.
6 W. H. Auden, CollectedPoems (New York, 1945)
p. 3.
2