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Aeneas

A SOUVENIR

On one of Mazzaro’s gritty beaches

a cable car below Taormina,

I found a piece of Etna’s lava

the size of a goujon, a sinker,

a bobbin, smoothed only a little

by modest Mediterranean tides;

fetching five euros in the tourist shops but

unseen by the landlords of expensive

loungers and umbrellas, by Russian tourists,

Thai masseuses, Indian peddlers. No doubt

geologists could date it exactly

but I prefer the inexactitudes

of possibilities. Perhaps it was spewed

when the city walls of Catania

diverted the flow into the harbour

or when the Carthaginians were thwarted

from capturing Syracuse, or when Aeneas,

in his wanderings, approached Sicily.

 

Dark grey pumice, heavy, pockmarked like

moon craters, still smelling distantly

of the sea, it rests on a mantelpiece

next to a bit of driftwood slight as balsam,

shaped like a small fish, found on Deganwy beach

by Afon Conwy – stolen goods, contraband,

freighted with histories.

 

 

 

LONGING AND DUTY

We visited the Vatican the first week

of January so there was only

a short queue for the Sistine Chapel,

and few visitors, once inside, to distract

from possibly Rome’s most famous work of art;

its gaudy magnificence; its lavish

genius; its conspicuous wealth; its

indulgent humanness; its celebration

of beauty, of flesh, and immortality.

 

Michelangelo, painter, architect,

sculptor and poet, spent months on his back

creating The Last Judgement on the ceiling –

a graphic history of prophesy.

One of the polymath’s sonnets ends:

‘…love makes perfect our friends here on earth

but death makes them more so in heaven’.

 

We left the Vatican via the Library

with its seventy thousand volumes.

There was an exhibition of illustrated

manuscript versions of Virgil’s works –

possibly the city’s most famous poet –

each much more than a millennium old,

fragments saved during the papacy’s

many epochs of acquisitiveness.

 

One illustration depicts Dido,

Queen of Carthage, on her funeral pyre.

She had been jilted by Aeneas, who left

to do his god-given duty to found Rome.

She killed herself with her ex-lover’s sword.

The poet has Aeneas – who had carried,

on his back,  his own aged father from Troy’s

burning ruins – watch the funeral pyre’s

receding flames as he sailed, almost due north,

across what would become Mare Nostrum.

 

 

THE POET AND THE BATTLESHIP

David Selzer By David Selzer3 Comments2 min read2.2K views

Emperor Augustus exiled the poet

Ovid to Tomis, a Black Sea port

and ancient metropolis, first city

of the Scythian Frontier, a day’s ride

from the Danube delta. Tomis –

in ancient Greek ‘to cut’, ‘to sever’, so called,

Ovid wrote, because Medea, Jason’s

sorceress and lover, dismembered

her brother there, threw the pieces in the sea –

now is Constanta, Romania, renamed

for the consort of Constantine,

and where the mutinous crew of the Potemkin,

after the failed revolution, surrendered

the dreadnought to the Romanian navy.

 

Rumour, however, has it the poet

may have exiled himself from Rome

to this the empire’s then furthest margin,

learning of the Emperor’s prurient wrath

at his Ars Amatoria – ‘Should

anyone here not know the art of love,

read this, and learn by reading how to love.

By art the boat’s set gliding, with oar and sail,

by art the chariot’s swift: love’s ruled by art.’

 

He thought the journey – south through Messina’s straits,

east across the Ionian Sea,

north through the Aegean and the Bosphorus,

tantalisingly past Byzantium  –

seemed to take as long as that of Jason

and the Argonauts. ‘The pine planks thunder,

the rigging is whipped by the wind. The keel

bellows, moaning with my troubles’.

He tells us in his poems from exile –

epistles in rhyming couplets, written

on papyrus, shipped to Rome, to friends,

enemies, and many times to his wife,-

that he fears the barbarians across

the Danube, and complains about the climate

that frequently freezes both river and sea,

and about the citizens of Tomis,

who eschew the toga for Persian trousers,

and mock his Latin. ‘…cano tristia

tristis…sad things I sing in sadness.’

 

In the late 19th century, almost,

as it were, two thousand years too late,

a square was named after him, a bronze statue

commissioned. The sculptor has him pensive,

observing his feet rather than the sea,

not that – compared with Medea’s doings,

and, in Mare Nostrum, the wanderings

of Ulysses and Aeneas,  never mind

the poet’s own modest, bitter travails –

the brief antics of barbarian

sailor boys in stripey jumpers on that

most marginal of seas would have been

of the slightest import.