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The Tempest

AFTER THE TEMPEST: CALIBAN’S STORY

David Selzer By David Selzer1 Comment2 min read439 views

Caliban watched the ship sail east. He could see

that the butler and the jester, who used to beat

and mock him, seemed already to be drunk.

Prospero was in the prow of the ship,

and had turned his back on the island.

Miranda, the magician’s kindly daughter,

waved briefly, shyly, surreptitiously.

 

***

 

He had stayed, watching, until the pennant

at the top of the main mast disappeared,

and then had felt suddenly alone, free.

The island became his again, silent

except for the rising and falling of the tides,

and the leaves in summer, and winter’s storms.

Sometimes he thought of his mother sent there

from across the ocean, pregnant with him.

He would dream occasionally of Miranda,

waking, imagine her voice. Though now there was

no one to hear him, he still spoke poetry.

 

***

 

Meanwhile, in Milan, Prospero engaged

a map maker to complete his manuscript

‘Isle of Banishment and Promise’ – and scribes

to make copies for posterity,

and as gifts for his fellow nobles.

In time the map was studied by merchants

throughout Italy, Spain, and Portugal.

 

***

 

One morning, some years later, Caliban

saw a sail on the horizon, and hid.

The ship anchored, and two longboats came ashore.

There were men dressed in steel with swords, and others,

in long black robes, holding some sort of

wooden instrument: a long upright

with a short cross-piece nailed to it – like the one

Prospero had cursed him with. On the deck,

in chains, were men and women weeping.

Their skin was black like his.

 

O BRAVE NEW WORLD!

On the third floor of Ca’ Rezzonico –

where gondoliers slept when the palazzo

was let to the song writer Cole Porter –

is Egidio Martini’s collection

of five centuries of Venetian art.

Three of the floors’ small windows survive,

each an intentional belvedere.

Two view the Grand Canal, the third south west.

The eye follows the perspective below:

a canal and its quay with inevitable

eclectic craft, stone bridges and turisti;

then tenements and the terracotta tiles –

but not the anticipated skyline,

on the mainland, of the Euganean Hills,

distant and pale as if the background to

a nativity or crucifixion

instead seven, multi-storey cruise liners.

 

On the floor below are the city’s masters:

Canal, Guardi, Longhi, and Tiepolo

whose son’s fresco, Il Mundo Novo, depicts

the backs of a late eighteenth century

Venetian crowd of all clans and classes

queuing to see a huckster’s peep show

of America – the crassness

of the machine observed in profile

only by the artist and his late father.

When the son died La Serenissima

had ended. Bonaparte had arrived.

 

From the ballroom below there is music.

‘You’re the tops…You’re Napoleon Brandy…

You’re a painting by Botticelli…

You’re the smile on the Mona Lisa…the moon

over Mae West’s shoulder.’