In Santa Maria del Popolo
Waiting for when the sun an hour or less
Conveniently oblique makes visible
The painting on one wall of this recess
By Caravaggio, of the Roman School,
I see how shadow in the painting brims
With a real shadow, drowning all shapes out
But a dim horse’s haunch and various limbs,
Until the very subject is in doubt.
But evening gives the act, beneath the horse
And one indifferent groom, I see him sprawl,
Foreshortened from the head, with hidden face,
Where he has fallen, Saul becoming Paul.
O wily painter, limiting the scene
From a cacophony of dusty forms
To the one convulsion, what is it you mean
In that wide gesture of the lifting arms?
No Ananias croons a mystery yet,
Casting the pain out under name of sin.
The painter saw what was, an alternate
Candour and secrecy inside the skin.
He painted, elsewhere, the firm insolent
Young whore in Venus’ clothes, those pudgy cheats,
Those sharpers; and was strangled, as things went,
For money, by one such picked off the streets.
I turn, hardly enlightened, from the chapel
To the dim interior of the church instead,
In which there kneel already several people,
Mostly old women: each head closeted
In tiny fists holds comfort as it can.
Their poor arms are too tired for more than this
— For the large gesture of solitary man,
Resisting, by embracing, nothingness.
– Thom Gunn. Collected Poems. Farrar, Straus & Giroux, 1994.