Venus di Milo
I love the thought of those old naked days
When Phoebus gilded torsos with his rays,
When men and women sported, strong and fleet,
Without anxiety or base deceit,
And heaven caressed them, amorously keen
To prove the health of each superb machine.
Cybele then was lavish of her guerdon
And did not find her sons too gross a burden:
But, like a she-wolf, in her love great-hearted,
Her full brown teats to all the world imparted.
Bold, handsome, strong, Man, rightly, might evince
Pride in the glories that proclaimed him prince —
Fruits pure of outrage, by the blight unsmitten,
With firm, smooth flesh that cried out to be bitten.
Today the Poet, when he would assess
Those native splendours in the nakedness
Of man or woman, feels a sombre chill
Enveloping his spirit and his will.
He meets a gloomy picture, which be loathes,
Wherein deformity cries out for clothes.
Oh comic runts! Oh horror of burlesque!
Lank, flabby, skewed, pot-bellied, and grotesque!
Whom their smug god, Utility (poor brats!)
Has swaddled in his brazen clouts “ersatz”
As with cheap tinsel. Women tallow-pale,
Both gnawed and nourished by debauch, who trail
The heavy burden of maternal vice,
Or of fecundity the hideous price.
We have (corrupted nations) it is true
Beauties the ancient people never knew —
Sad faces gnawed by cancers of the heart
And charms which morbid lassitudes impart.
But these inventions of our tardy muse
Can’t force our ailing peoples to refuse
Just tribute to the holiness of youth
With its straightforward mien, its forehead couth,
The limpid gaze, like running water bright,
Diffusing, careless, through all things, like the light
Of azure skies, the birds, the winds, the flowers,
The songs, and perfumes, and heart-warming powers.
(Translation by Roy Campbell)
This is a poem of contrasts. In the opening stanza, Baudelaire describes classical Greek and Roman statuary. These statues depict the human form as it truly is—a work of divine art. These cultures believed that there is nothing obscene about the naked human form. The human body is such a thing of beauty that the ancients used it as the ideal for depicting their gods and goddesses.
In the second stanza, we are assaulted with the contrast to the human body as art. Here we are shown the exploitation of human beauty in the form of pornography and prostitution. Baudelaire presents us with a vision of a society that fails to see the beauty of the naked body from a divine perspective, but instead uses the naked human form as a focus for our baser desires. It could also be argued that in addition to this stanza being a critique on the sex trade, it is a statement about inner corruption. Our bodies often reflect our inner health and happiness. In a society plagued with vice, decadence, and ennui, it stands to reason that our physical bodies would reflect the decay that festers within us.
In the third stanza, I sense that Baudelaire is seeking to reconcile these two opposites. He concedes that modern society provides “Beauties the ancient people never knew.” It seems that Baudelaire is seeking a merging between the wonders of the modern world and the appreciation for human beauty that was the ideal of the ancient Greeks.
The last thing I want to say is that this poem stirs the emotion I felt as I watched the video clips of ISIS members destroying artwork. Throughout history, fanatics have destroyed art because it was deemed obscene or heretical. My feelings are that any work of art that portrays humanity, in any of its diverse forms, should be appreciated and preserved.
I hope you have a wonderful and artistically inspired day.
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