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This poem is called The Change and it’s about Titian’s great painting The Death
of Actaeon. In it, I put words into the mouth of the painter himself. So, imagine that he’s
in his studio, taking a visitor around, showing him this painting, which is still unfinished
and leaning against the wall. The Change
The goddess with her killer glare: no problem there. I’ve seen that look myself
often enough, aimed straight at me, and it wasn’t hard to swivel it
through ninety degrees and fix it in profile. (That dinky quiver, wrong size for the bow,
I’ll adjust later.) The dogs, too, I can handle,
if I can keep the brushwork fluent: less a pack of them than a flood, a torrent,
of muscular flanks and backs and squabbling yelps and scent-maddened muzzles
dragging your man down. Now, he’s the trouble, which is why I’ve put him in the middle
distance, an arrow’s flight away. He’s turning into
a stag. But how do you do that, exactly?
Head first, as I’ve tried here, following Ovid?
Ping! – he’s got antlers and a long neck, but the rest of his body’s slow on the uptake,
so he’s left looking less like prey brought low
than some tipsy idiot taking a spill at a carnival?
Forget it. What I want is the change itself, when he’s neither man nor beast, or somehow
both at once, and you don’t just see but feel the combined
horror and justice of his fate. Some way to go.
Never mind, I’ll be patient. It can wait.