Bruegel's Games
Later years blur into
the farthest taper of a town
ahead, from
the center barrel
and two hoops rolling,
here judicial stocks
are toys, where carnival
commenced in the pre-dawn.
How many years
you are matters.
The size of daddy’s shadow
and mommy’s hug matters,
though today few mothers
stroll chiding, ever-present,
and fathers, in another world,
are absent more than strewn hats.
In twos they appear readying
for some unneeded ark—
disaster unimagined is
disaster prevented.
Or they herd en masse,
grazing absurdly
a trodden plaza
ingesting dust,
enjoying the touch
that age dissolves.
The hand-in-hand,
the slap, clap, and punch,
the body mounting youth,
piggy-backed,
chicken-fighting,
leap-frogging,
tells the always story
of our animal intent.
Just away, left, water sits,
and one boy clawing
low on a birch
remembers some elder’s
ramble that you can’t
step into the same river twice.
the farthest taper of a town
ahead, from
the center barrel
and two hoops rolling,
here judicial stocks
are toys, where carnival
commenced in the pre-dawn.
How many years
you are matters.
The size of daddy’s shadow
and mommy’s hug matters,
though today few mothers
stroll chiding, ever-present,
and fathers, in another world,
are absent more than strewn hats.
In twos they appear readying
for some unneeded ark—
disaster unimagined is
disaster prevented.
Or they herd en masse,
grazing absurdly
a trodden plaza
ingesting dust,
enjoying the touch
that age dissolves.
The hand-in-hand,
the slap, clap, and punch,
the body mounting youth,
piggy-backed,
chicken-fighting,
leap-frogging,
tells the always story
of our animal intent.
Just away, left, water sits,
and one boy clawing
low on a birch
remembers some elder’s
ramble that you can’t
step into the same river twice.

1 Comments:
More than a hint of (ironic?) melancholy for the 'good ole days' with 'tells the always story/of our animal intent' and the 'few mothers' stanza--like the speaker can no longer remember the innocence of youth (the painting seems to suggest this as well with all the blurred faces?)
The poem matches the ambiguous nature of the painting perfectly, unless, of course, I have misunderstood both.
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