To Meyer and Lillian Schapiro 
 

What are they looking at?  Is it the river? 
The sunlight on the river., the summer, leisure, 
Or the luxury and nothingness of consciousness? 
A little girl skips, a ring-tailed monkey hops 
Like a kangaroo, held by a lady's lead 
(Does the husband tax the Congo for the monkey's keep?) 
The hopping monkey cannot follow the poodle dashing ahead. 

Everyone holds his heart within his hands: 

A prayer, a pledge of grace or gratitude 
A devout offering to the god of summer, Sunday and plenitude. 
The Sunday people are looking at hope itself. 

T'hey are looking at hope itself, under the sun, free from the teething 
    anxiety, the gnawing nervousness 
Which wastes so many days and years of consciousness. 

The one who beholds them, beholding the gold and green 
Of summees Sunday is himself unseen.  This is because he is 
Dedicated radiance, supreme concentration, fanatically threading 
The beads, needles and eyes-at oncel-of vividness and permanence. 
He is a saint of Sunday in the open air, a fanatic disciplined 
By passion, courage, passion, skill, compassion, love: the love of life 
     and the love of light as one, under the sun, with the love of life. 

Everywhere radiance glows like a garden in stillness blossoming. 

Many are looking, many are holding something or someone 
Little or big: some hold several kinds of parasols: 
Each one who holds an umbrella holds it differently 
One hunches under his red umbrella as if he hid 
And looked forth at the river secretly, or sought to be 
Free of all of the others' judgement and proximity. 
Next to him sits a lady who has turned to stone, or become a boulder, 
Although her bell-and-sash hat is red. 
A little girl holds to her mother's arm 
As if it were a permanent genuine certainty: 
Her broad-brimmed hat is blue and white, blue like the river, like the 
      sailboats white, 
And her face and her look have all the bland innocence, 
Open and far from fear as cherubims playing harpsichords. 
An adolescent girl holds a bouquet of flowers 
As if she gazed and sought her unknown, hoped-fo' dreaded destiny. 
No hold is as strong as the strength with which the trees, 
Grip the ground, curve up to the light, abide in th'e warm kind air: 
Rooted and rising with a perfected tenacity 
Beyond the distracted erratic case of mankind there. 
Every umbrella curves and becomes a tree, 
And the trees curving, arise to -become and be 
Like the umbrella, the bells of Sunday, summer, and Sunday's luxury. 
Assured as the trees is the strolling dignity 
Of the bourgeois wife who holds her husband's arm 
With the easy confidence and pride of one who is' 
-She is sure-a sovereign Victorian empress and queen. 
Her husband's dignity is as solid as his embonpoint: 
He holds a good cigar, and a dainty cane, quite carelessly. 
He is held by his wife, they are each other's property, 
Dressed quietly and impeccably, they are suave and.grave 
As if they were unaware or free of time, and the grave, 
Master and mistress of Sunday's promenade-of everything 
-As they are absolute monarchs of the ring-tailed monkey. 
If you look long enough at anything 
It will become extremely interesting,- 
If you look very long at anything 
It will become rich, manifold, fascinating: 

If you can look at any thing for long enough, 
You will rejoice in the miracle of love, 
You will possess and be blessed by the marvellous blinding radiance 
    of love, you will be radiance. 
Selffiood will possess and be possessed, as in the consecration of mar- 
    riage, the mastery of vocation, the mystery of gift's mastery, the 
    deathless relation of parenthood and progeny. 
All things are fixed in one direction: 
    We move with the Sunday people from right to left. 

The sun shines 
In soft glory 
Mankind finds 
T'he famous story 
Of peace and rest, released for a little while from the tides of weekday 
    tirdness, the grinding anxiousness 
Of daily weeklong lifelong fear and insecurity, 
The profound nervousness which in the depths of consciousness 
Gnaws at the roots of the teeth of being so continually, whether in 
    sleep or wakefulness, 
We are hardly aware that it is there or that we might ever be free 
Of its ache and torment, free and open to all experience.

-Is it possible?  It is possiblel- 
Although it requires the labors of Hercules, Sisyphus, Flaubert, 
    Roebling: 
The brilliance and spontaneity of Mozart, the patience of a pyramid, 
And requires all these of the painter who at twenty-five 
Hardly suspects that in six years he will no longer be alive! 
-His marvellous little marbles, beads, or molecules 
Begin as points which the alchemy's magic transforms 
Into diamonds of blossoming radiance, possessing and blessing the 
    visual: 
For look how the sun shines anew and newly, transfixed 
By his passionate obsession with serenity 
As he transforms the sunlight into the substance of pewter, glittering, 
    poised and grave, vivid as butter, 
In glowing solidity, changeless, a gift, lifted to immortality. 

The sunlight, the soaring trees and the Seine 
Are as a great net in which Seurat seeks to seize and hold 
All living being in a parade and promenade of mild, calm happiness: 
The river, quivering, silver blue under the light'-s variety, 
Is almost motionless.  Most of the Sunday people 
Are like flowers, walking, moving toward the river, the sun, and the 
    river of the sun. 
Each one holds some thing or some one,, some instrument 
Holds, grasps, grips, clutches or somehow touches 
Some form of being as if the hand and fist of holding and possessing, 
Alone and privately and intimately, were the only genuine lock or 
    bond of blessing. 

A young man blows his flute, curved by pleasure's musical activity, 
His back turned upon the Seine, the sunlight, and the sunflower day. 
A dapper dandy in a top hat gazes idly at the Seine: 
The casual delicacy with which be holds his cane 
Resembles his tailored elegance. 
He sits with well-bred posture, sleek and pressed, 
Fixed in his niche: he is his own mustache. 
A working man slouches parallel to him, quite comfortable, 
Lounging or lolling, leaning on his elbow, smoking a meerschaum, 
Gazing in solitude, at ease and oblivious or contemptuous 
Although he is very near the elegant young gentleman. 
Behind him a black hound snuffles the green, blue ground. 
Between them, a wife looks down upon 
The knitting in her lap, as in profound 
Scrutiny of a difficult book.  For her constricted look 
Is not in her almost hidden face, but in her holding hands 
Which hold the knitted thing as no one holds 
Umbrella, kite, sail, flute or parasol. 

This is the nervous reality of time and time's fire which turns 
Whatever is into another thing, continually altering and changing all 
    identity, as times great fire bums (aspiring, flying and dying), 
So that all things arise and fall, living, leaping and fading, falling, like 
    flames aspiring, flowering, flying and dying- 
Within the uncontrollable blaze of time and of history: 
Hence Seurat seeks within the cave of his gaze and mind to find 
A permanent monument to Sunday's simple delight; seeks deathless 
    joy through the eye's immortality; 
Strives patiently and passionately to surpass the fickle erratic quality 
    of living reality. 

Within this Sunday afternoon upon the Seine 
Many pictures exist inside the Sunday scene: 
Each of them is a world itself, a world in itself (and as a living child 
    links generations, reconciles the estranged and aged so that a grand- 
    child is a second birth, and the rebirth of the irrational, of those 
    who are forlorn, resigned or implacable), 
Each little picture links the large and small, grouping the big 
Objects, connecting them with each little dot, seed or black grain 
Which are as patterns, a marvellous network and tapestry, 
Yet have, as well, the random freshness and radiance 
Of the rippling river's sparkle, the frost's astonishing systems, 
As they appear to moming's waking, a pure, white delicate stillness 
    and minuet, 
In December, in the morning, white pennants streaked upon the 
    windowpane. 

He is fanatical: he is at once poet and architect, 
Seeking complete evocation in forms as strong as the Eiffel Tower, 
Subtle and delicate too as one who played a Mozart sonata alone, 
    under the spires of Notre-Dame. 
Quick and utterly sensitive, purely real and practical, 
Making a mosaic of the little dots into a mural of the splendor of 
    order: 
Each micro pattern is the dreamed of or imagined macrocosmos 
In which all things, big and small, in willingness and love surrender 
To the peace and elation of Sunday light and sunlight's pleasure, to 
    the profound measure and order of proportion and relation. 

He reaches beyond the glistening spontaneity 
Of the dazzled Impressionists who follow 
The changing light as it ranges, changing, moment by moment, ar- 
    ranging and charming and freely bestowing 
All freshness and all renewal continually on all that shows and flows. 

Although he is very careful, he is entirely candid. 
Although he is wholly impersonal, he has youth's frankness and, such 
    is his candor, 
His gaze is unique and thus it is intensely personal: 
It is never facile, glib, or mechanical, - 
His vision is simple: yet it is also ample, complex, vexed, and profound 
In emulation of the fullness of Nature maturing and enduring and 
    toiling with the chaos of actuality. 

An infinite variety within a simple frame: 
Countless variations upon a single theme! 
Vibrant with what soft soft luster, what calm joyl 
This is the celebration of contemplation, 
This is the conversion of experience to pure attention, 
Here is the holiness of all the little things 
Offered to us, discovered for us, transformed into the vividest con- 
    sciousness, 
After the shallowness or blindness of experience, 
After the blurring, dirtying.sooted surfaces which, since Eden and 
    since birth, 
Make all the little things trivial or unseen, 
Or tickets quickly tom and thrown away 
En route by rail to an ever-receding holiday: 
-Here we have. stopped, here we have given our hearts 
To the real city, the vivid city, the city in which we dwell 
And which we ignore or disregard most of the luminous day! 

.... Time passes: nothing changes, everything stays the same.  Noth 
    ing is new 
Under the sun.  It is also true 

That time passes and everything changes, year by year, day by day, 
Hour by hour.  Seurat's Sunday Aftemoon along the Seine has gone 
    away, 

Has gone to Chicago: near Lake Michigan, 
All of his flowers shine in monumental stillness fulfilled. 
And yet it abides elsewhere and everywhere where images 
Delight the eye and heart, and become the desirable, the admirable, 
    the willed 
Icons of purified consciousness.  Far and near, close and far away 
Can we not hear, ff we but listen to what Flaubert tried to say., 
Beholding a husband, wife and child on just such a day: 
Its sont daris le vrail They are with the truth, they have found the way 
The kingdom of heaven on earth on Sunday summer day. 
Is it not clear and clearer?  Can we not also hear 
The voice of Kafka, forever sad, in despair's sickness trying to say: 
"Flaubert was right: Ils sont dans le vrai! 
Without forbears, without marriage, without heirs., 
Yet with a wild longing for forbears, marriage, and heirs: 
They all stretch out their hands to me: but they are too far awayl"