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Más allá de donde
aún se esconde la vida, queda
un reino, queda cultivar
como un rey su agonía,
hacer florecer como un reino
la sucia flor de la agonía:
yo que todo lo prostituí, aún puedo
prostituir mi muerte y hacer
de mi cadáver el último poema.

Leopoldo María Panero
De "Last River Together" 1980




                                     Gustave Moreau. Les Prétendants. 1852. (3.85 x 3.43 m )

Inspired by the famous episode of Homer’s The Odyssey {Book XXII) in which, on his return to Ithaca, Odysseus slaughters the suitors installed in his palace. This canvas, reworked several times, is the largest that Moreau ever executed.
In the hall of the palace, Athena, appearing in a dazzling halo, dominates the scene of vengeance of Odysseus, the massacre of the princes who wooed Penelope in his absence.The hero appears in arms at the back of the room, right in the doorway. Moreau noted: “And the lyre and singing seemed to resonate even in the midst of this storm of cries of rage and pain. And the shrill sound of the chord of the arc also sounded a rhythmic way, when the Minerva swallow had drawn the aegis bloody ceiling.”
As in there working, Moreau characters people new to the canvas by adding “any material that scene for slaughter” figures “apparently taking no part in the drama” to remind the viewer of plastic beauty.The concept of “epic carnage”, the author evolved into a tribute to the beauty that underlines the plastic male tangle of bodies in the foreground.
[Translated from French caption provided by Museé Moreau]


Si quien descifrar puede
   aquello que desconocemos, a nosotros, conocer puede,
enséñeme él esa nada. Este, por ahora,
mi alivio es y mi consuelo:
aun cuando no progreso, fallar no puedo.

If any who deciphers best,
What we know not—ourselves—can know,
Let him teach me that nothing. This
As yet my ease and comfort is,
Though I speed not, I cannot miss.

John Donne. (1572-1631)  

Birkett, Sins of the Fathers


Música: Prelude. John Dowland.

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