On an Engraving By Casserius


For Dr John Z. Bowers

Set on this bubble of dead stone and sand,
Lapped by its frail balloon of lifeless air,
Alone in the inanimate void, they stand,
These clots of thinking molecules who stare
Into the night of nescience and death,
And, whirled about with their terrestrial ball,
Ask of all being its motion and its frame:
This of all human images takes my breath;
Of all the joys in being a man at all,
This folds my spirit in its quickening flame.

Turning the leaves of this majestic book
My thoughts are with those great cosmographers,
Surgeon adventurers who undertook
To probe and chart time’s other universe.
This one engraving holds me with its theme:
More than all maps made in that century
Which set true bearings for each cape and star,
De Quiros’ vision or Newton’s cosmic dream,
This reaches towards the central mystery
Of whence our being draws and what we are.

It came from that great school in Padua:
Casserio and Spiegel made this page.
Vesalius, who designed the Fabrica,
There strove, but burned his book at last in rage;
Fallopius by its discipline laid bare
The elements of this humanity,
Without which none knows that which treats the soul;
Fabricius talked with Galilco there:
Did those rare spirits in their colloquy
Divine in their two skills the single goal?

“One force that moves the atom and the star,”
Says Galileo; “one basic law beneath
All change!” “Would light from Achernar
Reveal how embryon forms within its sheath?”
Fabricius asks, and smiles. Talk such as this,
Ranging the bounds of our whole universe,
Could William Harvey once have heard? And once
Hearing, strike out that strange hypothesis,
Which in De Motu Cordis twice recurs,
Coupling the heart’s impulsion with the sun’s?

Did Thomas Browne at Padua, too, in youth
Hear of their talk of universal law
And form that notion of particular truth
Framed to correct a science they foresaw,
That darker science of which he used to speak
In later years and called the Crooked Way
Of Providence? Did he foresee perhaps
An age in which all sense of the unique,
And singular dissolves, like ours today,
In diagrams, statistics, tables, maps?

Not here! The graver’s tool in this design
Aims still to give not general truth alone,
Blue-print of science or data’s formal line:
Here in its singularity he has shown
The image of an individual soul;
Bodied in this one woman, he makes us see
The shadow of his anatomical laws.
An artist’s vision animates the whole,
Shines through the scientist’s detailed scrutiny
And links the person and the abstract cause.

Such were the charts of those who pressed beyond
Vesalius their master, year by year
Tracing each bone, each muscle, every frond
Of nerve until the whole design lay bare.
Thinking of this dissection, I descry
The tiers of faces, their teacher in his place,
The talk at the cadaver carried in:
“A woman—with child!”; I hear the master’s dry
Voice as he lifts a scalpel from its case:
“With each new step in science, we begin.”

Who was she? Though they never knew her name,
Dragged from the river, found in some alley at dawn,
This corpse none cared, or dared perhaps, to claim;
The dead child in her belly still unborn,
Might have passed, momentary as a shooting star,
Quenched like the misery of her personal life,
Had not the foremost surgeon of Italy,
Giulio Casserio of Padua,
Bought her for science, questioned her with his knife,
And drawn her for his great Anatomy;

Where still in the abundance of her grace,
She stands among the monuments of time
And with a feminine delicacy displays
His elegant dissection: the sublime
Shaft of her body opens like a flower
Whose petals, folded back expose the womb,
Cord and placenta and the sleeping child,
Like instruments of music in a room
Left when her grieving Orpheus left his tower
Forever, for the desert and the wild.

Naked she waits against a tideless shore,
A sibylline stance, a noble human frame
Such as those old anatomists loved to draw.
She turns her head as though in trouble or shame,
Yet with a dancer’s gesture holds the fruit
Plucked, though not tasted, of the Fatal Tree.
Something of the first Eve is in this pose
And something of the second in the mute
Offering of her child in death to be
Love’s victim and her flesh its mystic rose.

No figure with wings of fire and back-swept hair
Swoops with his: Blessed among Women!; no sword
Of the spirit cleaves or quickens her; yet there
She too was overshadowed by the Word,
Was chosen, and by her humble gift of death
The lowly and the poor in heart give tongue,
Wisdom puts down the mighty from their seat;
The vile rejoice and rising, hear beneath
Scalpel and forceps, tortured into song,
Her body utter their magnificat.

Four hundred years since first that cry rang out:
Four hundred years, the patient, probing knife
Cut towards its answer—yet we stand in doubt:
Living, we cannot tell the source of life.
Old science, old certainties that lit our way
Shrink to poor guesses, dwindle to a myth.
Today’s truths teach us how we were beguiled;
Tomorrow’s how blind our vision of today.
The universals we thought to conjure with
Pass: there remain the mother and the child.

Loadstone, loadstar, alike to each new age,
There at the crux of time they stand and scan,
Past every scrutiny of prophet or sage,
Still unguessed prospects in this venture of Man.
To generations, which we leave behind,
They taught a difficult, selfless skill: to show
The mask beyond the mask beyond the mask;
To ours another vista, where the mind
No longer asks for answers, but to know:
What questions are there which we fail to ask?

Who knows, but to the age to come they speak
Words that our own is still unapt to hear:
“These are the limits of all you sought and seek;
More our yet unborn nature cannot bear.
Learn now that all man’s intellectual quest
Was but the stirrings of a foctal sleep;
The birth you cannot haste and cannot stay
Nears its appointed time; turn now and rest
Till that new nature ripens, till the deep
Dawns with that unimaginable day.”

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