Classic and Contemporary Poetry: Explained

James Schuyler's poem "Bernini" is a rich tribute to the Baroque master Gian Lorenzo Bernini, a sculptor and architect whose work fundamentally shaped the aesthetic landscape of Rome. The poem is an exploration of Bernini's unique genius, his ability to take the work of his predecessors and contemporaries and transform it into something distinctly his own, deeply connected to the element of water—a recurring motif in his work.

The opening lines, "Not one of the first, the inventors, the wonder-workers, / Yet, water-born, he took what was theirs and there / And from it worked his own," establish Bernini not as an originator but as a transformer. Schuyler acknowledges that Bernini was not among the very first to innovate in the realms of sculpture or architecture, yet his genius lay in his ability to absorb the existing traditions and infuse them with his own vision. The phrase "water-born" suggests that Bernini's creativity was as natural and essential as water, a vital force that nourished his art.

The imagery of water is central to the poem, reflecting both Bernini's artistic medium and his thematic preoccupations. "Let fountaining water fall among figures / Gesturing freely as the water sketched / At the height of its jet," Schuyler writes, capturing the dynamic energy of Bernini's fountains, where water and sculpture interact in a fluid, almost dance-like manner. The water in Bernini's work is not just a backdrop or an accessory; it is an active participant, shaping the forms and adding a layer of vitality to the stone.

Schuyler continues, "Changed jets to obelisks, / Bubbled the fish-scale domes," emphasizing Bernini's ability to manipulate water into various forms, from the towering obelisks that punctuate the Roman skyline to the intricate, textured domes that resemble the scales of a fish. These transformations underscore Bernini's skill in merging the natural with the architectural, creating structures that seem both monumental and organic.

The poem further explores Bernini's architectural genius: "Made doorways and windows bloom like lotuses / On the water-flat faces of palaces." This metaphor of blooming lotuses suggests a sense of growth and natural beauty emerging from the rigid, flat surfaces of buildings, a hallmark of Bernini's ability to bring life and movement to stone. His work imbues architecture with a sense of fluidity, as if the structures themselves are alive and capable of blossoming.

The poem reaches a crescendo with the image of St. Peter's colonnade: "Cast, like a net’s cork floats, a colonnade around St. Peter’s fountain." This image of the colonnade as a net's cork floats around the fountain captures the sense of enclosure and protection that Bernini's architecture provides, while also suggesting the interconnectedness of his works—each piece a part of a larger, cohesive vision.

Schuyler closes the poem with a return to the theme of water, tying it back to Bernini's artistic legacy: "From the blown conch-shell water foams / In the tangled, stony water world of Bernini’s Rome." The image of water foaming from a conch-shell evokes classical mythology, connecting Bernini's work to the ancient traditions of Rome while also emphasizing the sensual, tactile nature of his sculptures. The "tangled, stony water world" of Rome is both a literal description of the city, with its numerous fountains and water features, and a metaphor for the complex, intertwined nature of Bernini's artistic achievements.

In "Bernini," Schuyler captures the essence of Bernini's artistry—his ability to take the rigid, static medium of stone and infuse it with the life-giving properties of water. Through vivid imagery and thoughtful reflection, the poem celebrates Bernini's unique contribution to the art and architecture of Rome, highlighting his transformative power and his enduring influence on the city's landscape. The poem itself becomes a testament to the enduring beauty of Bernini's work, much like the fountains and sculptures that continue to adorn the Eternal City.

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