Al Zolynas’ ‘An Interpretation of Chanticleer’
OF GUY PÈNE DU BOIS’ PAINTING,
Monsieur in profile, top hatted, spats and cane,
straightbacked, all energy and power, has burst
into the frame from the right.
He is in mid-stride,
crossing the muddy green carpet, coattails flying,
not even a glance at the red wall’s
Chubby old James, loyal retainer,
gold-vested butler, doorman,
as always unobtrusively
holds the door open for him.
In shadow, out on the deck,
we see Madame—or Mademoiselle—
her back turned.
She gazes into the urban grey and blue,
probably Paris, could be New York.
She may be tapping her foot (it’s
really hard to tell in a painting, isn’t it?):
“Besides his money, whatever drew me to
this insufferable peacock?”