Thomas Wells Poet Quatrain

Fragments of Ancient Stone

Fragments of ancient stone, woman, sad and desperate.
She rests on a tomb of death, of longing and loss.
Her insufferable grief is an open wound of secrets.
In “Christina’s World,” she forlornly crawls across.

Dylan knows her as the “Sad-eyed Lady of the Lowland.”
In “Automat,” Edward Hopper portrays her all alone.
She drifted astray and lost herself in “The Waste Land.”
Oizys conveyed misery and sorrow; a goddess well known.

Fragments of ancient stone, symbol of human death.
Our Lady Madonna weeps, tormented, anguished, in pain.
She agonizes with the sick, expelling their last breath.
She mourns our lost humanity when war has left its stain.
        
Freda Kahlo painted herself as a deer pierced by arrows.
William Blake’s “Mary” bore the face of broken despair.
The Romans named her Miseria, goddess of deep sorrows.
“Lady, Weeping at the Crossroads,” Auden wrote her with care.

Fragments of ancient stone, emblems of shattered dreams.
In “Lady Sings the Blues,” she was crooned by Billie Holiday.
In “Sad Clown Girl,” Chris Motta’s painting is no meme.
In “Dead Love,” Sara Teasdale bereaved her love’s decay.

“All is Loneliness,” where Joplin screamed and cried.
All is shadows, anguish, and tears when Anias appeared.
Egypt called her Nephthys; death and mourning were her ties.
“The Pieta” has portrayed her sixth sorrow for hundreds of years.

Angel of agony summoned from our collective unconscious.
Jung told us that dreams reveal more than they hide.
Her mythical manifestations are glorious and harmonious.
Her artistic expressions grant us our weakness untied.

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