“How, when the aged are reverently, passionately waiting
For the miraculous birth, there always must be
Children who did not specially want it to happen, skating
On a pond at the edge of the wood: (21.5-8)” Using a historical strategy 'the miraculous birth' may have ties to religion, maybe the birth of Jesus. Although the poem is not especially old, it's main reference (the painting) is from the 16th century. The author did just visit the Museum of Fine Arts before writing the poem (Musee des Beaux Arts: W.H. Auden - Summary and Critical Analysis), so he was surrounded with historical art. Then saying that the children didn't really care shows that even during the birth of Jesus, they couldn't be bothered. Basically the point is that one persons miracles and tragedies mean absolutely nothing to the next. Speaking about the Old Masters again. “They never forget/ That even the dreadful martydom must run its course (21.8-10)”, basically says that the painters understand that even tragedy soon becomes forgotten, even extreme suffering such that of a martydom The next lines compare human naivety to being an animal , “Anyhow in a corner, some untidy spot/ Where the dogs go on with their doggy life and the torturer’s horse/ scratches its innocent behind a tree (21.11-13)”, it creates the image of humans ignoring conflict around and going about their life, just as animals aren't phased by the untidiness around them. The torturer’s horse scratching in innocence behind the tree, is like humans brushing off the wrongs they witness like they don't know any better. In the painting there are many animals, even including a horse and dog, and just like the people, they are unfazed by Icarus drowning. Finally the next stanza starts to directly address the painting. It starts with “In Breughel's Icarus, for instance: how everything turns away/ Quite leisurely from the disaster: (21.14-15)”, the poem has been building up to this reference; referring to Brueghel as an Old Master , Brueghel's painting did in fact show suffering just as Auden previously described. The next lines are a perfect example of what Auden meant by 'dogs go on with their doggy life', “The ploughman may/ Have heard the splash, the forsaken cry,/ But for him it was not an important failure;” (21.15-17) The difference here though, is that a dog may bark at such an instance, but the plowman chose to ignore, chose to appear ignorant. In the painting it appears the ploughman is