can someone please help me out and analyze this poem. it is by romain rolland.
DE profundis clamans, out of the abyss of all the hates,
To thee, Divine Peace, will I lift up my song.
The din of the armies shall not drown it.
Imperturbable, I behold the rising flood incarnadine,
Which bears the beauteous body of mutilated Europe,
And I hear the raging wind which stirs the souls of men.
Though I stand alone, I shall be faithful to thee.
I shall not take my place at the sacrilegious communion of blood.
I shall not eat my share of the Son of Man.
I am brother to all, and I love you all,
Men, ephemerals who rob yourselves of your one brief day.
Above the laurels of glory and above the oaks,
May there spring from my heart upon the Holy Mount,
The olive tree, with the sunlight in its boughs, where the cicadas sing.
Sublime Peace who holdest,
Beneath thy sovran sway,
The turmoil of the world,
And who, from out the hurtling of the waves,
Makest the rhythm of the seas;
Upon the perfect balance of opposing forces;
Where the blood of the sun
Gushes forth in diapered sheaves of flame
Which the harmonising eye of the artist has bound together;
Like to a huge bird
Which soars in the zenith,
Sheltering the plain beneath its wings,
Thy flight embraces,
Beyond what is, that which has been and will be.
Thou art sister to joy and sister to sorrow,
Youngest and wisest of sisters;
Thou holdest them both by the hand.
Thus art thou like a limpid channel linking two rivers,
A channel wherein the skies are mirrored betwixt two rows of pale poplars.
Thou art the divine messenger,
Passing to and fro like the swallow
From bank to bank,
To some saying,
"Weep not, joy will come again";
"Be not over-confident, happiness is fleeting."
Thy shapely arms tenderly enfold
Thy froward children,
And thou smilest, gazing on them
As they bite thy swelling breast.
Thou joinest the hands and the hearts
Of those who, while seeking one another, flee one another;
And thou subjectest to the yoke the unruly bulls,
So that instead of wasting
In fights the passion which makes their flanks to smoke,
Thou turnest this passion to account for ploughing in the womb of the land
The furrow long and deep where the seed will germinate.
Thou art the faithful helpmate
Who welcomest the weary wrestlers on their return.
Victors or vanquished, they have an equal share of thy love.
For the prize of battle
Is not a strip of land
Which one day the fat of the victor
Will nourish, mingled with that of his foe.
The prize is, to have been the tool of Destiny,
And not to have bent in her hand.
O my Peace who smilest, thy soft eyes filled with tears,
Summer rainbow, sunny evening,
Who, with thy golden fingers,
Fondlest the besprinkled fields,
Carest for the fallen fruits,
And healest the wounds
Of the trees which the wind and the hail have bruised;
Shed on us thy healing balm, and lull our sorrows to sleep!
They will pass, and we also.
Thou alone endurest for ever.
Brothers, let us unite; and you, too, forces within me,
Which clash one upon another in my riven heart!
Join hands and dance along!
We move forward calmly and without haste,
For Time is not our quarry.
Time is on our side.
With the osiers of the ages my Peace weaves her nest.
I am like the cricket who chirps in the fields.
A storm bursts, rain falls in torrents, drowning
The furrows and the chirping.
But as soon as the flurry is over,
The little musician, undaunted, resumes his song.
In like manner, having heard, in the smoking east, on the devastated earth,
The thunderous charge of the Four Horsemen,
Whose gallop rings still from the distance,
I uplift my head and resume my song,
Puny, but obstinate.
I believe the statues and figures were representatives of those who protected Rome, and a place where there would be time to continue services for the masses. This was a temple The long friezes of the Ara Pacis (the North and South Walls, so called today because of the modern layout) contain figures advancing towards the West who participate in a state of thanksgiving to celebrate the Peace created by Augustus. These figures fall into four categories: lictors (men carrying fasces, bodyguards of magistrates); priests (three of the four major collegia — Pontifices, Septemviri, and Quindecemviri): women and children (generally from the imperial family, represented in portraiture); and attendants (a few anonymous figures necessary for religious purposes).
After Jesus Christ was born and the King of the Jews completed his mission, and Christianity had spread throughout the known world, it became a place where justice would be fulfilled. The long friezes of the Ara Pacis (the North and South Walls, so called today because of the modern layout) contain figures advancing towards the West who participate in a state of thanksgiving to celebrate the Peace created by Augustus. These figures fall into four categories: lictors (men carrying fasces, bodyguards of magistrates); priests (three of the four major collegia — Pontifices, Septemviri, and Quindecemviri): women and children (generally from the imperial family, represented in portraiture); and attendants (a few anonymous figures necessary for religious purposes).
The South Wall has seen a great deal of scholarship and the greatest number of academic debates. Unlike the North Wall, where most of the heads are new (not authentic ancient heads, but modern creations), the heads of the figures on the South Wall are mostly original. Some half dozen figures are recognizable from looking at other surviving statues of members of the imperial family. Nevertheless, much debate has taken place over many of these figures, including Augustus, Agrippa, Tiberius, Julia, and Antonia.
The figure of Augustus was not discovered until the 1903 excavation, and his head was damaged by the cornerstone of the Renaissance palazzo built on top of the original Ara Pacis site. Today Augustus is better recognized by his hair style than his face. He was identified in 1903 immediately.
Agrippa – In the absence of the panel including Augustus, early scholars debated whether this figure was Augustus or Agrippa or Lepidus. In the same 1907 article mentioned above, Sieveking proposed that this figure was Lepidus, the Pontifex Maximus. Sieveking later reversed himself with a series of peculiar suggestions. In 1926 Loewy compared the Louvre Agrippa and that in Copenhagen (and others) to the Ara Pacis to show icongographic similarity. Aside from a very small minority of scholars (most vehemently defending Lepidus in Rom. Mitt in the 1930s was Ludwig Curtius), the rest of the academy agreed this figure is Agrippa.
Julia (Livia) – many scholars continue to see the Julia figure as Livia under the reasoning that Livia has to be on the Ara Pacis. Indeed Livia does appear somewhere (she could hardly be excluded), but by 13 BC Julia had politically eclipsed Livia, as has been understood and explained by many scholars. Furthermore, Livia has no bond to Agrippa, whereas Julia was his wife and expected to be the unofficial empress of Rome for decades, during and beyond Augustus’ lifetime. Julia also better personified Augustus’ new pro-natalism program, having already given birth to four surviving children. Nevertheless, a majority of scholars in 2000 preferred to see this figure as Livia.
Tiberius – This figure was Tiberius as early as 1891 by Milani, an identification that was rarely questioned until the 1940s. Moretti, in making the glass museum for the Ara Pacis at Mussolini’s command, guessed that the two consuls (Tiberius and Varus) of 13 flank Augustus, so he saw this figure as M. Valerius Messalla. V.H. von Poulsen proposed Iullus Antonius. But as has been well established, Augustus is flanked by priests, and this figure is Tiberius. Boschung and Bonanno have both matched the face to early period Tiberius statuary.
In the last stanza, the poem comes to the Book of Revelations, the four horsemen of the apoclypse ride out; they are commonly seen as symbolizing Conquest, War, Famine and Death. So the building was conceived before the birth of the King of the Jews, and the poem finalized long before his birth and death and reserection.