"Musée des Beaux Arts" (French for "Museum of Fine Arts") is a poem written by W. H. Auden in December 1938 while he was staying in Brussels, Belgium, with Christopher Isherwood. It was first published under the title "Palais des beaux arts" (Palace of Fine Arts) in the Spring 1939 issue of New Writing, a modernist magazine edited by John Lehmann. It next appeared in the collected volume of verse Another Time (New York: Random House, 1940), which was followed four months later by the English edition (London: Faber and Faber, 1940). The poem's title derives from the Musées Royaux des Beaux-Arts de Belgique, the French-language name for the Royal Museums of Fine Arts of Belgium located in Brussels. The museum is famous for its collection of Early Netherlandish painting. When Auden visited the museum he would have seen a number of the paintings of the "Old Masters" referred to in the second line of the poem, including the Fall of Icarus which at the time was still regarded as an original by Pieter Bruegel the Elder. Synopsis "Musee des Beaux Arts" by W.H. Auden describes, through the use of one specific artwork, the impact of suffering on humankind. Auden's free verse poem is divided into two parts, the first of which describes scenes of "suffering" and "dreadful martyrdom" which rarely break into our quotidian routines: "While someone else is eating or opening a window or just walking dully / along." The second half of the poem refers, through the poetic device of ekphrasis, to the painting Landscape with the Fall of Icarus (c. 1560s), at the time thought to be by Bruegel, but now usually regarded as an early copy of a lost work. Auden's description allows us to visualize this specific moment and instance of the indifference of others to a distant individual's suffering, inconsequent to them, "how everything turns away / Quite leisurely from the disaster ... the white legs disappearing into the green." The disaster in question is the fall of Icarus, caused by his flying too close to the sun and melting his waxen wings. Auden achieves much in the poem, not only with his long and irregular lines, rhythms, and vernacular phrasing ("dogs go on with their doggy life"), but also with this balance between what appear to be general examples "About suffering" and a specific example of a mythical boy's fall into the