A Roman marble torso sits in a shop window on the Alameda de Hércules, and the speaker invites it to dinner as though it were a living guest. What follows feels half-dream, half-elegy: the youth is shy until wine loosens his memory, then he speaks of a lost beloved, Hadrian’s city, and a river as vast as any a Roman had seen. The speaker suspects the place may be inaccurate but the grief is true; the statue’s “birthmark” seems a trace of centuries under silt.
The mood is uncanny and melancholy. Standing before the river, the speaker feels his own life tipping into the past. Placing coins on the ruin like an offering to the dead, he walks away knowing the living are less permanent than a broken torso. The piece becomes a quiet meditation on memory, mortality, and the strange afterlife art gives to human feeling.