This article situates Auden’s poem Musée des Beaux Arts in the process of his conversion to Christianity. The author argues for the layered intertextuality of the poem, in which allusions to Bruegel’s Landscape with the Fall of Icarus, The Census at Jerusalem, and The Massacre of the Innocents can be recognised. Moreover, Philippe de Champaigne’s Presentation in the Temple and Peter Paul Rubens’s The Martyrdom of St Livinus (in the same museum in Brussels) seem also to have influenced the poem. Finally, there is reason to suppose that John Singer Sargent’s Crashed Aeroplane influenced Auden. In an analysis of the structure of the poem, the author argues that there is a clear structure hidden under the surface of day-to-day language. He connects this hidden structure with Auden’s poem The Hidden Law, and suggests that Auden wished to claim that even though we cannot understand suffering, it has a hidden meaning known only to God. This hidden meaning connects our suffering with the self-emptying of Christ, a connection which the author demonstrates is in fact also made in Musée des Beaux Arts.
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机译：本文介绍了奥登的conversion依艺术博物馆（Muséedes Beaux Arts）的诗歌。作者主张该诗具有层次的互文性，在其中可以辨认出布鲁加尔的风景与伊卡洛斯陷落，耶路撒冷的人口普查以及无辜者的大屠杀。此外，菲利普·德·尚佩恩（Philippe de Champaigne）在圣殿中的演出和彼得·保罗·鲁本斯（Peter Paul Rubens）的《圣利维努斯难》（在布鲁塞尔的同一博物馆中）似乎也对该诗产生了影响。最后，有理由假设约翰·辛格·萨金特（John Singer Sargent）的坠毁飞机影响了奥登。在对这首诗的结构进行分析时，作者认为，日常语言的表面之下隐藏着一个清晰的结构。他将这种隐藏的结构与奥登的诗歌《隐藏的法律》联系起来，并建议奥登希望宣称，即使我们无法理解苦难，它也只有上帝知道隐藏的含义。这种隐含的含义将我们的苦难与基督的空虚联系起来，而作者证明的联系实际上也是在美术学院博物馆中实现的。
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