I'm a big fan of the proto calling to the muse in the first stanza, the set up for the piece, how easily you attach the narrator with the extended metaphor with the reader.
The effort you put into showing how vulnerable the narrator is without their metaphoric armor, the dangers of outgrowing or, worse yet, discovering the wrong fit, taking damage from the world - but hark! it is dangerous to go alone, take this (armor)!
The third to last stanzas paralleling of a different piece I read a day or two ago, it is so important to build that contrast with the last to stanzas.
And those last two stanzas, straight fire! The type that consumes you! If I hadn't already Hark!ed, I would surely Hark! again. I really like the end, the importance of the tomb, the importance of the armor in the ocean. Yes, I really like the end.
and the image, you are too clever by half, Guy. ^_^
Always a fun read, usually an enlightening one; sometimes that narrator is a vulnerable one and it always reads stronger for it.
I almost called her "Virgo de Milo," if only it weren't actually the name of an artist.
Sometimes I think putting on armour can be more dangerous than not putting it on. Even moreso if it fits all too perfectly, because then, you don't see the need to ever take it off. And that way lies The Frozen Throne, O Terrible Suit of Armour that He is.
And yes, putting on an armour sure is too similar by far to detachment. Can't feel things through platemail, can you?
I'm glad you liked it, friend Alain, thank you for harking oh so carefully, heh. And isn't the narrator always vulnerable? It just that some pieces are about this vulnerability, which I think speaks more to some people, including me, including you.
(And I am too clever by half. My wish is to one day be as wise as I am clever, to be able to get myself out of the messes I put myself in :P )