What is the meaning or annotation of the following lines from Auden's poem "Spain 1937"? What is "counting frame" in stanza 1, line 3? "Yesterday the abolition of fairies and giants . . . Yesterday the carving of angels and alarming gargoyles," stanza 3. "The trial of heretics among the columns of stone," stanza 4. What are the "columns of stone?"? "Yesterday the belief in the absolute value of the Greek, the fall of the curtain upon the death of a hero," stanza 6. "As the poet whispers, startled among the pines . . . 'O my vision. O send me the luck of a sailor,' " stanza 7. "As the investigator peers through his instrument . . . But the lives of my friends. I inquire, I inquire," stanza 8. "Our day is our loss . . . time the refreshing river," stanza 9. What is the "city state of the sponge" in stanza 10? "Oh no, I am not the mover," stanza 12. What is meant by "mover" here? "On that tableland scored by river . . . the menacing shapes of our fever," stanza 17. "Are precise and alive . . . to the medicine ad . . . the ruin," stanza 18. Please explain stanzas 19 and 20.

Auden's first several stanzas draw contrasts between the Europe of yesterday and the conflict-ridden Europe of the present day. A "counting-frame" (similar to an abacus) is a mathematical instrument, and a "cromlech" is a proto-religious monumental tomb (similar to England's Stonehenge). Auden's first stanza remarks that the world in days gone by was reverential to "angels" and "gargoyles" and replete with "navigators." This is all ultimately compared to "the struggle" of the Civil War (the refrain of stanzas 4–6, 22, and 23). In service of this comparison, Auden adduces "the counting-frame" and "the cromlech" to stand in for mathematical and scientific pursuits and religion, respectively.
The "fairies" represent paganism and other mythical religious folklore, and the "carving of angels" symbolizes the replacement of this folkloric religion with Christianity.
"The trial of heretics among the columns of stone" (stanza 4) is an allusion to the Spanish Inquisition of the mid-fifteenth century, designed to root out false converts to Catholicism among Jews and Muslims. The "columns of stone" refers to the ostentatious and venerable institution of the Catholic Church. Here, Auden is looking to Spain's distant past and perhaps allowing that though it wasn't perfect, it is still (it's implied) preferable to the Civil War.
Stanza 6 is a clear nod to ancient Greek classicism, replete with the tradition of tragic theater that gave us Sophocles, Aeschylus, and Euripides. Auden claims that Spain used to revere the classical standard and aspire to its ideals (heroism, patriotism, beauty); however, it has lost sight of the notional classical roots of European modernity.
"The poet whispers" inaugurates a string of tropes, revealing the present thoughts of people from a variety of circumstances (the poet, the investigator, the poor). All are looking for meaning in their usual places (nature, science, and government). The "luck of the sailor" alludes to Spain's naval supremacy up until the 1800s.
The "investigator, peer[ing] through his instrument," finds no satisfactory answer given by the sciences to account for the suffering of "the lives of [his] friends," which represents humanity at large. The poor peoples' conclusion that "our day is our loss" reveals their collective appraisal that they are living in the worst of times for the Spanish nation. They are witnessing a decline (owing to "the struggle") that they are powerless to stop.
"The city-state of the sponge" is a metaphor suggesting Spain's unique absorbency of other cultures and resulting cultural wealth. Prior to its becoming a country in the fifteenth century, Spain comprised several kingdoms, all with different dialects. Before that, Spain was occupied by the Muslim caliphate (whose religious and architectural presence is still palpable in modern Spain).
"I am not the mover" is spoken by Auden's personified Spain itself, claiming that it has no means to determine the course of events but will duly respond to "your choice, your decision" (that is, the decision of the people).
The "tableland, scored by rivers" is a reference to the geography of Spain. In particular, Spain is a plateau, and its landscape is permeated by rivers (the Ebro, Tagus, and Deuro, to name a few). Auden is commenting on Spain's connection to Europe, but also its geographic uniqueness and relative isolation.
Stanzas 17 and 18 describe the people's resilience and their motivation to unite as a "people's army." They are asserting their control over their country's fate.
Stanzas 19 and 20 illustrate a hopeful future for Spain. The "romantic love" and "photographing of ravens" predicts domestic bliss and, perhaps, the resurgence of scientific research. The "pageant-master and the musician" refer to the the arts and music that, too, will thrive in a peaceful, liberated Spain.
The final three stanzas' references to "increase in the chances of death," a "shared cigarette," and "makeshift consolations" starkly contrast with the sanguine outlook for Spain evident in the previous three stanzas. This is Auden's somber reminder of the high stakes attending the present struggle.