The poem begins with a fantastic, impossible scene of the throne of God. The subjective, if such a place actually existed, does not deny the existence of such a place, but rather underscores the desire:

The image only in generalities tracks any biblical scene. The references to gemstones here – and in Scripture – as well as impossibly beautiful, even absurd (a cushion of sunshine, what could that even as a concrete item?) hints to the reason why such things even exist as gemstones: They are concrete items to act as metaphors to the heavenly original. They give us an inkling as to the marvel. It is sort of a reverse Platonism. Rather than the earth being a copy of the heavenly; the earth is given as a metaphor for the heavenly.

Was there a palace of gold, all ston’d 

And pav’d with pearls, whose gates rich jaspers were

And throne a carbuncle whose king enthroned 

Sat on a cushion all of sunshine clear

Whose crown a bunch of sunbeams was: I should 

Prize such as in his favor shrine me would.

A carbuncle is a ruby. 

Thus, if there were such a place, I would give anything to be there. But how could I ever gain entrance? 

There are only two possibilities: To earn it or to receive as a gift. And Taylor, being a Christian, knows that salvation is of grace; not of personal merit:

Was there a palace of gold, all ston’d 

And pav’d with pearls, whose gates rich jaspers were

And throne a carbuncle whose king enthroned 

Sat on a cushion all of sunshine clear

Whose crown a bunch of sunbeams was: I should 

Prize such as in his favor shrine me would.

The Lord of perfect purity is the one who opens (opes) the entrance. Standing behind this scene is the concept of Psalm 24:

Psalm 24 (ESV) 

A Psalm of David. 

¹    The earth is the Lord’s and the fullness thereof, 

the world and those who dwell therein, 

²    for he has founded it upon the seas 

and established it upon the rivers. 

³    Who shall ascend the hill of the Lord? 

And who shall stand in his holy place? 

⁴    He who has clean hands and a pure heart, 

who does not lift up his soul to what is false 

and does not swear deceitfully. 

⁵    He will receive blessing from the Lord

and righteousness from the God of his salvation. 

⁶    Such is the generation of those who seek him,

who seek the face of the God of Jacob. Selah

⁷    Lift up your heads, O gates! 

And be lifted up, O ancient doors, 

that the King of glory may come in. 

⁸    Who is this King of glory? 

The Lord, strong and mighty, 

the Lord, mighty in battle! 

⁹    Lift up your heads, O gates! 

And lift them up, O ancient doors, 

that the King of glory may come in. 

¹⁰    Who is this King of glory? 

The Lord of hosts, 

he is the King of glory! Selah

Who may enter into this holy place? Only one who is perfect. Who is such a one? The King of Glory. And who is the King of Glory? Jesus Christ. The psalm is commonly taken as a reference to the Ascension of Christ into glory. 

The poet is thus being offered entrance into this impossible, heavenly scene. 

And important point of contrast which will be developed in this poem is the matter of words. Here note that the words of the king upon his throne are embellished with more radiance than sunshine. 

And so we come to the contrast which marks Taylor’s mediations: The Lord is all of glory, but I am not. 

This is a point which is under considered when academics discuss “Calvinists”. Election does not give rise to a thought of superiority but rather of confusion, How am I here? It is not merit, but impossibility. And the stark understanding of human nature is not a matter of despair, but rather of hope for remaking the world. 

Thy milk white hand, my glorious Lord, doth this:

It opes this gate and me conducts into 

This golden palace whose rich pavement is

Of precious pearls; and to this King also. 

Thus, thron’d and crown’d: whose words ‘bellish’d all

With brighter beams, than e’re the sun let fall.

There two marvelously awkward line breaks here. The first line “I” following a pause hurries on to the second line, like a tumble down the stairs. Also the break from the third to fourth line works perfectly: My affections fly On toys. The short half line of two syllables followed by a remaining line of 8, puts tremendous force upon the insufficient object of affection. I love toys! 

We so often love the good things God gives things, we love the gift more than the one who has given the gift. The poet would rather have the toys than the hand. 

And this is the great fault of human beings: our affections are curved back up on ourselves as Augustine notes.