Category Archives: Edward Taylor

Edward Taylor, Meditation 26, My Noble Lord

19 Thursday Sep 2019

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Edward Taylor Meditation 26

Reference, Acts 5:31

31 God exalted him at his right hand as Leader and Savior, to give repentance to Israel and forgiveness of sins.

My noble Lord, thy nothing servant I

Am for thy sake out with my heart, that holds,

So little love for such a Lord: I cry

How should I be but angry thus to see

My heart so hidebound in her acts to thee?

 

Thou art a golden theme; but I am lean

A leaden orator upon the same.

Thy golden web excels my dozie beam

Whose linsy-wolsy loom deserves thy blame.

It’s all defiled, unbiased too by sin:

An hearty wish for thee’s scarce shot therein.

 

It pities me who pity cannot show

That such a worthy theme abused should be.

I am undone, unless thy pardons do

Undo my sin I did, undoing me.

My sins are great, and grievous ones, therefore

Carbuncle mountains can’t wipe out their score.

 

But thou, my Lord, does a free pardon bring.

Thou giv’st forgiveness: yet my heart through sin,

Hath naught but naught to file thy gift  up in.

An hurden haump doth chafe a silken skin.

Although I pardons beg, I scare can see,

When thou giv’st pardons, I give praise to thee.

 

O bad at best! What am I then at worst?

I want a pardon, and when pardon’d, want

A thankful heart: both which thou dost disbursed.

Giv’st both, or neither: for which Lord I pant.

Two such good things at once! Methinks I could

Avenge my heart, lest it should neither hold.

 

Lord tap mine eyes, seeing such grace in thee

So little doth affect my graceless soul.

And take my tears in lieu of thanks of me,

New make my heart: then take it for thy toll.

Thy pardons then will make my heart to sing

It Mictham-David: with sweet joy within.

 

 

The first stanza:

My noble Lord, thy nothing servant I

Am for thy sake out with my heart, that holds,

So little love for such a Lord: I cry

How should I be but angry thus to see

My heart so hidebound in her acts to thee?

Taylor meditates upon the proposition that Jesus has been exalted to give repentance and forgiveness of sins. The exaltation of Jesus comes upon the death and resurrection of Jesus, which comes upon the Incarnation of the Son of God. The reference to Acts comes from a sermon by Peter. The preceding verse in this sermon reads: “The God of our fathers raised Jesus, whom you killed by hanging him on a tree.”Acts 5:30 (ESV)

He begins with the contrast between Jesus – My Noble Lord; and himself, thy nothing servant. He condemns himself seeing himself so little moved when contemplating such a matter.  This condemnation for not responding appropriate to the knowledge of God’s love in Christ, is the primary concern of the poem. It is a bit of self-examination and self-rebuke, and thereon, a plea for pardon.

He prays for a heart that will weep that it cares so little for the goodness of God, and that such weeping will be received in sincere repentance. And then, having been forgiven anew for his sinful lack of a proper response to God’s goodness will become a present basis for rejoicing.

We see here, that those within the Puritan tradition placed a great emphasis not just upon intellectual apprehension but also upon due affections, that is, emotions and desires. As would be written by Jonathan Edwards in the next generation after Taylor:

True religion, in great part, consists in holy affections.

Jonathan Edwards, Religious Affections, ed. John E. Smith and Harry S. Stout, Revised edition., vol. 2, The Works of Jonathan Edwards (New Haven: Yale University Press, 2009), 95.

In line two, the accent must fall heavily upon the word “out”; it is an imperative:

Am for thy sake OUT with my heart, that holds,

Remove a heart that holds so little love.

Hidebound: this is an especially useful adjective to describe a heart which cannot fill with the expansive joy and love fit for the occasion. The flesh and skin have closed about his heart and it cannot swell with joy.

Second Stanza:

 Thou art a golden theme; but I am lean

A leaden orator upon the same.

Thy golden web excels my dozy beam

Whose linsy-wolsy loom deserves thy blame.

It’s all defiled, unbiased too by sin:

An hearty wish for thee’s scarce shot therein.

The word “lean” picks up the image of “hidebound” which originally referred to cattle whose skin had grown taunt over a famished body.

God is gold; I am lead. Gold is celestial; lead is dull and earth-bound. He cannot speak in a manner fit.

He then turns abruptly to the imagery of weaving.

The cloth to be woven is a “golden web”. However, the poem’s “loom deserves thy blame” – condemnation.

The beam of the loom is dozy (slow, stupid).

“Linsey-woolsey” was originally referred to a textile made of linen and wool. But it was used figuratively to refer to something as being confused or nonsensical. The poet’s loom – his poem – is all confused and not fit for the beautiful garment which should be produced.

Sin has infected the process and thus the poem won’t go correctly.

This is critical consideration in the poet’s argument. Sin is not merely some particular bad act; sin is also a disease, a corruption of his entire frame. He is not a man who occasionally sins. He is a man who is constantly affected by sin. The sin is so pervasive that it affects his ability to even express the appropriate emotions.

To make this seem not so strange, consider a circumstance where someone witnesses a great horror or tragedy and yet does not respond with appropriate emotions. They laugh at seeing a death; they feel no compassion at seeing great suffering. We consider such people to be “wrong.”

Taylor is saying: this theme is far greater than any other theme I could consider. This should bring me to soaring notes of golden joy. But sin has obscured my ability. Indeed, it is a sin for me to not even care rightly about this.

Third Stanza:

It pities me who pity cannot show

That such a worthy theme abused should be.

I am undone, unless thy pardons do

Undo my sin I did, undoing me.

My sins are great, and grievous ones, therefore

Carbuncle mountains can’t wipe out their score.

I need pity in my state; and yet, ironically, I do not express the right pity over such a thought, that Christ had died for me. I need pity from you God, because I am in sin that I do not have a heart which expresses pity as I should. Note in the first line that “pity” carries the accent, which throws great emphasis on the word:

it PITies ME WHO PITy cannot SHOW

I need pity, and in danger of judgment “I am undone”.

Here, the irony intensifies: Taylor begins to mediate upon the forgiveness of Christ. He see that he does not have the proper affections when considering the subject. He thus falls into new sin when contemplating the forgiveness of his sins, which necessitates the need for forgiveness again:

   Unless thy pardons do

Undo my sin I did

A carbuncle mountain would be an entire mountain of ruby. (See, e.g, Hawthorne, “The Great Carbuncle”; Fitzgeard, “A Diamond as Big as the Ritz.”) My sin is so great that nothing in creation can answer for their debt.

 

Fourth Stanza 

But thou, my Lord, does a free pardon bring.

Thou giv’st forgiveness: yet my heart through sin,

Hath naught but naught to file thy gift up in.

An hurden haump doth chafe a silken skin.

Although I pardons beg, I scare can see,

When thou giv’st pardons, I give praise to thee.

 The trouble becomes more acute because even though God does give forgiveness, the poet’s heart is not fit to receive forgiveness. He is a “nothing servant” with a “heart through sin, /Hath naught but naught”.

I was unable to find any use of the phrase “hurden haump” except in this poem. What we do know from context, it must be something which would ruin in the finest of things (silk would be extraordinary expensive and rare).

Finally, even though he is begging for pardon, he realizes his heart will still lack the praise which is due or the pardon received.

Fifth Stanza:

O bad at best! What am I then at worst?

I want a pardon, and when pardon’d, want

A thankful heart: both which thou dost disbursed.

Giv’st both, or neither: for which Lord I pant.

Two such good things at once! Methinks I could

Avenge my heart, lest it should neither hold.

At best, when contemplating this theme, I am “bad”. But what if I am at my worst? First, I want – lack – a pardon. I need a pardon. And then upon receiving the pardon I need, I “want” – lack – a heart which will express the thankfulness due. I can only have a thankful heart, if you God give it to me. Therefore, he prays for both a pardon for his sin and a heart which will express the proper thankfulness in response to the forgiveness.

But if his heart will not hold such pardon and joy, he will “avenge” himself upon it:

Methinks I could

Avenge my heart, lest it should neither hold.

 

Sixth Stanza:

Lord tap mine eyes, seeing such grace in thee

So little doth affect my graceless soul.

And take my tears in lieu of thanks of me,

New make my heart: then take it for thy toll.

Thy pardons then will make my heart to sing

It Mictham-David: with sweet joy within.

 

He end with a call to weep for his sin:

Lord tap mine eyes, seeing such grace in thee

So little doth affect my graceless soul.

“Tap mine eyes”, put a tap in my eyes to drain the tears in repentance for my sin.  This theme was taken up by Edwards (although I don’t have any knowledge that Edwards had ever seen Taylor’s poems; however, Taylor knew Edward’s father, thus there is a basis to see a continuity of thought):

 

True contrition may be known by the principle it arises from, and the effect it produces in the heart:

By the principle it arises from, and that is love to God and the Lord Jesus Christ. The sinner, thinking of the merciful nature of God, thinking of his great compassion and pity manifested to men, he sees that God is really exceeding merciful and compassionate. He wonders that God should so condescend to the children of men. He sees that really and truly God has shown an unparalleled goodness and a most sweet, condescending compassion in that act of sending his Son into the world. He admires the goodness of God herein; he wonders that so great and glorious a God should be so full of pity and compassion. What, the King of the Universe, the Infinite God, the Eternal Jehovah pity man at this rate?

Such thoughts as these make him to love God, and think him most excellent and lovely, that ever he should be so full of mercy and pity, that ever he should be so exceeding gracious; that ever so great a God, that has been so much affronted by proud worms, should be so full of goodness and astonishing clemency as to take pity on them, instead of punishing them, especially when he considers that he is one of those wretched rebels whom He so pitied. This makes him to love this so good God above all things in the world; his very soul is all drawn out: how doth it melt with such thoughts, how doth it flow in streams of love!

And then when he reflects on his sin, as [on] his vileness, on his disobedience to this so lovely God, his proud and contemptuous behavior towards him, how he dishonored him by his unreasonable, most ungrateful disobedience—that ever he should be so ungrateful and so vile: then what sorrow, what grief, what deep contrition follows! How doth he loathe himself; how is [he] angry with himself! See the motions that the penitent feels at this time excellently represented by the Apostle: 2 Cor. 7:11, “For behold this same thing, that ye sorrowed after a godly sort, what carefulness it wrought in you; yea, what clearing of yourselves; yea, what indignation; yea, what fear; yea, what vehement desire; yea, what zeal; yea, what revenge!”

I do not say that a true penitent’s thoughts always run exactly in this order, but I say that they are of this nature, and do arise from this principle.

Jonathan Edwards, “True Repentance Required,” in Sermons and Discourses, 1720–1723, ed. Wilson H. Kimnach and Harry S. Stout, vol. 10, The Works of Jonathan Edwards (New Haven; London: Yale University Press, 1992), 513–514.

He then proposes a solution to his trouble:

And take my tears in lieu of thanks of me,

New make my heart: then take it for thy toll.

First, God, take my tears of repentance, since I have not shown the joy which I should. Renew my heart:

Psalm 51:10–12 (ESV)

10          Create in me a clean heart, O God,

and renew a right spirit within me.

11          Cast me not away from your presence,

and take not your Holy Spirit from me.

12          Restore to me the joy of your salvation,

and uphold me with a willing spirit.

 

Then, when I have wept for my sins, I will rejoice in my present forgiveness:

Observe, gospel-tears are not lost, they are seeds of comfort; while the penitent doth pour out tears, God pours in joy; if thou wouldst be cheerful, saith Chrysostom, be sad: Psal. 126:5. ‘They that sow in tears shall reap in joy.’ It was the end of Christ’s anointing and coming into the world, that he might comfort them that mourn, Isa. 61:3. Christ had the oil of gladness poured on him, as Chrysostom saith, that he might pour it on the mourner; well then might the apostle call it ‘a repentance not to be repented of, 2 Cor. 7:10. A man’s drunkenness is to be repented of, his uncleanness is to be repented of; but his repentance is never to be repented of, because it is the inlet of joy: ‘Blessed are they that mourn, for they shall be comforted.’ Here is sweet fruit from a bitter stock: Christ caused the earthen vessels to be filled with water, and then turned the water into wine, John 2:9. So when the eye, that earthen vessel, hath been filled with water brim full, then Christ will turn the water of tears into the wine of joy. Holy mourning, saith St. Basil, is the seed out of which the flowers of eternal joy doth grow.

Thomas Watson, “Discourses upon Christ’s Sermon on the Mount,” in Discourses on Important and Interesting Subjects, Being the Select Works of the Rev. Thomas Watson, vol. 2 (Edinburgh; Glasgow: Blackie, Fullarton, & Co.; A. Fullarton & Co., 1829), 123–124.

A Michtam (or Miktam) is a title, probably a musical notation, in certain Psalms of David.

 

A little history on the publication of Edward Taylor’s poetry

25 Saturday Aug 2018

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In the 1937 edition of the New England Quarterly (vol. 10, no. 2), Thomas H. Johnson provides a background to the newly published works of Edward Taylor. At his death on June 24, 1729 (age 87) the first minister in the town of Westfield, Massachusetts. He had been born in England in 1644 and arrived in New England on July 5, 1668. After completing his time at Harvard in 1671 (being somewhat older than his classmates).

He thereafter went to the frontier to minister. He seems to have had exposure to George Herbert at the very least in terms of a poetical inspiration.  He left behind a four hundred page morocco-covered bound quarto volume of carefully copied verse. Taylor left instructions that none of is writing were allowed to be published.

Taylor willed his library to his son-in-law Isaac Stiles. The volume poetry seems to have been included in that disposal. The volume then made it to the Ezra Stiles, president of Yale. From there it came to Stiles’ nephew Henry Taylor who presented the volume to Yale (1883). And finally it was published by Thomas Johnson when he discovered the manuscript in the Yale library.

The poems published in the New England Quarterly were the first poems published from Taylor’s manuscript.

Edward Taylor, Meditation 25, “Why Should My Bells”, Stanza 6

28 Wednesday Feb 2018

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The conclusion of the poem. The prior entry is here:

 

I fain the choicest love my soul can get,

 Would to thy gracious self a gift present

But cannot now unscrew Love’s cabinet.

 Say not this is a niggard’s complement.

 For seeing it is thus I choose now rather

 To send thee th’cabbinet, and pearl together.

 

Paraphrase: The poet desires to send to God some gift as recompense for great gift (the glorious robes) he has received. But he cannot open himself and find something separate to give: he cannot separate his affection from himself — and so he gives himself with his affection.

This sentiment also appears in Isaac Watts’ Hymn “Alas and Did My Savior Bleed”:

But drops of grief can ne’er repay

      The debt of love I owe;

    Here, Lord, I give myself away;

      ’Tis all that I can do

Isaac Watts, The Psalms and Hymns of Isaac Watts. And in “When I Survey the Wond’rous Cross”:

    Were the whole realm of nature mine,

    That were a present far too small;

    Love so amazing, so divine,

    Demands my soul, my life, my all.

This payment of love is the chief duty of the Christian:

Mark 12:29–31 (AV)

29 And Jesus answered him, The first of all the commandments is, Hear, O Israel; The Lord our God is one Lord: 30 And thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy mind, and with all thy strength: this is the first commandment. 31 And the second is like, namely this, Thou shalt love thy neighbour as thyself. There is none other commandment greater than these.

Here we come to the point of the poem: the purpose of the great love of God toward him in Jesus Christ is to render love in return

A note on “niggard”: unfortunately, some people are confused by the the Middle English nyggard, stingy, miser. It has nothing to do with the racial slur.

Edward Taylor, Meditation 25, “Why Should My Bells”, Stanza 5

15 Thursday Feb 2018

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Dost thou adorn some thus, and why not me?

I’ll not believe it.  Lord, thou art my chief.

Thou me commandest to believe in thee.

I’ll not affront thee thus with unbelief.

Lord, make my soul obedient:  and when so,

Thou sayst, “Believe,” make it reply, “I do.”

Paraphrase: You adorn — give your righteousness and forgiveness — to some; why would you not give the same to me?

The next phrase “I’ll not believe it” is ambiguous. It could me, I will not believe that you would adorn others and not me. Or, it could mean, I can’t believe that you will so adorn me. Or, I will not believe that you could adorn me.  This paradox gets to the crux of the stanza.

In relationships between persons, believe is the means by which love is given and received. For example, imagine two young people who each secretly love the other. Their love is real, but it is uncommunicated. Now imagine that one says to the other, “I love you.” The beloved must believe the love is real to receive the love. If the beloved thinks this is a joke, a farce, a lie, he can never receive the love. The love is real but uncommunicated. Unless and until the beloved believes the love is real the love cannot be communicated.

The same mechanism lies at the heart of Christianity: the love of God is communicated by the means of belief. This ambiguity of the line plays the need and hesitancy of faith.

The poet then turns to prayer, make me believe in accordance with your command.

Allusions:

There are biblical allusions and an allusion to Augustine’s Confessions.

The command to believe:

Mark 1:14–15 (ESV)

14 Now after John was arrested, Jesus came into Galilee, proclaiming the gospel of God, 15 and saying, “The time is fulfilled, and the kingdom of God is at hand; repent and believe in the gospel.”

Belief and obedience. Some put obedience and belief as opposites. Taylor would not have held to such a position.

First, Taylor would have held a position consistent with Chapter XIV, Saving Faith Westminster Confession:

  1. By this faith a Christian believeth to be true whatsoever is revealed in the Word, for the authority of God himself speaking therein [John 4:42; 1 Thess. 2:13; 1 John 5:10; Acts 24:14]; and acteth differently upon that which each particular passage thereof containeth; yielding obedience to the commands [Rom. 16:26.], trembling at the threatenings [Isa. 66:2.], and embracing the promises of God for this life and that which is to come [Heb. 11:13; 1 Tim. 4:8.]. But the principal acts of saving faith are accepting, receiving, and resting upon Christ alone for justification, sanctification, and eternal life, by virtue of the covenant of grace.

Philip Schaff, The Creeds of Christendom, with a History and Critical Notes: The Evangelical Protestant Creeds, with Translations, vol. 3 (New York: Harper & Brothers, 1882), 630–631.

There is also a famous parallel in Augustine which sparked the Pelagian controversy:

NOW is all my hope nowhere but in thy very great mercy. Give what thou commandest, and command what thou wilt [da quod iubes et iube quod vis]. Thou imposest continency upon us; and when I perceived, as one saith, that no man can be continent unless thou give it, this also was a point of wisdom, to know whose gift it was. By continency verily are we bound up and brought into the one,* from which we were scattered abroad into many: for too little doth he love thee, who loves anything together with thee, which he loves not for thee. O thou Love which art ever burning, and never quenched! O Charity, my God! kindle me I beseech thee. Thou commandest me continency: give me what thou commandest, and command what thou wilt.

Augustine of Hippo, St. Augustine’s Confessions, Vol. 2, ed. T. E. Page and W. H. D. Rouse, trans. William Watts, The Loeb Classical Library (New York; London: The Macmillan Co.; William Heinemann, 1912), 149–151.

To further understand Taylor’s thinking, a passage from John Calvin’s commentary on John 6:44 might help:

Unless the Father draw him. To come to Christ being here used metaphorically for believing, the Evangelist, in order to carry out the metaphor in the apposite clause, says that those persons are drawn whose understandings God enlightens, and whose hearts he bends and forms to the obedience of Christ. The statement amounts to this, that we ought not to wonder if many refuse to embrace the Gospel; because no man will ever of himself be able to come to Christ, but God must first approach him by his Spirit; and hence it follows that all are not drawn, but that God bestows this grace on those whom he has elected. True, indeed, as to the kind of drawing, it is not violent, so as to compel men by external force; but still it is a powerful impulse of the Holy Spirit, which makes men willing who formerly were unwilling and reluctant. It is a false and profane assertion, therefore, that none are drawn but those who are willing to be drawn, as if man made himself obedient to God by his own efforts; for the willingness with which men follow God is what they already have from himself, who has formed their hearts to obey him.

John Calvin, John, electronic ed., Calvin’s Commentaries (Albany, OR: Ages Software, 1998), Jn 6:44.

Scansion:  The interesting usage in this stanza is the repetition of an accent on the first syllable:

 Dost thou adorn some thus, and why not me?

 I’LL not believe it.  Lord, thou art my chief.

THOU me commandest to believe in thee.

 I’LL not affront thee thus with unbelief.

 LORD, make my soul obedient:  and when so,

 THOU sayst, “Believe,” make it reply, “I do.”

Edward Taylor, Meditation 25, “Why Should My Bells”, Stanza 4

04 Sunday Feb 2018

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But, my sweet Lord, what glorious robes are those

 That thou hast brought out of thy grave for thine?

They do outshine the sunshine, grace the rose.

 I leap for joy to think, shall these be mine?

 Such are, as wait upon thee in thy wars,

 Clothed with the sun, and crowned with twelve stars.

Paraphrase: The poet who is “naked”(except perhaps a winding sheet) and a “blot”. The poet whose bell should chime the Lord’s praise hears the bell toll his own death. Here he naked looks upon the Lord’s grave (who died for him). The Lord arising from the grave brings glorious robes to clothe the poet –and such robes are for all who wait upon the Lord’s wars.

Biblical and Doctrinal Allusions: This stanza describes perhaps the crown jewel of protestant — particularly evangelical (in its classic since, not in the vague, not terribly Christian sense used in the United States) Christianity: penal substitutionary atonement. Put as plainly as possible: sinful human beings exchange their sin and shame for Christ’s glory. Christ bears their sin into his grave and gives to them the glory he has earned in overcoming death.

This doctrine appears in so many places that it is difficult to know precisely which passages Taylor has in mind. There is no particular passage which has precisely these combination of images.  Here are some elements of this stanza:

Sharing in Christ’s Death and Glory:

Romans 6:3–4 (AV)

3 Know ye not, that so many of us as were baptized into Jesus Christ were baptized into his death? 4 Therefore we are buried with him by baptism into death: that like as Christ was raised up from the dead by the glory of the Father, even so we also should walk in newness of life.

Raised from the dead in glory:

1 Corinthians 15:42–43 (AV)

42 So also is the resurrection of the dead. It is sown in corruption; it is raised in incorruption: 43 It is sown in dishonour; it is raised in glory: it is sown in weakness; it is raised in power:

 

Conquering death:

Romans 6:9–10 (AV)

9 Knowing that Christ being raised from the dead dieth no more; death hath no more dominion over him. 10 For in that he died, he died unto sin once: but in that he liveth, he liveth unto God.

Robes Brighter than the Sun:

Matthew 17:1–2 (AV)

1 And after six days Jesus taketh Peter, James, and John his brother, and bringeth them up into an high mountain apart, 2 And was transfigured before them: and his face did shine as the sun, and his raiment was white as the light.

The Sun, Moon and Stars

This is a reference to the woman of Revelation 12:

Revelation 12:1–2 (AV)

1 And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars: 2 And she being with child cried, travailing in birth, and pained to be delivered.

Waiting with New Robes

A particularly appropriate allusion is found in martyrs of Revelation 6:

Revelation 6:9–12 (AV)

9 And when he had opened the fifth seal, I saw under the altar the souls of them that were slain for the word of God, and for the testimony which they held: 10 And they cried with a loud voice, saying, How long, O Lord, holy and true, dost thou not judge and avenge our blood on them that dwell on the earth? 11 And white robes were given unto every one of them; and it was said unto them, that they should rest yet for a little season, until their fellowservants also and their brethren, that should be killed as they were, should be fulfilled. 12 And I beheld when he had opened the sixth seal, and, lo, there was a great earthquake; and the sun became black as sackcloth of hair, and the moon became as blood;

They are given white robes and are told to waiting until the remaining martyrs (from the wars?) are fulfilled. Such wars are obviously not political wars of any sort.

Allusions in contemporary pastoral work. I cannot say for certain what particular books Taylor had in possession. But, the Puritan ministers of Taylor’s age and before had a tendency to use certain common tropes. This particular trope of receiving a robe is well-attested prior to Taylor and it appears in Jonathan Edwards, in the same location as Taylor and somewhat later than Taylor.

Richard Sibbes used the image of being dressed in Christ’s robes at death:

Why then should we be afraid of death? For then there shall be a further degree of glory of the soul, and after that a further degree of body and soul, when our bodies shall be conformable to the glorious body of Christ, when they shall be spiritual, as it is in 1 Cor. 15:44. I beseech you, therefore, let, us learn this to comfort ourselves against those dark times of dissolution, when we shall see an end of all other glory. All worldly glory shall end in the dust, and lie down in the grave; when we must say that ‘rottenness is our father,’ and the ‘worm our mother,’ Job. 17:14. We can claim no other kin in regard of our body, yet then we shall be more glorious in regard of our souls. Christ shall put a robe of glory upon us, and then afterward we shall be more glorious still.

Richard Sibbes, “The Excellency of the Gospel Above the Law”, in The Complete Works of Richard Sibbes, ed. Alexander Balloch Grosart, vol. 4 (Edinburgh; London; Dublin: James Nichol; James Nisbet and Co.; W. Robertson, 1863), 287. Published originally in 1639.

This reference combines the image of the robes with death and with the wait of the Revelation 6 martyrs:

Secondly, That though our bodies lie rotting in the grave, yet that our souls shall be happy and blessed, which was Paul’s comfort: 2 Cor. 5:1, ‘For we know that if this earthly house of our tabernacle be dissolved, we have a building given us of God, not made with hands, but eternal in the heavens.’ So Rev. 6:11, the souls which lay under the altar, crying, ‘How long, Lord’? were comforted with the long white robes given unto them; the present blessed estate of their souls

Richard Sibbes,  “The General Resurrection” in The Complete Works of Richard Sibbes, ed. Alexander Balloch Grosart, vol. 7 (Edinburgh; London; Dublin: James Nichol; James Nisbet and Co.; W. Robertson, 1864), 326. Published 1629.

Jonathan Edwards combines all of the images present in this stanza in a single paragraph:

This suffering state of the church is in Scripture represented as a state of the church’s travail, John 16:20–21 [“… ye shall weep and lament.… A woman when she is in travail hath sorrow, because her hour is come”]. And Rev. 12:1–2 [“And there appeared a great wonder in heaven; a woman clothed with the sun.… And she being with child cried, travailing in birth, and pained to be delivered”]. What the church is in travail striving to bring forth during this time, is that glory and prosperity to the church that shall be after the fall of Antichrist, and then shall she bring forth her child.3 This is a long time of the church’s trouble and affliction, and is so spoken of in Scripture, though it be spoken as being but a little season in comparison of the eternal prosperity of the church. Hence the church under the long continuance of this affliction cries out, as in Rev. 6:10, “How long, O Lord, holy and true, [dost thou not judge and avenge our blood on them that dwell on the earth].” And we are told that, “white robes [were given unto every one of them; and it was said unto them, that they should rest yet for a little season, until their fellowservants also and their brethren, that should be killed as they were, should be fulfilled].”4 So in the twelfth [chapter] of Daniel, sixth verse, “How long shall it be to the end of these wonders?

Jonathan Edwards, “Sermon Twenty,” in A History of the Work of Redemption, ed. John F. Wilson and John E. Smith, vol. 9, The Works of Jonathan Edwards (New Haven; London: Yale University Press, 1989), 373–374.

Scansion: The most interesting line in the stanza reads:

They do outSHINE the SUNSHINE, GRACE the ROSE. There are three accented syllables in a row bridging the pause. The “outshine” and “sunshine” repetition is interesting: the repetition of vowels and consonants makes it difficult to say the words quickly. The slight variation creates a rhyming effect.  The use of a cretic (‘-‘) in the final foot brings the entire movement to a stop (this is underscored by the period at the end of this line). It puts great emphasis upon the glory of the robes given. The robes are brighter than the sun, more beautiful than a rose. Such is the glory which Christ gives His. This is the key movement of Christianity: the merit lies all and solely in Christ. It is all borrowed glory; and once given, the glory acts to transform.

Edward Taylor’s Meditation 25, “Why should my bells”, Stanza 3

02 Friday Feb 2018

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When I behold some curious piece of art,

 Or pretty bird, flower, star, or shining sun,

Pour out o’reflowing glory:  oh!  my heart

 Aches seeing how my thoughts in snick-snarls run.

 But all this glory to my Lord’s a spot

 While I instead of any, am all blot.

 

Paraphrase: I am taken by many lesser glories, a work of art, beauty in nature (it should be noted there here is an example of nature being seen as beautiful by a man living on the edge of a dangerous wilderness — and before the Romantics), my heart is taken with the glory. My thoughts become overwhelmed with these lesser sights. But all such glory is nothing compared with God’s glory; while I am on who is marked by the utter absence of glory.

 

Snick-snarl: What a wonderful phrase. An essay entitled, ” The Lincolnshire Dialect in the Eighteenth Century” defines it as follows, “Snick Snarl, a, curling up (particularly burnt leather). [Wright defines as “a tangle in thread etc.”].” http://www.cantab.net/users/michael.behrend/repubs/lincs_dialect_18c/pages/main.html It’s one of the words that sound like its meaning.

 

Scansion:  The third and fourth line have a jerky movement which slows the reading and forces attention on the meaning: The first word “pour” has an uncertain weight. It could be read POUR out or Pour OUT.  The phrase “o’reflowing glory: oh!”, while regular o’reFLOWing GLORy, OH, has an interesting effect based upon the assonance the repetition of O, including OR, twice. It is impossible to say the phrase quickly. One must to even say the words. It is made more difficult to pronounce because the scansion is regular, “overflowing glory” would much easier and quicker.

Another interesting movement runs from line 3 to 4, “OH! my HEART/ACHES, the emphasis thus thrown on “aches”.

 

Biblical Allusion: While there is a generic allusion to the beauty of God and stain of sin on man [by the way, a study should be made of whether Taylor, who was a friend of Jonathan Edward’s father, communicated any of this doctrine of glory to Edwards — who was overwhelmed with God’s glory], there appears to be a specific allusion to Hebrews 1:

Hebrews 1:1–3 (AV)

1 God, who at sundry times and in divers manners spake in time past unto the fathers by the prophets, 2 Hath in these last days spoken unto us by his Son, whom he hath appointed heir of all things, by whom also he made the worlds; 3 Who being the brightness of his glory, and the express image of his person, and upholding all things by the word of his power, when he had by himself purged our sins, sat down on the right hand of the Majesty on high;

The Greek which underlies the English is

Hebrews 1:3 (SBLGNT)

3 ὃς ὢν ἀπαύγασμα τῆς δόξης καὶ χαρακτὴρ τῆς ὑποστάσεως αὐτοῦ, φέρων τε τὰ πάντα τῷ ῥήματι τῆς δυνάμεως, διʼ αὑτοῦ καθαρισμὸν τῶν ἁμαρτιῶν ποιησάμενος ἐκάθισεν ἐν δεξιᾷ τῆς μεγαλωσύνης ἐν ὑψηλοῖς,

Which has the idea of effulgence or radiance. If there is an “overflowing glory” and effulgence of glory in the creature, how much more glory in the Creator.

Edward Taylor’s Meditation 25, “Why Should My Bells” (stanza two)

01 Thursday Feb 2018

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Its true:  and I do all things backward run,

 Poor Pillard I have a sad tale to tell:

My soul stark naked, rolled all in mire, undone.

 Thy Bell may toll my passing peale to Hell.

 None in their winding sheet more naked stay

 Nor Dead than I. Hence oh!  the Judgment Day.

 

Paraphrase: It is true, I am completely backward, undone, almost unreal. And I have a sad tale to tell. I was completely without any righteousness of my own (naked, explained below) and on my way to Hell. There has never been a man more ruined, more deserving of judgment than me.

Background for the figure of naked and dead:

The primary reference is to Jesus words’ in Revelation 3:

Revelation 3:14–22 (ESV)

14 “And to the angel of the church in Laodicea write: ‘The words of the Amen, the faithful and true witness, the beginning of God’s creation.

15 “ ‘I know your works: you are neither cold nor hot. Would that you were either cold or hot! 16 So, because you are lukewarm, and neither hot nor cold, I will spit you out of my mouth. 17 For you say, I am rich, I have prospered, and I need nothing, not realizing that you are wretched, pitiable, poor, blind, and naked. 18 I counsel you to buy from me gold refined by fire, so that you may be rich, and white garments so that you may clothe yourself and the shame of your nakedness may not be seen, and salve to anoint your eyes, so that you may see. 19 Those whom I love, I reprove and discipline, so be zealous and repent. 20 Behold, I stand at the door and knock. If anyone hears my voice and opens the door, I will come in to him and eat with him, and he with me. 21 The one who conquers, I will grant him to sit with me on my throne, as I also conquered and sat down with my Father on his throne. 22 He who has an ear, let him hear what the Spirit says to the churches.’ ”

That image is further explicated later in Revelation:

Revelation 19:6–8 (ESV)

The Marriage Supper of the Lamb

6 Then I heard what seemed to be the voice of a great multitude, like the roar of many waters and like the sound of mighty peals of thunder, crying out,

                        “Hallelujah!

                        For the Lord our God

the Almighty reigns.

            7           Let us rejoice and exult

and give him the glory,

                        for the marriage of the Lamb has come,

and his Bride has made herself ready;

            8           it was granted her to clothe herself

with fine linen, bright and pure”—

for the fine linen is the righteous deeds of the saints.

The image of being “naked” is the picture of one guilty and without defense. Clothing is granted righteousness. This image appears elsewhere in the words of Jesus.  Jesus told a parable about coming to a wedding feast. A man has appeared in wedding but he is not properly dressed for the event and thus is thrown out:

Matthew 22:11–14 (ESV)

11 “But when the king came in to look at the guests, he saw there a man who had no wedding garment. 12 And he said to him, ‘Friend, how did you get in here without a wedding garment?’ And he was speechless. 13 Then the king said to the attendants, ‘Bind him hand and foot and cast him into the outer darkness. In that place there will be weeping and gnashing of teeth.’ 14 For many are called, but few are chosen.”

This parallels the language of Revelation 19 where the garments are given (or not as the case may be) to make on fitting to present at the eschatological joy.

In the story of the Prodigal Son, the wayward son, when he comes home is granted a robe and ring to make him fit for the celebration:

Luke 15:22–24 (ESV)

22 But the father said to his servants, ‘Bring quickly the best robe, and put it on him, and put a ring on his hand, and shoes on his feet. 23 And bring the fattened calf and kill it, and let us eat and celebrate. 24 For this my son was dead, and is alive again; he was lost, and is found.’ And they began to celebrate.

This usage combines both the picture of clothing the unworthy and the dead being naked (implied of the son, albeit figurative).

Thus, Taylor’s use of being naked (which will be matched in the fourth stanza by Christ providing robes to the naked poet) has deep roots in Christian thought. We are called to a feast, but can only attend if we are properly dressed. If we come without the necessary robes (the righteousness of Christ), we will be rejected. To come to this feast and to be clothed as to be as one who was dead but now is alive. To refuse to understand our need is to be still dead and naked.

 

The bell: the bell which was to chime  the praise of Christ here appears to be toll the death knell of the poet.

 

Pillard:  I cannot find a reference beyond the French which means looter or spoiled. Poor ruined one may be an appropriate gloss.

 

Scansion: One notable rhythm:  NONE in their winding sheet more naked stay. The heavy accent on the first syllable acts like a double underscore. That “none” sounds like a bell toll. As the funeral proceeds, the bell tolls out “NONE, NONE” — this is the chief of sinner.

Edward Taylor’s Meditation 25, “Why should my bells”

31 Wednesday Jan 2018

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Taylor’s mediation “25” begins as follows:

Why should my bells, which chime thy praise, when thou
My shew-bread, on thy table wast, my King,
Their clappers, or their cell-ropes want even now?
Or those that can thy changes sweetly ring?
What is a scar-fire broken out?  No, no.
The bells would backward ring if it was so.

This poem will speak to the poet’s inability to rightly praise God, he “cannot unscrew [open] love’s cabinet” (which holds his love and praise). It begins with this strange discussion of bells. (That image of bells will appear later as possibly tolling the poet’s death).

The first trick will be to understand the introductory question. It will help to understand the whole to break the subordinate clause:

Why should my bells, which chime thy praise, [when thou
My shew-bread, on thy table wast, my King,]
Their clappers, or their cell-ropes want even now?

Paraphrased: Why should these bells lack a clapper or rope when they should being playing in praise to you?

The rhythm is regular until the final turn of line three “even now”. That accent on the first syllable of “EVen” forces one to stop and underscores the point: At this moment — when I should be praising — I cannot.

The second line contains the image of “shewbread”:

Bread of the Presence. Loaves of bread placed on a special table in the sanctuary or Holy Place of the tabernacle and later in the temple. Two other terms in the OT are used to describe the “bread of the Presence,” which means bread that has been set before the Lord’s face (Ex 25:23, 30; 35:13; 39:36; 1 Kgs 7:48; 2 Chr 4:19). The term “showbread” (kjv shewbread) refers to the arrangement of the bread in rows on the table (1 Chr 9:32; 23:29; 28:16; 2 Chr 2:4; 13:11; 29:18). The term “continual bread” refers to its perpetual offering (Nm 4:7).

David W. Wead, “Bread of the Presence,” Baker Encyclopedia of the Bible (Grand Rapids, MI: Baker Book House, 1988), 379. By referring to the “shewbread” being on the Lord’s table, it is most likely that Taylor is referring to Lord’s Supper.

Thus, here at the moment where I am contemplating the great gift of God, I find that my praise lacks voice.

Robert Nares Glossary (1859) of idioms and phrases of Shakespeare and contemporaries explains “scar-fire” as “scar-fire or scarefire: an alarm of fire. The cry fire! fire!” It could also refer to the fire itself.

Example,

THE SCARE-FIRE.
by Robert Herrick

WATER, water I desire,
Here’s a house of flesh on fire ;
Ope the fountains and the springs,
And come all to bucketings :
What ye cannot quench pull down ;
Spoil a house to save a town :
Better ’tis that one should fall,
Than by one to hazard all.

Thus, the lines

 What is a scar-fire broken out?  No, no.
 The bells would backward ring if it was so.

Could mean there was a question as to whether a fire had broken out, or an alarm of fire. Either would support the meaning.

Why cannot the poet praise God? Is it because some fire had broken out and destroyed the bells? No, that would be impossible. The “backward” will be picked up in the next stanza.

Edward Taylor: Mine eyes, Lord, shed no tears but ink

04 Tuesday Jul 2017

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The poet begins with a seemingly impossible scene: a King of unsurpassed glory who blazes like the sun (whose crown a bunch of sunbeams was). Even his throne is made of life (sat on a cushion all of sunshine clear). The palace itself is a mass of precious stones.

Was there a palace of pure gold, all ston’d
And paved with pearls, who gates rich jasper were,
And throne a carbuncle, who 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.

Now, if there were such a place, he would desire the honor and fellowship of that king (I should prize such as in his favor shrine me would).

Such a King does exist: Christ the king. The poem is headed with the note that it is a meditation on Ephesians 2:18: “For through him we both have access by one Spirit unto the Father.”

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 stones; and to this king also.
Thus throned and crowned: whose words are ‘bellished all
With brighter beams than e’re the sun let fall.

This stanza continues on with the imagery from the throne room of heaven in Revelation 4 & 5 and the depiction of heaven in chapters 21-22. The Lord gives us access unto this throne. It is interesting in this poem that it is the “words” in particular which are embellished and brighter than the sun.

The words of Christ — whose is the Word of God — are what grants access to this throne. In John 6:48, Peter says that Christ has the words of eternal life. In John 15:3, Jesus says that the disciples are clean because of the word he has spoken. The topic is too big for this discussion, but it is present here.

The poet having recognized the wonder of what has been granted him, turns on himself: He does not prize this honor as he should:

But oh! poor me, thy sluggish servant, I
More blockish than a block, as blockhead, stand.
Though mine affections quick as lightning fly
On toys, they snail-like move to kiss thy hand.
My coal-black doth thy milk-white hand avoid
That would above the Milky Way me guide.

Here he notes the common complaint of all who being to realize the astounding grant of God in Christ: What could be more wonderful than access to God? But, the things which most easily excite my affections are bauble, “toys”. What stupidity to treasure toys when endless beauty and glory can be had for the reception?

His despair now turns to God: Why should this even be? What is the aim of God in letting such a fool access to such wonder?

What aim’st at, Lord? [What do you aim at] that I should be so cross.
My mind is leaden in thy golden shine.
Though all o’re Spirit when this dirty dross
Doth touch it with it smutting leaden lines.
What shall an eagle t’catch a fly thus run?
Or angel dive after a mote inth’sun?

My presence, my words, my hand can only make things dirty (smutting). An eagle wouldn’t chase down a fly. An angel wouldn’t chance dust — why this with me?

And thus, he turns the fire of his poem upon himself: I should be wracked with sorrow and tears at my evil. I can see this is true of me, and yet the tears are missing. I have this knowledge: but not the affections. I should attack myself for this foolishness – but I can’t.

He then hits the point of the poem: All I have for sorrow is this poem (Mine eyes, Lord, shed no tears but ink):

What folly’s this? I fain would take, I think,
Vengeance upon myself. But I confess
I can’t. Mine eyes, Lord, shed no tears but ink.
My hand works, are words, and wordiness.
Earth’s toys wear knots of my affection, nay,
though from thy glorious self they’re stole away.

His heart is set upon the tokens and marks of the world — which are just, at best stolen glory.

Here he poem makes a turn: repentance.

The genius — if you will — of Christianity is that it both shows human beings our poverty and foolishness — our depravity and then it leads us to desire to be free: but we are not freed by our personal effort, but by the gracious work of God.

Conviction is not guilt: Conviction is a sight of sin and movement toward God. The true heart of Christianity is this constant turning away and toward: it is believing the God will receive me:

Oh! that my heart was made thy golden box
Full of affections, and of love divine
Knit all of tassles, and in true-love knots
To garnish o’re this worthy work of thine.
This box and all therein more rich than gold,
In sacred flames, I to thee offer would.

The human heart should be a box to treasure up affections toward God. As Richard Sibbes writes in the Faithful Covenanter:

Examine what affections we have to God: for it is affection that makes a Christian.

Richard Sibbes, The Complete Works of Richard Sibbes, ed. Alexander Balloch Grosart, vol. 6 (Edinburgh; London; Dublin: James Nichol; James Nisbet and Co.; W. Robertson, 1863), 10.

With thy rich tissue my poor soul array
And lead me to thy Father’s house above.
Thy grace’s storehouse make my soul I pray.
Thy praise shall then wear tassels of my love.
If thou conduct me in thy Father’s ways
I’ll be the golden trumpet of thy praise.

Make a man who can praise you; transform me (lead me) and dress me in love for you and I’ll praise you. The desire to praise Christ — who is worthy of such praise is the hope of the Christian. This is not a servile praise but honest joy. We praise many lesser things — and our greatest moments of joy are in those moments we praise.

 

Edward Taylor, Would God I in that Golden City Were.3

15 Wednesday Mar 2017

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The previous post on this poem may be found here.

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I am to Christ more base than to a King
A mite, fly, worm, ant, serpent, devil is,
Or can be, being tumbled all in sin,
And shall I be his spouse? How good is this?
It is too good to be declared to thee
But not too good to be believed by me.

This stanza repeats the theme of the previous two stanzas: the wonder that God should love human beings; that Christ should join himself to such as us. There are two movements which must take place to fully appreciate what the poet does here: the first is to fully understand what he does in the poem itself. The second is to move past our natural prejudice in favor of ourselves.

The stanza breaks neatly into two; the break taking place in the middle of the fourth line (the 34th line of the poem). The first portion reads:

I am to Christ more base than to a King
A mite, fly, worm, ant, serpent, devil is,
Or can be, being tumbled all in sin,
And shall I be his spouse?

The them of this section is the sheer improbability that Christ should love the poet. There are three aspects of this: First, there is the comparison of Christ to a king and the poet to a loathsome creature. Second, the reference to “being tumble all in sin.” Third, that such a one should be brought into intimate relationship.

Technically, the second line is the key here: The first line sets up the comparison Christ equals a King. The second stays to ten syllables but then crams it full of stresses:
a MITE, FLY, WORM, ANT, SERpent, DEVil is. The lien can only be read very slowly and then tails off. The idea picks up in the third line OR can be, which comes along as an afterthought. Of these vermin, ants, worms, and serpents appeared in the previous stanza.

We miss the horror here if we don’t stop to realize what life is like without houses which are sealed against the weather, and screens, and traps, and poisons, and medicines and antidotes. Imagine being invested with mites or worms and being unable to rid your body of the beasts infecting you. Imagine ants and flies getting into and spoiling all of the food which you could have. Imagine fearing that a snake would strike unaware and kill. And most moderns could not imagine any sort of devil that did not exist only in horror movies and was capable of being driven off with a crucifix. When you read this line, you must have a sense of disgust, fear and an uncanny horror.

The purpose of this bestiary is to evoke the sensation which should be stirred by the real reason for wonder: sin. Why should God have anything to do with those in sin? We are supposed to real revulsion and then that explained by the word “sin”:

Psalm 5:4–6 (AV)
4 For thou art not a God that hath pleasure in wickedness: neither shall evil dwell with thee. 5 The foolish shall not stand in thy sight: thou hatest all workers of iniquity. 6 Thou shalt destroy them that speak leasing: the LORD will abhor the bloody and deceitful man.
We fail to understand what is happening here as long as we think of sin solely in terms of discrete actions. Yes, sin entails discrete acts of sin. But is also a status offense (as such things are called in the law). It is like being an illegal alien in a country: the status is an offense even without additional bad acts. The Mosaic covenant aims at this concept by the matter of being ritually clean or unclean. Many things which were morally neutral were unclean. Likewise inanimate objects could be “holy” because they were dedicated to God.

To be tumbled in sin is to be subsumed it: to be repulsive, unclean.

And yet, it is precisely such repulsive people who are brought into intimate union with Christ. The poet cannot understand it, but for all that, he will not reject it but believe it:

How good is this?
It is too good to be declared to thee
But not too good to be believed by me.

We see in this a hint at why “belief” is at the core of receipt of justification, right standing with God. To believe this gift is to receive it with joy and thankfulness. It is not a bare historical opinion that some event took place. It is a joyful reception of something marvelous being offered.