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Edward Taylor, Meditation 33, Stanza Three

06 Thursday May 2021

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Stanza Three

Nature’s amazed, Oh monstrous thing, quoth she,

Not love my life? What violence doth split

True love and life, that they should sundered be?                  15

She doth not lay such eggs, nor on them sit.

How do I sever then my heart with all

It powers whose love scare to my life doth crawl.

Summary:

“Nature” now makes an appearance. “She” is amazed when she looks upon the unnatural love of Taylor of that which is not his life. This leads the poet to a question: How do I stop my heart from loving that which is not his life?

Notes:

Nature’s amazed: this is an interesting personification of nature. The concept of “nature” or “natural” has a few potential meanings, which need to be distinguished here. 

First is “nature” in the sense of being or essence: it is a kind of nature you are: “Since Christ, being a divine Person, did not suffer according to His divine nature but according to His human nature, exaltation as such did not occur according to His divine nature.” Wilhelmus à Brakel, The Christian’s Reasonable Service, ed. Joel R. Beeke, trans. Bartel Elshout, vol. 1 (Grand Rapids, MI: Reformation Heritage Books, 1992), 625.

Second, there is nature as opposed to grace: to be “natural” is what one is aside from the work of  the Spirit. “By spiritual Edwards means “sanctified” in opposition to “carnal,” which signifies the natural or unsanctified man.” John E. Smith, “Editor’s Introduction,” in 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), 24.

Third, there is a common grace operation of the Spirit generally, which makes certain considerations “natural” to everyone, “The nature of the work of the Spirit may be learnt from the nature of his work in legal conviction. ’Tis the same common enlightening assistance of both, but only one is of evil, and the other of good. Those legal convictions that natural men have are from the common illuminations of the Spirit of God concerning evil.” Jonathan Edwards, The “Miscellanies”: (Entry Nos. 501–832), ed. Ava Chamberlain and Harry S. Stout, vol. 18, The Works of Jonathan Edwards (New Haven; London: Yale University Press, 2000), 357–358. 

But a personified “Nature” is certainly not a common idiom among those of Taylor’s intellectual world. This “nature” is no human being, but rather fulfills the position of say an angel who can look upon and see Taylor, but is not himself God nor another human being. 

But such an understanding immediately runs into a problem in the next line:

Nature’s amazed, Oh monstrous thing, quoth she,

Not love my life?

The “my” of “my life” means that Nature is the one conveying the life to Taylor. But that life is also in God and of God. I can understand what Taylor means by this usage, but this is not Taylor’s most theologically careful usage. 

Perhaps a way to keep this line is as if “Nature” refers to the natural life which Taylor being alive. It would then be his own life speaking to him: Why don’t you cherish your own life? But that is problematic with this line:

She doth not lay such eggs, nor on them sit.

And so we are left with a vaguely personified Nature speaking to him.

Love and life:

The incoherence of sin is here laid out: He loves something which is contrary to his life. Rationally, one’s love should be to one’s own life. As Paul writes, “For no one ever hated his own flesh.” Eph. 5:29 But in sin one loves something not only trivial but also contrary to one’s own good. 

This then justifies the use of “Nature” in the sense of: to love something contrary to one’s own life is certainly “unnatural”.

Finally, the quandary:

How do I sever then my heart with all

It powers whose love scare to my life doth crawl.

This is a Kierkegaardian despair: What do I do? How can I stop this of love of what is not my life? I have a heart which refuses to even seek its own good: It will not even crawl toward life. 

Someone whose body was ravaged would drag and crawl out of a wreck, but his heart will not even make an effort toward it’s own life: Hence, it is unnatural.

Edward Taylor, Meditation 33 Stanza Two

04 Tuesday May 2021

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Stanza Two

Oh! What strange charm encrampt my heart with spite

Making my love gleam upon a toy?

Lay out cartloads of love upon a mite?

Scarce lay a mite of love on thee, my Joy?                             10

Oh, lovely thou, shalt not thou loved be?

Shall I a-shame thee thus? Oh! Shame for me!

Summary: 

The argument of the poem begins to come more in focus here:  The poet demands of himself, why do I so love this thing so unworthy of love, a “toy”.

Notes:

The concept of “toy” here emphasizes unimportance or triviality far more than a plaything which might be precious to a child. For instance, Shakespeare, has Macbeth upon “hearing” that the king has been murdered, say with multiple levels of irony:

Had I but died an hour before this chance,
I had lived a blessed time; for, from this instant,
There ‘s nothing serious in mortality:
All is but toys: renown and grace is dead;
The wine of life is drawn, and the mere lees
Is left this vault to brag of.

That is, “life is meaningless” it is but a toy.

His love “gleams” upon the toy. His love produces a light which makes the toy visible. It is a striking image of love enlightening an object. Coupled with “strange charm” in the first stanza, we have an image of some sort of witchcraft:

Oh! What strange charm encrampt my heart with spite

Making my love gleam upon a toy?

Although not a direct allusion, there seems to be something in the background here of Paul to the Galatians, “Who hath bewitched you, that ye should not obey the truth” (Gal. 3:1) Something so inexplicable must be the result of a spell. Remember, that while our public culture has either a bemused or a sort of positive view of such things, Taylor would have found the idea horrifying and wicked. 

Encrampt: His heart is brought under the control of something foreign (the spell) and thus does not function rightly. His heart is unnaturally constrained.

This brings us to the “spite” lying at the source of this spell which constrains his heart to fix its attention upon a pointless object. 

[Midsummer night's dream, IV, 1, Titania adorns Bottom with flowers] [graphic] / [Alexandre Bida ...

Another image from Shakespeare helps, where the Tatiana Queen of the Fairies falls in love the imbecile Bottom whose human head has been replaced with a donkey head. She has fallen in love by means of a spell meant to humble her.

This brings us to the incredulous irony: 

Lay out cartloads of love upon a mite?

Scarce lay a mite of love on thee, my Joy?     

We have here a biblical allusion: Cartloads of treasure were brought to Moses by the leaders of each tribe at the setting up of the tabernacle. A mite reminds us of the widow who could only give a mite. It was an insignificant offering. And so a treasure of love is being loaded upon something meaningless, which his “joy” is being neglected.

The joy is identified in the first line of the poem as “My Lord, my life.” He has fallen profoundly in love with something which is utterly valueless and has in the same moment neglected his Lord and life. The only explanation can be some hideous spell.

We then end with the couplet providing a judgment upon the situation: 

Oh, lovely thou, shalt not thou loved be?

Shall I a-shame thee thus? Oh! Shame for me!

He is shaming the true object of his love by withholding honor to whom honor is due and showering that upon a trifle. It is a shame, because the it is a deliberate dishonor. But in the end, it is the poet who is in shame by loving something so valueless.

Prosody:

Oh! What strange charm encrampt my heart with spite

Making my love gleam upon a toy?

Lay out cartloads of love upon a mite?

Scarce lay a mite of love on thee, my Joy?                             10

Oh, lovely thou, shalt not thou loved be?

Shall I a-shame thee thus? Oh! Shame for me!

An interesting aspect of this stanza is the accent of the first syllable of every line (except the last). Also note the trochees as well as the repeated L alliteration: love/lay

OH what STRANGE CHARM

MAKING my LOVE GLEAM

LAY out CARTloads of LOVE

SCARCE LAY a MITE of LOVE

OH LOVELY thou, shalt not THOU LOVed BE?

There is the fine wordplay in the last line on a-shame/shame which works with the internal rhyme on “thee/me”.

Edward Taylor, Meditation 33

16 Friday Apr 2021

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Meditation 33

My Lord, my life, can envy ever be

A golden virtue? Then would God I were 

Top full thereof until it colors me

With yellow streaks for thy dear sake, most dear

Till I be envious made by’t at myself,                                         5

As scarely loving thee, my life, my health.

Oh! What strange charm encrampt my heart with spite

Making my love gleam upon a toy?

Lay out cartloads of love upon a mite?

Scarce lay a mite of love on thee, my Joy?                                 10

Oh, lovely thou, shalt not thou loved be?

Shall I ashame thee thus? Oh! Shame for me!

Nature’s amazed, Oh monstrous thing, quoth she,

Not love my life? What violence doth split

True love and life, that they should sundered be?                   15

She doth not lay such eggs, nor on them sit.

How do I sever then my heart with all

It powers whose love scare to my life doth crawl.

Goly lined out a paradise in power

Where e’ery seed a royal coach became                                      20

For Life to ride in, to each shining flower.

And made man’s flower with glory all ore flame.

Hell’s ink-faced elf black venom spt upon

The same and killed it. So that life is gone. 

Life thus abused fled to the golden ark,                                    25

Lay locked up there in mercy’s seat enclosed.

Which did incorporate it whence its sparke

Enlivens all things in this ark enclosed. 

Oh, glorious ark! Life’s store-house full of glee!

Shall not my love safe locked up lie in thee?                            30

Lord ark my soule safe in thyself, whereby

I and my life again may joined be.

That I may find what once I did destroy

Again conferred upon my soul in thee.

Thou art this golden ark, this. Living tree                                35

Where life lies treasured up for all in thee.

Oh! Graft me in this tree of life within

The paradise of God, that I may live.

Thy life make live in me. I’ll then begin 

To bear thy living fruits, and them fort give.                                                   40

Give me my life this way; and I’ll bestow

My love on thee, my life, and it shall grow.

Stanza One:

My Lord, my life, can envy ever be

A golden virtue? Then would God I were 

Top full thereof until it colors me

With yellow streaks for thy dear sake, most dear

Till I be envious made by’t at myself,                                         5

As scarely loving thee, my life, my health.

Summary:

This poem beings with an address to God, whom the poet calls, “My Lord, my life”. That theme of life will run through-out the poem. The theme of “envy” will be used ironically, as noted by calling envy – a sin – a “golden virtue”.  He is expressing a desire that he be filled with envy at himself because he “scarcely” love God who is his life.

At this point in the poem, the exact nature of the envy is difficult to ascertain. What do have is a jarring introduction where he wishes (would God I were) to filled with envy against himself.

Notes:

One striking question is the use of the word “yellow” for envy:

The explanation for the use of ‘yellow’ is given thus:

There is a disease in the body, called the yellow jaundice,† which makes the persons look yellow all over: this springs from the overflowing of the gall, which, overspreading the whole man, makes it lifeless, listless. Covetousness is the yellow jaundice of the soul, which arises from the overflowing of the heart with love to yellow gold, by which a Christian is dulled and deadened.

James Nichols, “How May We Get Rid of Spiritual Sloth”, Rev. Mr. Simmons, Puritan Sermons, vol. 1 (Wheaton, IL: Richard Owen Roberts, Publishers, 1981), 440. Envy being a form of covetousness. 

We are more familiar with envy being “green” from Shakespeare:

Iago:


O, beware, my lord, of jealousy;
It is the green-eyed monster which doth mock
The meat it feeds on; that cuckold lives in bliss
Who, certain of his fate, loves not his wronger;
But, O, what damned minutes tells he o’er
Who dotes, yet doubts, suspects, yet strongly loves!

The concept of envy:

The basic concept is one desiring something. 

“Not to envy the prosperity of the wicked.” John Lightfoot, The Whole Works of the Rev. John Lightfoot, ed. John Rogers Pitman, vol. 7 (London: J. F. Dove, 1822), 349. It arises from discontentment, “thy discontentedness usually breeds envy at it.” Jeremiah Burroughs, “Sermon IX,” in The Rare Jewel of Christian Contentment (London: W. Bentley, 1651), 112. It also has the sense of being unhappy at the happiness of another, “Pride is impatient of reproof, and envy looketh with an evil eye upon their privileges and advantages in Christ.” Thomas Manton, The Complete Works of Thomas Manton, vol. 10 (London: James Nisbet & Co., 1872), 377.

Envy springing from discontentment then creates discontentment in the one on experiencing envy:

Envie is a squint-eyed foole, Job 5:2. Envie slayeth the silly one. James 3:14. If ye have bitter envying and strife in your hearts. Envie is a bitter thing, and causes strife, and makes that bitter too: So ver. 16. Where envying and strife is. Gal. 5:20. Hatred, variance, emulations, wrath, strife, seditions, heresies, envyings. 1 Cor. 3:3. There is among you envying, strife, divisions. Envy made divisions between Angels and men; it was the first sinne, not the first borne of the Devill, but that which turned Angels into Devils. The first heart-division amongst men was between Cain and Abel, and what caused it but envy? Who can stand before Envy? she is subtill, undermining, dares not appeare at the first; but if she cannot be satisfied with her under-workes, then she flings, rends, frets, and fights, uses violence, seeks to raise a contrary faction, falls on any thing in the world so be it mischief may be done

Jeremiah Burroughs, Irenicum, To the Lovers of Truth and Peace (London: Robert Dawlman, 1646), 123.

This then gives us a hint at the ironic use of envy by Taylor. He seeks to stir up a discontentment in himself to not settle for the “toy” (Stanza Two) but seek the better.

Theodore Gericault,

Portrait of a Woman Suffering from Obsessive Envy (1822)

The quality of the desire:

Consider this language of his prayer:

Then would God I were 

Top full thereof until it colors me

With yellow streaks

His desire is that he becoming completely colored by this desire to the point that it is physically manifested: you would look at him and see this desire in him.

The ground of this desire:

until it colors me

With yellow streaks for thy dear sake, most dear

The prayed for envy is grounded in the Lord who is his life. The prayer itself, for the poem is a prayer, is directly addressed to “My Lord, my life”. And it is for the sake of the Lord that he wishes to be branded with this envy.

The paradoxical object of the desire:

Till I be envious made by’t at myself,                                         5

As scarely loving thee, my life, my health.

He seeks to be envious at himself. This presents a puzzle: How can one be envious of oneself?

The rational for the desire:

Because the poet “scarcely” love the Lord, who is his life, his health.

The quandary:

At this point we have a quandary: What does it mean that he wishes to be envious “at” himself because he does not rightly love God?

Prosody:

The stanzas are ten syllable iambic pentameter, with an ABABCC rhyme scheme. This form is known as the Italian sestet, or the sextilla.

The rhythm is regular through out. However, the phrase “by’t at” cannot satisfy the iamb well because the “by’t” must be unaccented from place: which is very difficult to perform in reading. 

The interesting musical effect in this stanza is on the word “my”. The first two phrases are “my Lord, my life”, the last two, “my life, my health.” This also forms an inclusion. 

Edward Taylor, Meditation 32, Seventh Stanza

06 Tuesday Apr 2021

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Seventh Stanza

Thou to the cups dost say (that catch this wine)

This liquor, golden pipes, and wine-vats plain,

Whether Paul, Apollos, Cephas, all are thine.

Oh golden word! Lord speak it o’re again

Lord speak it home to me, say these are mine.

My bells shall then thy praises bravely chime.

Summary: The poem ends with the words of God to the poet: This grace you have received and more – “all [these things] are thine”. This final stanza breaks the form of the previous stanzas in that the prayer is found in the fourth & fifth lines, rather than the final couplet: Here he prays that God will repeat the promise, “all are thine.” It then ends with a final promise of future praise.

Notes:

The image here is of one who bestows the feast: God speaks to the cups which hold this grace and he bids them continually be filled with grace. 

Indeed, the entire stanza is about speaking: And since it is God is speaking the words are efficacious (And God let there be light, etc.)

Thou to the cups dost SAY (that catch this wine)

This liquor, golden pipes, and wine-vats plain,

“Whether Paul, Apollos, Cephas, all are thine.”

Oh golden WORD! Lord SPEAK it o’re again

Lord SPEAK it home to me, SAY these are mine.

My bells shall then thy praises bravely CHIME.

This stanza is a plea for God to speak directly to Taylor, “Say, these are mine.”

But there is an interesting shift in the address of the first three lines of the stanza. Poet speaks to and of God speaking

You, God, say to the cups, “All [these things] are thine.” The cups are not something separate from the poet, he does not take up a cup: he is the cup. God blesses the cup – who is the poet – and says to him: All these things are yours.

So far, the emphasis in the poem has been on grace of salvation. But here the scope and breadth of that salvation is made plain: It is not a bare escape from hell but rather a great promise.

Now, there is something interesting in the section of the promise which Taylor selects, the three names Paul, Apollos, Cephas (Peter). In the passage selected, Paul has been speaking to the Corinthians concerning their fighting one-another under the banner of this or that preacher: Some say they follow Paul, some Apollos, I follow Peter. Paul explains that God does all the work and the ministers are merely those who serve God in his work. Immediately after the passage quoted by Taylor, Paul will go onto state that ministers are “stewards of the mysteries of God.” They are those delivering someone else’s property. 

Thomas Watson, an English Puritan and near contemporary of Taylor, gave this sense of the clause quoted by Taylor:  “Under these words, ‘Paul and Apollos,’ by a figure are comprehended all the ministers of Christ, the weakest as well as the eminentest. ‘Paul and Apollos are yours,’ viz. their labours are for edifying the church. They are the helpers of your faith; the parts of a minister are not given for himself, they are the church’s.” Thomas Watson, The Christian’s Charter of Privileges.

Taylor hiself was a minister. And while I have no idea of how he felt or thought upon the day this poem was drafted (beyond the poem itself), I could see some peculiar encouragement to a pastor in these words. God has redeemed Taylor – God has also given Taylor all things. He has given Taylor the work of other Christian ministers.

But God has also given Taylor for others in this particular capacity. 

And Taylor states that having received this grace from God, he will turn around praise this grace of God, As he hears these words over again, he will in turn chime the praise of God to others. Thus, in a manner, Taylor is taken up into the promise of Paul’s letter. 

This meditation being a preparation for the service which Taylor would lead for his congregation, this promise of “all things are thine” and the promise that he will praise God works out in the fact of Taylor’s ministry.

Moreover, the poem itself answers to this promise to praise God. By writing the poem, Taylor is in fact praising God.

Musical

The accents are interesting: I have marked the irregular lines:

THOU to the CUPS dost SAY (that CATCH this WINE)

This liquor, golden pipes, and wine-vats plain,

WHEther Paul, Apollos, Cephas, all are thine.

OH GOLDen WORD! LORD SPEAK it O’RE aGAIN

LORD SPEAK it HOME to ME,  SAY THESE are MINE.

My bells shall then thy praises bravely chime.

The accents help to direct the attention of the speech. The first line of the stanza accents “Thou”: it gets attention and functions like a greeting. The fourth and fifth lines of the stanza are over-accented. Each word must be said separately and slowly which creates substantial emphasis. This makes sense, because they two lines are the petition of the prayer. The last line is part of the prayer, but it is a promise of future praise, not a request from God. 

The repetition of the phrase, “Lord speak” coupled with the strongly emphasized syllables creates an impassioned plea: Lord, say these words, give me assurance this is true: I know it is so, I just want to hear it again. This is the sort of intensity of the lover saying, “Say you love me again.” Or the pardoned criminal, “Say it again, I can hardly believe I have been freed.”

Edward Taylor, Meditation 32, Fifth Stanza

24 Wednesday Mar 2021

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Fifth Stanza

Oh! Grace, Grace! This wealthy grace doth lay

Her golden channels from thy Father’s throne,

Into our earthen pitchers to convey

Heaven’s Aqua Vitae to us for our own,

O! Let thy golden gutters run into 

My cup this liquor till it overflow.

Summary: This is a pray of praise and request. The quatrain is a pray of praise for the grace received: The water of life which flows from the Father’s throne. The couplet is a prayer of request that this grace continually flow until it overflows.

Notes:

The predominate praise in the quatrain is an element which is struck in Puritan writing, but is often missing and even obscured in broadly Christian works. The doctrine he proclaims is this: The love of the lost is in the Father before it is procured by Christ. The Father does not come to love the lost because Christ has died. The belief is that the Father is angry and the Son somehow pacifies the Father. While the death of Christ does propitiate the wrath of God; there is love which lies behind it all. 

Yes God has anger at sin. That is not in dispute. But, the Father loves the lost who are sinning against God. The Father is the fountain of love which is displayed by the Son. This love is unmeasurable toward the rebellious creatures. It is not only that the Son gives himself on our behalf. It is also that the Father gives the Son.

The great Puritan divine John Owen expresses it thus:

I come now to declare what it is wherein peculiarly and eminently the saints have communion with the Father; and this is LOVE,—free, undeserved, and eternal love. This the Father peculiarly fixes upon the saints; this they are immediately to eye in him, to receive of him, and to make such returns thereof as he is delighted withal. This is the great discovery of the gospel: for whereas the Father, as the fountain of the Deity, is not known any other way but as full of wrath, anger, and indignation against sin, nor can the sons of men have any other thoughts of him (Rom. 1:18; Isa. 33:13, 14; Hab. 1:13; Ps. 5:4–6; Eph. 2:3),—here he is now revealed peculiarly as love, as full of it unto us; the manifestation whereof is the peculiar work of the gospel, Tit. 3:4.

1. 1 John 4:8, “God is love.” That the name of God is here taken personally,1 and for the person of the Father, not essentially, is evident from verse 9, where he is distinguished from his only begotten Son whom he sends into the world. Now, saith he, “The Father is love.” that is, not only of an infinitely gracious, tender, compassionate, and loving nature, according as he hath proclaimed himself, Exod. 34:6, 7, but also one that eminently and peculiarly dispenseth himself unto us in free love.” So the apostle sets it forth in the following verses: “This is love.” verse 9;—“This is that which I would have you take notice of in him, that he makes out love unto you, in ‘sending his only begotten Son into the world, that we might live through him’ ” So also, verse 10, “He loved us, and sent his Son to be the propitiation for our sins.” And that this is peculiarly to be eyed in him, the Holy Ghost plainly declares, in making it antecedent to the sending of Christ, and all mercies and benefits whatever by him received. This love, I say, in itself, is antecedent to the purchase of Christ, although the whole fruit thereof be made out alone thereby, Eph. 1:4–6.

John Owen, The Works of John Owen, ed. William H. Goold, vol. 2 (Edinburgh: T&T Clark, n.d.), 19–20. Owen can be difficult at times in his learning and profusion. But the concept which Owen works out in detail, Taylor here displays in the picture of love flowing through golden channels from his throne to us.

That we are called “earthen pitchers” is taken directly from Paul, 

2 Corinthians 4:5–7 (AV)

5 For we preach not ourselves, but Christ Jesus the Lord; and ourselves your servants for Jesus’ sake. 6 For God, who commanded the light to shine out of darkness, hath shined in our hearts, to give the light of the knowledge of the glory of God in the face of Jesus Christ. 7 But we have this treasure in earthen vessels, that the excellency of the power may be of God, and not of us.

The glory of God is poured into and is displayed in earthen vessels. The idea here is that God has poured his glory into human beings who are made of the earth and are vessels or pitchers which hold this heavenly beauty. The glory redounds to God, because the clay pitchers are commonplace and certainly not glorious.

Aqua Vitae means water of life and comes from John’s Gospel. The image is used twice by Jesus. First, it is used in his conservation with the Samaritan woman at the well: 

John 4:10–15 (AV)

10 Jesus answered and said unto her, If thou knewest the gift of God, and who it is that saith to thee, Give me to drink; thou wouldest have asked of him, and he would have given thee living water. 11 The woman saith unto him, Sir, thou hast nothing to draw with, and the well is deep: from whence then hast thou that living water? 12  Art thou greater than our father Jacob, which gave us the well, and drank thereof himself, and his children, and his cattle? 13 Jesus answered and said unto her, Whosoever drinketh of this water shall thirst again: 14 But whosoever drinketh of the water that I shall give him shall never thirst; but the water that I shall give him shall be in him a well of water springing up into everlasting life. 15 The woman saith unto him, Sir, give me this water, that I thirst not, neither come hither to draw.

And later at the Temple:

John 7:37–39 (AV) 

37 In the last day, that great day of the feast, Jesus stood and cried, saying, If any man thirst, let him come unto me, and drink. 38 He that believeth on me, as the scripture hath said, out of his belly shall flow rivers of living water. 39 (But this spake he of the Spirit, which they that believe on him should receive: for the Holy Ghost was not yet given; because that Jesus was not yet glorified.)

The couplet turns the praise into a prayer of request: He asks that this grace be poured into him until it overflows.

Here Taylor displays (again) great theological precision. In John 7, as quoted, Jesus uses the image of the overflowing water of life as an image for the Holy Spirit.  (Note this is a profoundly Trinitarian passage: The love of the Father in the Son is conveyed to the poet by the Spirit – which is also the manner in which this was explained by Calvin, of whom the Puritans were quite familiar). 

The idea of being overfilled with the liquor of the Spirit is explained by Paul in Ephesians

Ephesians 5:18–20 (AV)

18 And be not drunk with wine, wherein is excess; but be filled with the Spirit; 19 Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord; 20 Giving thanks always for all things unto God and the Father in the name of our Lord Jesus Christ; 

The congruence of Taylor and his sources is seen in the fact that he not merely alludes to Ephesians 5 in the couplet but he also performs the work called upon by Ephesians 5: beign filled with praise.

Musical:

The great note here is on the word “grace” and the alliterative “G”

Oh! Grace, Grace! This wealthy grace doth lay

Her golden channels from thy Father’s throne,

Into our earthen pitchers to convey

Heaven’s Aqua Vitae to us for our own,

O! Let thy golden gutters run into 

My cup this liquor till it overflow.

Edward Taylor, Meditation 32, Stanza 4

18 Thursday Mar 2021

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Fourth Stanza

Then Grace, my Lord, wrought in thy heart a vent

Thy soft soft hand to this hard work did go  (20)

And to the milk white Throne of Justice went 

And entered bond that Grace might overflow

Hence did thy Person to my nature tie

And bleed through human veins to satisfy.

Summary: This stanza turns to the means by which the grace of God was actually conveyed. The paradox and wonder of the Christian Gospel is laid out. The grace of God was provided with his own blood (as Paul puts in Acts 20:28, “the church of God which he obtained with his own blood”). In line 19, the blood comes from a vent in the heart of God. In line 24, that blood was shed through “human veins”. And in a further paradox, this pardon and mercy were obtained from the “Throne of Justice.”

Notes: 

First, note the agent of this work:

Then Grace, my Lord, wrought in thy heart a vent

Thy soft soft hand to this hard work did go  

In line 19, the agent is “grace” – as if it were an actor. In line 20, it is God’s own “hand” (his own agency). Placing “grace” as the primary motivation for this action is foregrounded in Ephesians: 

Ephesians 1:2–10 (AV) 

2 Grace be to you, and peace, from God our Father, and from the Lord Jesus Christ. 

3 Blessed be the God and Father of our Lord Jesus Christ, who hath blessed us with all spiritual blessings in heavenlyplaces in Christ: 4 According as he hath chosen us in him before the foundation of the world, that we should be holy and without blame before him in love:

5 Having predestinated us unto the adoption of children by Jesus Christ to himself, according to the good pleasure of his will, 6 To the praise of the glory of his grace, wherein he hath made us accepted in the beloved. 

7 In whom we have redemption through his blood, the forgiveness of sins, according to the riches of his grace; 8 Wherein he hath abounded toward us in all wisdom and prudence; 

9 Having made known unto us the mystery of his will, according to his good pleasure which he hath purposed in himself: 10 That in the dispensation of the fulness of times he might gather together in one all things in Christ, both which are in heaven, and which are on earth; even in him:

And:

Ephesians 2:1–8 (AV) 

1 And you hath he quickened, who were dead in trespasses and sins; 2 Wherein in time past ye walked according to the course of this world, according to the prince of the power of the air, the spirit that now worketh in the children of disobedience: 3 Among whom also we all had our conversation in times past in the lusts of our flesh, fulfilling the desires of the flesh and of the mind; and were by nature the children of wrath, even as others. 

4 But God, who is rich in mercy, for his great love wherewith he loved us, 5 Even when we were dead in sins, hath quickened us together with Christ, (by grace ye are saved;) 6 And hath raised us up together, and made us sit together in heavenly places in Christ Jesus: 7 That in the ages to come he might shew the exceeding riches of his grace in hiskindness toward us through Christ Jesus. 8 For by grace are ye saved through faith; and that not of yourselves: it is the gift of God: 

Note also the same movement of thought in Ephesians 2 as in Taylor’s poem: I am in rebellion (“Children of disobedience”), but God has shown me grace in Jesus Christ. 

This hard work: Is the death of Christ. The love of God, the grace of God is the motivation; God himself is the actor:

John 10:17–18 (AV)

17 Therefore doth my Father love me, because I lay down my life, that I might take it again. 18 No man taketh it from me, but I lay it down of myself. I have power to lay it down, and I have power to take it again. This commandment have I received of my Father.

This work of mercy is done at the Throne of Justice: God’s mercy is not contrary to God’s justice: In forgiving the rebel, God establishes justice. The penalty of sin is fulfilled by Christ.

This then brings us to the couplet:

Hence did thy Person to my nature tie

And bleed through human veins to satisfy.

Two things are present here: Again we come to a paradox of the Incarnation. God fulfills the demands of the Law which were imposed upon human beings by becoming a human being: Thus, the penalty of death was paid by a human being  on behalf of human beings.

And in so doing, the Son “tied” himself to human nature in the person of Jesus (which is of two natures and one person). 

Justice bleeds mercy. God bleeds as a man. Grace is shown to the rebellious. The innocent gives life for the guilty. God is the agent of fulfilling justice and mercy at the same moment. 

Yahweh Elohim in the Old Testament, though just, holy, zealous for his honor, and full of ire against sin, is also gracious, merciful, eager to forgive, and abounding in steadfast love (Exod. 20:5–6; 34:6–7; Deut. 4:31; Ps. 86:15; etc.). In the New Testament God, the Father of our Lord Jesus Christ, is the God of all grace and mercy (Luke 6:36; 2 Cor. 1:3; 1 Peter 5:10). There is no antithesis between the Father and Christ. As full of love, merciful, and ready to forgive as Christ is, so is the Father. It is his words that Christ speaks, his works he does. The Father is himself the Savior (σωτηρ; Luke 1:47; 1 Tim. 1:1; Titus 3:4–5), the One who in Christ reconciles the world to himself, not counting its trespasses against it (2 Cor. 5:18–19). Christ, therefore, did not first by his work move the Father to love and grace, for the love of the Father is antecedent and comes to manifestation in Christ, who is himself a gift of God’s love (John 3:16; Rom. 5:8; 8:32; 1 John 4:9–10).

Herman Bavinck, John Bolt, and John Vriend, Reformed Dogmatics: Sin and Salvation in Christ, vol. 3 (Grand Rapids, MI: Baker Academic, 2006), 368.

Musical:

There are two lines which deserve special consideration. First, 

Thy soft soft hand to this hard work did go  

First, the repetition of “soft” slows down the line and creates a contrast with “hard”. The accented words are soft soft hand … hard work … go. We have an extra accent in this line. The emphatic ‘soft’ thus helps to underscore the paradox: 

Next note the  hand … hard work. Hand and hard come on opposite sides of the line pause, which is an element of Anglo-Saxon alliterative poetry: it holds the halfs of the line closely together. Next the “r” of “hard”  is picked up in work. 

The opening of the couplet begins with an accented “Hence.” This draws the conclusion from the proceeding passage. The conclusion is not a logical deduction but rather the working out of this work of grace: To fulfill justice, extend mercy, rescue me, My Lord tied his nature to mine.

Edward Taylor, Meditation 32, Third Stanza

15 Monday Mar 2021

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Third Stanza 

Eternal love an object mean did smite

Which by the Prince of Darkness was beguiled,

That from this love it ran and swelled with spite. (15)

And in the way of filth was all defiled

Yet must be reconciled, cleansed and begraced

Or from the fruits of God’s first love displaced.

Summary: Eternal love rescued the poet. The poet was unworthy of such love. This rescue and reconciliation were necessary or the poet would have been lost. 

Notes:

Here he continues with the striking metaphor of the violent overthrow brought about by God’s love.  In the first stanza, he spoke of God’s grace being a torment to him as he sought to find words to express this wonder. 

In this stanza he uses a similar metaphor: Eternal love, which is another way to refer to God’s grace, actually strikes him violently as in a war. He could only be stopped by a violent act of God overthrowing his rebellion.

In this way, there is a relationship between this poem and Donne’s sonnet, Batter my heart

Batter my heart, three-person’d God, for you 

As yet but knock, breathe, shine, and seek to mend; 

That I may rise and stand, o’erthrow me, and bend 

Your force to break, blow, burn, and make me new. 

I, like an usurp’d town to another due, 

Labor to admit you, but oh, to no end; 

Reason, your viceroy in me, me should defend, 

But is captiv’d, and proves weak or untrue. 

Yet dearly I love you, and would be lov’d fain, 

But am betroth’d unto your enemy; 

Divorce me, untie or break that knot again, 

Take me to you, imprison me, for I, 

Except you enthrall me, never shall be free, 

Nor ever chaste, except you ravish me.

The work of God’s love is violent from the perspective of the poet in his state of rebellion. God to redeem the poet and show him love, had to first overcome the utter refusal to be reconcile to God. Note the elements of the poet’s pre-conversion status:

Which by the Prince of Darkness was beguiled,

That from this love it ran and swelled with spite

And in the way of filth was all defiled

The poet had been taken over to the enemies camp: he had been seduced, beguiled by the Prince of Darkness. (For this name for the devil, consider Luther’s hymn, A Mighty Fortress, “The Prince of Darkness grim, we tremble not for him.”

The poet did not merely refuse God’s love but actively rejects such love to the point of running away from God. And, he did not merely run away, but he actively hated God. He describes himself as having “swelled with spite.” This is an interesting phrase because it plays off the idiom “swell with pride.”  To swell with pride was a phrase used by other writers, for instance, “See the difference between an heart that is swelled with pride, and that which is ballasted with humility>”

Thomas Watson, The Select Works of the Rev. Thomas Watson, Comprising His Celebrated Body of Divinity, in a Series of Lectures on the Shorter Catechism, and Various Sermons and Treatises (New York: Robert Carter & Brothers, 1855), 510.

But this phrase, “swell with spite” is exceptionally rare. Even an internet search came back with only one use of the phrase. I found nothing in the published books catalogued by Google, and nothing in the writings of the contemporary Puritans. 

The poet describes himself as being stuffed with spite for God. 

And so he was a member of the opposing forces. He sought to evade God at all costs and he hated God. Finally, he was morally corrupt:

And in the way of filth was all defiled

Here again he plays upon a common idiom, “Way of life.”  Here is an apropos example of the common idiom: “Who would lose that which is certain and present, for the hope or fear of that which is to come and doubtful, when they suspect or believe it not fully? No wonder they go on still in the paths that lead down to the chambers of death, and are prejudiced against the ways of life. But why are men such infidels as to future things?” Thomas Manton, The Complete Works of Thomas Manton, vol. 2 (London: James Nisbet & Co., 1871), 367.

But rather than being in the “way of life,” the poet was in the way of filth. 

Think again about the picture painted here: A man seething with hatred is running away from a fearsome enemy. In his struggle to escape his enemy, he is plunged into an open sewer, wading through the refuse and vermin, defiled – disgusting. And then his enemy overtakes and smites him in the midst of rebellion and escape. 

But what is the nature of this attack, “Eternal love.” 

Now consider the necessity mentioned in these lines:

Yet must be reconciled, cleansed and begraced

Or from the fruits of God’s first love displaced.

There are two sorts of necessity: One sort is merely conditional necessity. In this instance, if God does not rescue Taylor, Taylor will not be rescued. It is as simple as that. “He must be reconciled” or he will be lost as a conditional matter.

But there is a second sort of necessity, the necessity of compulsion. Taylor speaks of a sort of compulsion in the love of God. 

Edward Taylor, Meditation 32, Second Stanza

14 Sunday Mar 2021

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Stanza Two

But plunged I am, my mind is puzzled

When I would spin my fancy thus unspun

In finest twine of praise I’m muzzled

My tazzled thoughts twirled into snick-snarls run. (10)

Thy grace my lord is such a glorious things

It doth confound me when I would it sing. 

Summary: The quatrain speaks directly of his inability to form adequate thoughts of the subject matter. He then turns to God confesses, that the glorious nature of grace overwhelms his capacity to speak on the subject. 

Notes

The quatrain which lays out his frustration demonstrates in itself the difficulty he is having. Imagine one who says that he is quite frightened and is perfectly composed: the proposition and the person would not match. Here, the proposition and the presentation do match.

The concept is relatively simple: The image is of one spinning yarn from wool. The act of bringing his imaginative powers – his “fancy” – into an orderly and fit presentation of verse is like wool being spun into yarn. And yet, rather than an orderly creation of yarn, his yarn has “unspun.” His fancy has not resulted in an orderly poem, but his imagination has “unspun.”

In finest twine of praise I’m muzzled

My tazzled thoughts twirled into snick-snarls run.

Drawing together his image of spinning yarn with the work of creating a poem is a “twine of praise.” But here, rather than the production of praise, there is nothing, “I’m muzzled.” Which is ironic, because this muzzled poem is speaking. 

The ninth line is wonderful. There is a spinning of thoughts, but they, they are twirled, but they are also “tazzled.” 

Tazzle is an uncommon word. A glossary of the dialect of the hundred of Lonsdale. Together with an essay on some leading characteristics spoken in the six northern counties of England. Ed. by J. C. Atkinson, defines “tazzle” as a wicked, drunken person. That definition does not help much but, The The English Dialect Dictionary, Being the Complete Vocabulary of All Dialect Words Still in Use, Or Known to Have Been in Use During the Last Two Hundred Years: T-Z. Supplement. Bibliography. Grammar, published in 1905, and edited by Joseph Wright

has “tazzle” a dialect formation of “teazle” to entangle. Thus, “tangled, fuzzy, twisted, knotted; a tangle, a state of disorder, esp. used of hair.” Which meets the case: this thoughts are tangled up. 

They are not merely tazzled, they are twirled and finally in a snick-snarl, which is exactly as it sounds. 

The poem which runs through my mind as a comparative exercise is Shakespeare’s sonnet 23 with the lines

Or some fierce thing replete with too much rage,

Whose strength’s abundance weakens his own heart

The very desire and necessity of the poem makes the poem impossible to construct. The glorious grace of God is such that what poem could address such glory?

The couple makes an interesting move. He has been describing his jumbled thoughts, apparently to a reader. But at the couplet he turns from the human audience and directly addresses God:

Thy grace my lord is such a glorious things

It doth confound me when I would it sing. 

Here we come to a confession: At this point is matches most closely with the tone of sonnet 23. It is the very desire to speak which has tied my tongue.

Poetical:

As a final point, to describe the effects of sound and sense would be take away from their effect. Rather than comprehended this particular stanza must merely spoken and experienced.  Although not the sing-song chant of Dr. Seuss, I delight in sounds and sense is evident. Another possible comparison would be some poetry of Lewis Carol, like Jabberwocky.

Edward Taylor, Meditation 32

12 Friday Mar 2021

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Thy grace, dear Lord’s my golden wrack, I find

Screwing my fancy into ragged rhymes, 

Tuning thy praises in my feeble mind

Until I come to strike them on my chimes. 

Were I an angel bright, and borrow could (5)

King David’s harp, I would them play on gold.

Summary: In this stanza, the poet speaks of how painful it is for him to write these mediatory poems. If he had access to David’s greater gift, he would use it. 

General Notes:  What a remarkable introduction to a poem. The grace of God is both a wrack and screw. These implements of torture were in actual use by the English government (of which Taylor was a subject, even though he lived in the New England) at the time was written.

This does make an interesting discussion of Taylor’s creative process: He is faced with an extraordinary good. He finds himself compelled to translate the beauty with which he is faced into poetry. 

However, this process has two effects upon him. As has been the case many of the meditations, the contemplation of the grace of God causes in him an overwhelming sense of his own unworthiness and sinfulness. 

In this poem he references a related though distinct response: Here he finds himself inadequate to the process. He is unable to adequately make the translation.

The compulsion to write, to sense of sin and the inability to match the original he experiences like an implement of torture. In fact, when it comes to actual creation of the poem, the process is a torment, because he is the one operating the screw. 

Instrument Of Torture Stock Photos and Pictures | Getty Images

These responses are interestingly not inconsistent with the biblical account. 

This coming into knowing contact with the holy has a profound effect. Consider two stories of the disciples making a realization of the true nature of Jesus:

Luke 5:1–10 (AV) 

1 And it came to pass, that, as the people pressed upon him to hear the word of God, he stood by the lake of Gennesaret, 2 And saw two ships standing by the lake: but the fishermen were gone out of them, and were washing their nets. 3 And he entered into one of the ships, which was Simon’s, and prayed him that he would thrust out a little from the land. And he sat down, and taught the people out of the ship. 4 Now when he had left speaking, he said unto Simon, Launch out into the deep, and let down your nets for a draught. 5 And Simon answering said unto him, Master, we have toiled all the night, and have taken nothing: nevertheless at thy word I will let down the net. 6 And when they had this done, they inclosed a great multitude of fishes: and their net brake. 7 And they beckoned unto their partners, which were in the other ship, that they should come and help them. And they came, and filled both the ships, so that they began to sink. 8 When Simon Peter saw it, he fell down at Jesus’ knees, saying, Depart from me; for I am a sinful man, O Lord. 9 For he was astonished, and all that were with him, at the draught of the fishes which they had taken: 10 And so was also James, and John, the sons of Zebedee, which were partners with Simon. And Jesus said unto Simon, Fear not; from henceforth thou shalt catch men. 

Or in Mark 4, when Jesus stills the storm:

Mark 4:40–41 (AV) 

40 And he said unto them, Why are ye so fearful? how is it that ye have no faith? 41 And they feared exceedingly, and said one to another, What manner of man is this, that even the wind and the sea obey him? 

But more to the point in this particular stanza are two instances from the prophet Jeremiah. In chapter 20, the prophet has determined that he will no longer speak because it has become too painful for him:

Jeremiah 20:7–9 (AV) 

7 O LORD, thou hast deceived me, and I was deceived: thou art stronger than I, and hast prevailed: I am in derision daily, every one mocketh me. 8 For since I spake, I cried out, I cried violence and spoil; because the word of the LORD was made a reproach unto me, and a derision, daily. 9 Then I said, I will not make mention of him, nor speak any more in his name. But his word was in mine heart as a burning fire shut up in my bones, and I was weary with forbearing, and I could not stay. 

And the Lord speaking to the prophet:

Jeremiah 23:29 (AV) 

29 Is not my word like as a fire? saith the LORD; and like a hammer that breaketh the rock in pieces? 

The pain of the first three gives way to an expression: First, there is tuning (line 4) and then striking the music on chimes (line 5). What we have with the poem before us is the tune struck out on chimes. 

The only adequate response to such grace would be found in a heavenly access ot David’s prophetic poetry. Only in heaven could there be sufficient skill and language for this task.

Poetics:

The stanza used is a quatrain of iambic pentameter followed by a couplet. The rhyme scheme is ABABCC.

The effect of the first three lines is striking:

Thy grace, dear Lord’s my golden wrack, I find

Screwing my fancy into ragged rhymes, 

Tuning thy praises in my feeble mind

Until I come to strike them on my chimes. 

There are two pauses in the first line, one after the first foot (thy grace) and at the last foot (I find). By using two pauses and breaking at the last foot, the words “I find” are joined to the second line. The second and third lines begin with an accented syllable. The iamb at the end of line one followed the accented first syllable in line two drives the poem along, almost as if it were falling downstairs.

By repeating the accent on the first syllable of the third line, it creates a parallel structure. Screwing: tuning. 

What is interesting with the second verb is we move from torment to music: It is as the poem begins with the tuning.

The end rhythms of the second and third lines also match: RAGged RHYMES/FEEble MIND. 

Since all end rhymes contain a long “I”, (find/rhyme/mind/chimes) there are full and near rhymes on every line.

The final couplet work similar to the couplet in a Shakespearean sonnet: there is a discontinuance and comment in the couplet upon that which proceeds. 

Here he moves from the discussion of his own creative process to an aside of what could be: If I were David, if I were an angel, this would be better. 

Edward Taylor, Meditation 31, Begraced by Glory.5

14 Sunday Feb 2021

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Stanza 5

By me all lost, by thee all are regained.

All things are thus fall’n now into thy hand.

And thou steep’st in thy blood what sin had stained

That th’stains and poisons may not therein stand.

And having stuck thy grace o’re all the same (35)

Thou giv’st it as a glorious gift again.

Summary: The eschatology of Christianity is both personal and universal; it is both in time and beyond time. The time before the Fall is brought forward into eternity. The tree of life which was lost in the Fall in the Garden is in the New Heavens and New Earth. (Rev. 22:2) The rivers of Eden return as the River of Life. (Rev. 22:1) What was had – and lost – is given “as a glorious gift again.” There is also the person eschatology: The damage done by sin is remedied by blood of Christ – which is both a healing gift of grace, and what makes the poet fit to receive grace.

Notes:

By me all lost, by thee all are regained.

This language of “all” comes directly from motto for this poem, “All things are yours .. the world or life or death or the present or the future”. This theme of “all” played a substantial element of Puritan theology. Thomas Watson wrote an entire book on the subject, “The Christian’s Charter.” Often this “all things” is contrasted at length with good which we can have in this world: goods which do not keep. So for instance, George Swinnock, in chapters 14 & 15 of The Fading of the Flesh, contrasts the difference between what is had the graceless and gracious (one who has received grace) in this world and the different between the sinner’s and the saint’s portion in the life to come. 

The all received by grace is not merely the consummation of the world and a life to come. It is a thing present now in this life. 

A passage by Thomas Brooks may help to understand what is regained:

O sirs! if God be your portion, 

then every promise in the book of God is yours, 

and every attribute in the book of God is yours, 

and every privilege in the book of God is yours, 

and every comfort in the book of God is yours, 

and every blessing in the book of God is yours, 

and every treasury in the book of God is yours, 

and every mercy in the book of God is yours, 

and every ordinance in the book of God is yours, 

and every sweet in the book of God is yours; 

if God be yours, all is yours.

Thomas Brooks, The Complete Works of Thomas Brooks, ed. Alexander Balloch Grosart, vol. 2 (Edinburgh; London; Dublin: James Nichol; James Nisbet and Co.; G. Herbert, 1866), 66.

All things are thus fall’n now into thy hand.

There is an irony in this line: in the fall all was lost; but now through the reversal of sin and death by Christ suffering death for others sin, and thus the “all” falls into his hands.

And thou steep’st in thy blood what sin had stained

That th’stains and poisons may not therein stand.

There has been an irony in Christian imagery that the blood of Christ washes the sinner clean. A much later song which became well-known through the Salvation Army’s use:

Are you washed in the blood,
In the soul cleansing blood of the Lamb?
Are your garments spotless?
Are they white as snow?
Are you washed in the blood of the Lamb?

The perhaps the most direct biblical allusions which line behind this line

Isaiah 1:18 (AV)

18 Come now, and let us reason together, 

saith the LORD: 

though your sins be as scarlet, 

they shall be as white as snow; 

though they be red like crimson, 

they shall be as wool.

There is also the imagery of the sacrifice which runs through the Bible. What is always so strange of these passages is how something can be cleansed with blood? Blood would never make anything clean. 

Taylor explains that the sin which has stained his life is removed by means of the blood shed, because the blood takes the place of the sin stained.  The garment becomes so soaked in blood that there is no room for the poison and stains

There is an implied image of the thing being cleansed being a garment. The image of the garment being cleansed is present in certain rules concerning being unclean, but perhaps is most directly taken from Jude 18, “the garment spotted by the flesh.”

And having stuck thy grace o’re all the same (35)

Thou giv’st it as a glorious gift again.

The restored garment – the restoration of the entire life – is given back to Taylor as a gift. One relationship here is found in the return of the Prodigal Son. The son who has hatefully rebelled against his father and lost his inheritance returns home to hope for the life of a servant is given a glorious robe and invited to a feast. 

This also is similar to the imagery of Pilgrim’s Progress where Christian is given glorious clothing to make his new life. 

Also note that the grace conveys “glory”. The hope of the Christian is glorious, but is also glory:

1 Peter 1:3–9 (AV)

3 Blessed be the God and Father of our Lord Jesus Christ, which according to his abundant mercy hath begotten us again unto a lively hope by the resurrection of Jesus Christ from the dead, 4 To an inheritance incorruptible, and undefiled, and that fadeth not away, reserved in heaven for you, 5 Who are kept by the power of God through faith unto salvation ready to be revealed in the last time. 

6 Wherein ye greatly rejoice, though now for a season, if need be, ye are in heaviness through manifold temptations: 7 That the trial of your faith, being much more precious than of gold that perisheth, though it be tried with fire, might be found unto praise and honour and glory at the appearing of Jesus Christ: 8 Whom having not seen, ye love; in whom, though now ye see him not, yet believing, ye rejoice with joy unspeakable and full of glory: 9 Receiving the end of your faith, even the salvation of your souls.

Thus, while the renovation of the Creation will be glorious, there also will be glory of each individual. We will become glorious. In the Weight of Glory, C.S. Lewis wrote, ““the dullest and most uninteresting person you can talk to may one day be a creature which, if you saw it now, you would be strongly tempted to worship.” 

Union with Christ

One final note on this stanza is the blood which is graciously given which makes him fit to receive the grace. Blood is as intimate as could exist. Moreover, the life is in the blood. Lev. 11:17. The is this life blood which works the transformation. His identification as being covered in this blood is the gracious condition which makes “all yours.”

Musical:

And thou STeep’Tt in thy blood what Sin had STained

That th’STains and poiSonS may not therein STtand.

And having STuck thy Grace o’re all the Same (35)

Thou Giv’ST it as a Glorious Gift aGain.

The repetition of the sounds as noted, tied these lines together. 

The scansion has some interesting features:

and thou STEEP’ST in THY BLOOD what SIN had STAINED

that TH’STAINS and POIsons may NOT therein STAND

and having STUCK thy GRACE o’re ALL the SAME

THOU GIV’ST it as a GLORious GIFT aGAIN

The accents tracks the alliteration, so that each underscores the other. Thus, the rhythm and the sounds each seek to press the emphasis on meaning of the words.