Edward Taylor Meditation 41.2

06 Saturday Aug 2022

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Edward Taylor, Edward Taylor Meditation 41, poem, Poetry, Poetry Analysis

(The previous post on this poem may be found here)

Stanza Two

The magnet of all admiration’s here.
Your tumbling thoughts turn here. Here is God’s Son,
Wove in a web of flesh, and blood rich gear.
Eternal wisdom’s housewifery well spun 10
Which through the law’s pure fulfilling mills did pass.
And so went home the wealthiest web that was.

Notes

This stanza will draw together imagery which at first seems completely unrelated: weaving, webs, mills, flesh and blood, death, and victory. And magnets.

The tone of this stanza is interesting in that the poet is speaking to himself. The first line could potentially be an objective state: The focus of all admiration the “magnet” of all admiration could be understood a fact beyond the poet’s particular concern: If he wrote the “sun is hot”, he would mean it is hot for everyone; but not just for him alone.

But in line 8, he clarifies that he is speaking about himself: “Your tumbling thoughts turn here.” This is the magnet of poet’s admiration: this is where his thoughts turn. It is a subtle aside, for certainly when he makes an apparently objective observation it would include himself. But by speaking directly to himself, he implicitly ignores the rest of the world. For me, this is the magnet of admiration, this is where my thoughts turn.

Referring to Christ as magnetic is interesting. Calling some “magnetic” is so cliché as to not even be used a cliché, but magnets were a far more curious object at this time.

In 1618, a book was published which contained the known scientific investigation of magnetism (begun by William Gilbert, d. 1603), the title page reading as follows:

MAGNETICALL Aduertisements: OR
DIVERS PERTINENT obseruations, and approued ex∣periments, concerning the natures and pro∣perties of the Load-stone.
Uery pleasant for knowledge, and most needfull for practise, of trauelling, or fra∣ming of Instruments fit for Trauellers both by Sea and Land.
Whereunto is annexed a breife Discouerie of the idle Animaduersions of MARK RIDLEY Dr. in Physicke, vpon this Treatise entituled Magneticall Aduertisements.

ACTS 17. 26.He hath made of one bloud all nations of men for to dwell on the face of the earth, and hath determined the times before appointed, and the bounds of their habitation, that they should seeke the Lord, &c.
The second Edition.
LONDON, Printed by Edward Griffin for Timothy Barlow, and are to be sold at his shop in Pauls Church-yard, at the signe of Time. 1618.

Richard Sibbes (two generations before Taylor) made use of magnetism in an image similar to Taylor’s use here (the magnet as an image of desire):

Christ’s love in us, is as the loadstone to the iron. Our hearts are heavy and downwards of themselves. We may especially know his love by this, that it draws us upwards, and makes us heavenly minded. It makes us desire further and further communion with him. Still there is a magnetical attractive force in Christ’s love. Wheresoever it is, it draws the heart and affections after it.

Richard Sibbes, The Complete Works of Richard Sibbes, ed. Alexander Balloch Grosart, vol. 2 (Edinburgh; London; Dublin: James Nichol; James Nisbet And Co.; W. Robertson, 1862), 77. And:

Desires are the immediate issue of the soul, the motion and stirring of the same to something that likes it. When there is anything set before the soul having a magnetical force, as the loadstone, to draw out the motions thereof, we call that desire, though for the present it enjoys it not.

Richard Sibbes, The Complete Works of Richard Sibbes, ed. Alexander Balloch Grosart, vol. 1 (Edinburgh; London; Dublin: James Nichol; James Nisbet and Co.; W. Robertson, 1862), 338.

This object of desire is the Son of God:

            Here is God’s Son,

Wove in a web of flesh, and blood rich gear.

The 9th line begins with an accented “wove”. The lack of a pause before this word gives it a special emphasis, it is further underscored by being alliterative with “web.” The image startling: wove and web bring an air of a spider’s web. The Son of God is now utterly bound-up in flesh. The second half of the line “blood rich gear” is even more striking. By gear, we outstanding that the Son of God has been outfitted, but outfitted with “blood.” Blood rich at first seems to indicate the color of the gear. But this also alludes to the eventual death of Christ where his blood was poured out.

What weapon does Christ then possess, what gear? Death. The gear will be blood. There is yet another possible use of blood here: When a warrior is proceeding and covered in blood, the implication is that he is covered in his enemy’s blood and that he will not be stopped:

Isaiah 63:1–6 (ESV)
63 Who is this who comes from Edom,
in crimsoned garments from Bozrah,
he who is splendid in his apparel,
marching in the greatness of his strength?
“It is I, speaking in righteousness,
mighty to save.”
2 Why is your apparel red,
and your garments like his who treads in the winepress?
3 “I have trodden the winepress alone,
and from the peoples no one was with me;
I trod them in my anger
and trampled them in my wrath;
their lifeblood spattered on my garments,
and stained all my apparel.
4 For the day of vengeance was in my heart,
and my year of redemption had come.
5 I looked, but there was no one to help;
I was appalled, but there was no one to uphold;
so my own arm brought me salvation,
and my wrath upheld me.
6 I trampled down the peoples in my anger;
I made them drunk in my wrath,
and I poured out their lifeblood on the earth.”

By using the phrase “blood rich gear,” Taylor manages to evoke multiple aspects of Christ’s work and life.

The weaving now comes back as image of domestic industry. This is a good example of how one must be careful not to impose one’s own expectations upon a text: The idea of web and wove, although appropriate of a spider, are not the aspects which Taylor draws out. Domestic weaving is something completely beyond my experience, but would be commonplace for Taylor.
Eternal wisdom has brought forth this work of God in Christ: God made flesh, well-spun. That workmanship (the housewifery) passed through the law: Christ fulfilled the demands of the law: he went through the “wringer” as we might say. To pass through a mill would be grain broken between two millstones. But the effect upon Christ was not his destruction, but rather to be possessed not of a destroyed garment but one the costliest of all:

Eternal wisdom’s housewifery well spun 10
Which through the law’s pure fulfilling mills did pass.
And so went home the wealthiest web that was.

The admiration is the success of the Son of God in so passing in blood rich gear.

This last set of images evokes the weaving & the blood image: for to pass through the mill would be completely destroy – and yet here, not destroy.

The alliteration on the “w” throughout this stanza also draws it tight

Edward Taylor, Meditation 41.1

14 Thursday Jul 2022

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Meditation 40

A clew of wonders! Clustered miracles!

Angels come whet your sight hereon. Here’s ground.

Sharpen your fancies here, ye saints in spiracles.

Here is enough in wonderment to drownds.

Make here the shining mark on white on which 5

Let all your wondering contemplations pitch.

Notes

A clew of wonders! A “clew” is a ball or coil: this matches nicely with “cluster” in the second clause.

The pause coming directly after the an unaccented syllable and a full stop (exclamation point) requires a long before we come to

Clustered miracles!

This pair of clauses is a call to come view. It is akin to a hawker calling to the public, Come see this. He has not provided any “clue” as to what will be review. The motto for the poem is John 14:2, where Jesus says to the worried disciples, “I go to prepare a place for you.” But even that is insufficient to know precisely what the poet will display.

We have a specific call to the angels:

Angels come whet your sight hereon. To “whet” is to sharpen a knife blade (for instance). The angels are being called to look upon this wonder and to sharpen their sight. This is an interesting allusion to a peculiar statement of First Peter:

¹⁰Concerning this salvation, the prophets who prophesied about the grace that was to be yours searched and inquired carefully, ¹¹inquiring what person or time the Spirit of Christ in them was indicating when he predicted the sufferings of Christ and the subsequent glories. ¹²It was revealed to them that they were serving not themselves but you, in the things that have now been announced to you through those who preached the good news to you by the Holy Spirit sent from heaven, things into which angels long to look.

1 Peter 1:10–12 (ESV) Of this particular passage, Calvin (an exegete who would have influenced Taylor at least indirectly) writes:

The passage indeed admits of a twofold meaning; either that the treasure we have in the gospel fills the angels with a desire to see it, as it is a sight especially delightful to them; or that they anxiously desire to see the kingdom of Christ, the living image of which is set forth in the gospel. But the last seems to me to be the most suitable meaning.

John Calvin, 1 Peter: Commentaries on the Catholic Epistles, electronic ed., Calvin’s Commentaries (Albany, OR: Ages Software, 1998), 1 Pe 1:12.

Here’s ground. He is a solid reason, a solid basis for sharpening your sight.

Sharpen your fancies here, ye saints in spiracles.

He continues with the imagery of the “whet[stone]” and calls upon the saints to sharpen their thoughts. Saints in spiracles: in breath, in spirit. Thus, being paired with the angels likely is a call to the saints in glory.

Breath of life:

Genesis 2:7 (VGCLEM)

7 Formavit igitur Dominus Deus hominem de limo terræ, et inspiravit in faciem ejus spiraculum vitæ, et factus est homo in animam viventem.

Genesis 7:22 (VGCLEM)

²²et cuncta, in quibus spiraculum vitæ est in terra, mortua sunt.

The breath of the omnipotent:

Job 33:4 (VGCLEM)

⁴Spiritus Dei fecit me,

et spiraculum Omnipotentis vivificavit me.

Job 33:4 (D-R)

4 The spirit of God made me, and the breath of the Almighty gave me life.

Spirit of man, Prov. 20:27, “spiraculum hominis”

Here is enough in wonderment to drownds.

Here is enough wonder for one to drown in (?). I’m not quite certain of the last word’s import.

A final call to everyone, and hence the reader (which is interesting, because Taylor having kept the poems private included to readers beyond himself):

Make here the shining mark on white on which 5

Let all your wondering contemplations pitch.

Mark this place. All wonder which you will have, put it here. Place upon this thing.

First, Taylor has carefully kept back the cause of wonder. What will be the object of wonder is not stated. Second, it is a call for contemplation.

Modern Christianity (at least as I have experienced) is a religion of action; not wonder. Our wonder is limited. Perhaps we sing about wonder. There are sermons which tell us to wonder but rarely facilitate wonder. That is likely because the preacher has limited experience with contemplation and hence can do little more than tell you contemplate. Contemplation without action is not a common element of piety (again in my experience).

When I have heard any attempt to discuss such contemplation it is always in the context of an analogy to nature. And certainly nature can provide ground for our wonder. But why then is our piety so threadbare as to not afford such things?

But this poem is a call to contemplation, to gaze upon a wonder.

I recently listened to a podcast on how there was a movement from avoiding marvels to calling people to look at marvels and wonders. I should probably give it a new listen in light of this poem to see how if affects my understand: https://historyofphilosophy.net/renaissance-science-daston

Some Background on Taylor’s Meditations 38-40

07 Tuesday Jun 2022

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Edward Taylor

This essay by Mark Honegger, in Mosaic (vol. 47, issue 3, 2014) provides an interesting note on what was taking place in Taylor’s world at the time these poems were written:

Taylor excoriates himself for his sins; his failure is a personal failure before God, and his keen sense of unworthiness coincides with a number of external pressures. Taylor had a strong sense of circumstances being providentially directed by God, who responds to the moral acts of humanity. These two poems were written in 1690. His beloved wife of fifteen years, Elizabeth, had died in 1689 (five of their eight children had preceded Elizabeth in death). In 1690 the town of Westfield, where Taylor ministered, asked him to take a salary cut: ten years later Taylor would threaten to leave there because of salary disputes with his parish. At this time, a smallpox epidemic spread throughout the colony. It eventually claimed a number of lives from Westfield itself. The references in Meditation 39 to “Green, Yellow, Blew streakt Poyson hellish, ranck, / Bubs hatcht in natures nest on Serpents Eggs” may be a reference to the signs of smallpox (Powell), and the Puritans were wont to interpret such epidemics as a sign of God’s judgment. Finally, Taylor was engaged in a major theological disagreement with a prominent clergyman in the colony, Solomon Stoddard, over who should be admitted to the Lord’s Supper, a dispute that was to occupy Taylor’s attention for the rest of his life. To sum up, Taylor’s life outside his poetry was desperate on many accounts, in his family, in his small frontier village, within the church at large in the colony. It is no surprise that Meditations 39 and 40 show a poignant sense of desperation as well. The cumulative stresses of Taylor’s life appear to be expressed as a spiritual crisis before God. What this essay also shows is that Taylor’s external woes, his interpretation of his circumstances as spiritual distress, and the expression of both in the most powerful imagery of sin’s power and loathsomeness in all of his poetry, also coincide with the disturbance in Taylor’s sensorium that is expressed by his line: “I have more Sight than Sense.” Though both Meditations 39 and 40 (which begin in desperation) end in hope and calmness, there may not have been an internal harmony in Taylor’s soul at this time to match the spiritual harmony with which these poems conclude.

“I have more Sight than Sense”: the sensorium in Taylor’s Meditations 38-40, Mark Honegger. Mr. Honegger’s essay primarily concerns the choice of sensory metaphors in Taylor.

Edward Taylor, Meditation 40 conclusion (Was ever heart like mine)

07 Tuesday Jun 2022

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Tenth Stanza

Lord take thy sword: these Anakims destroy: 55

Then soak my soul in Zion’s bucking tub:

With holy soap and nitre, and rich lye

From all defilement me cleanse, wash, and rub.

Then rinse and wring me out till th’water fall

As pure as in the well: not foul at all. 60

Eleventh Stanza

And let thy sun shine on my head out clear

And bathe my heart within its radiant beams:

Thy Christ make my propitiation dear.

Thy praise shall from my heart break forth in streams.

This reaching virtue of Christ’s blood will quench 65

Thy wrath, slay sin, in thy love me bench.

Notes

These two stanzas should be taken together for they concern the resolution of the whole. Since there is hope, the poet presses his case. In this he makes three interrelated petitions.

First, there is the petition to kill his devilish enemy:

Lord take thy sword: these Anakims destroy:

Anakim is a reference to an enemy of Israel whom God destroyed to save the people. Deut. 2:21. The Devils are here referred to as “Anakims.” References to the destruction of Anakim, used as a figure or illustration was not uncommon among the Puritans, for instance: “Jesus doth not free us from Egypt, but from wrath to come: 1 Thes. 1:10, ‘To wait for his Son from heaven, whom he raised from the dead, even Jesus, which delivered us from the wrath to come.’ He doth not vanquish Anakims, but the devil; to deliver us from the hurt and fear of him: Heb. 2:14, ‘That through death he might destroy him that had the power of death, that is, the devil.’ He doth not only lead us into Canaan, but into heaven, into a better land of promise.” Thomas Manton, The Complete Works of Thomas Manton, vol. 19 (London: James Nisbet & Co., 1874), 455.

Second, is the petition to be cleansed from sin:

Then soak my soul in Zion’s bucking tub:

With holy soap and nitre, and rich lye

From all defilement me cleanse, wash, and rub.

Then rinse and wring me out till th’water fall

As pure as in the well: not foul at all.

Buck here refers to alkaline lye used to bleach linen or yarn. This was referred as “buck washing.” Nitre is potassium nitrate, used for washing. The plea here is for every sort of bleach and cleanser to be used on his heart and to make him clean from all sin.

The biblical allusion which seems closest comes David’s prayer of repentance in Psalm 51”

Psalm 51:1–12 (ESV)

¹ Have mercy on me, O God,

according to your steadfast love;

according to your abundant mercy

blot out my transgressions.

² Wash me thoroughly from my iniquity,

and cleanse me from my sin!

³ For I know my transgressions,

and my sin is ever before me.

⁴ Against you, you only, have I sinned

and done what is evil in your sight,

so that you may be justified in your words

and blameless in your judgment.

⁵ Behold, I was brought forth in iniquity,

and in sin did my mother conceive me.

⁶ Behold, you delight in truth in the inward being,

and you teach me wisdom in the secret heart.

⁷ Purge me with hyssop, and I shall be clean;

wash me, and I shall be whiter than snow.

⁸ Let me hear joy and gladness;

let the bones that you have broken rejoice.

⁹ Hide your face from my sins,

and blot out all my iniquities.

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.

The prayer for cleansing continues into the next stanza where he prays that having been scrubbed he may be set out to dry, like washed clothes.

And let thy sun shine on my head out clear

And bathe my heart within its radiant beams:

The third petition is for forgiveness of his sin, “propitiation”:

Thy Christ make my propitiation dear.

“Thy Christ” comes from Psalm 2:2

Psalm 2:2 (ESV)

² The kings of the earth set themselves,

and the rulers take counsel together,

against the Lord and against his Anointed, saying,

Anointed is “Christ” (κατὰ τοῦ χριστοῦ αὐτοῦ)

The poem then ends with the praise for what God has done for him:

Thy praise shall from my heart break forth in streams.

This reaching virtue of Christ’s blood will quench 65

Thy wrath, slay sin, in thy love me bench.

The last line explains that the blood of Christ will turn away judgment (thy wrath), turn his heart from sin (slay sin), and will leave him resting in the love of God (in thy love me bench).

Edward Taylor, Meditation 40.5 (Was ever heart like mine)

04 Saturday Jun 2022

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Eighth Stanza

Was ever heart like mine? My lord, declare.

I know not what to do: What shall I do?

I wonder, split I don’t upon despair. 45

It’s grace’s wonder that I wrack not so.

I faintly shun’t, although I see this case

Would say, my sin is greater than thy grace.

Notes

The psychological state of poet was expressed along the same lines by John Owen in his book The Mortification of Sin, published 1656. Taylor, having left England in 1668 would have had access to the work.

This is the saddest warfare that any poor creature can be engaged in. A soul under the power of conviction from the law is pressed to fight against sin, but hath no strength for the combat. They cannot but fight, and they can never conquer; they are like men thrust on the sword of enemies on purpose to be slain. The law drives them on, and sin beats them back. Sometimes they think, indeed, that they have foiled sin, when they have only raised a dust that they see it not; that is, they distemper their natural affections of fear, sorrow, and anguish, which makes them believe that sin is conquered when it is not touched. By that time they are cold, they must to the battle again; and the lust which they thought to be slain appears to have had no wound.

And if the case be so sad with them who do labour and strive, and yet enter not into the kingdom, what is their condition who despise all this; who are perpetually under the power and dominion of sin, and love to have it so; and are troubled at nothing, but that they cannot make sufficient provision for the flesh, to fulfil the lusts thereof?

John Owen, The Works of John Owen, ed. William H. Goold, vol. 6 (Edinburgh: T&T Clark, n.d.), 20.

This stanza is a desperate plea for help. He sees his sin, and sees nothing in himself by which to respond to the sin. And so in anguish he calls out. Notice the repetition of the prayer, which emphasizes his desperation:

Was ever heart like mine? My lord, declare.

I know not what to do: What shall I do?

I must change. I must be saved from this heart. But it is my heart? I cannot change it. When I look at it, it is a palace and playground of Satan. When I think my sin is gone, it comes back worse than ever. My prayers seemingly do not work. I am not affected by the Spirit. I see my problem clearly. I know it is there, and I do not know how to respond. What can I do?

I wonder, split I don’t upon despair. 45

It’s grace’s wonder that I wrack not so.

It is a wonder of grace that I have not completely split in two with despair over my sin. It is a wonder that I have not become bare wrack (left over after destruction).

In the end, his despair over his own sin tempts him to despair over God. To understand this we must know that “grace” here is a reference to any good which God will do him. The Puritans would speak of various aspects of grace, not merely the forgiveness of sin, but grace to withstand a temptation, et cetera:

I faintly shun’t, although I see this case

Would say, my sin is greater than thy grace.

What he would shun is the thought that God’s grace is insufficient.

Edward Taylor, Meditation 40.4 (Was ever heart like mine)

03 Friday Jun 2022

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Seventh Stanza

My reason now’s more than my sense, I feel

I have more sight than sense. Which seems to be

A rod of sun beams t’whip me for my steel.

My spirit’s spiritless, and dull in me 40

For my dead prayerless prayers, the Spirit’s wind

Scarce blows my mill about. I little grind.

Notes

Here is the quandary:

Taylor can see and understand his sin, and he can hate it. Why then can he not stop it? He gives an explanation developed by means of two parallel descriptions. First,

My reason now’s more than my sense,

“Sense” means emotion, desire, as in the contrast of Austen’s title, “Sense and Sensibility”. I am conflicted between my intellect and my passions. Passion and reason are often seen as conflicting aspects of the human heart:

“He that lets loose the reins upon the necks of the unruly horses of his passions, will endanger the tumbling his reason out of the chariot.” James Nichols, Puritan Sermons, vol. 1, Samuel Lee (Wheaton, IL: Richard Owen Roberts, Publishers, 1981), 154.

“We had need to maintain a strong garrison of holy reasons against the assaults of strong passions; we may hope for the best, but fear the worst, and prepare to bear whatsoever.”

Richard Sibbes, The Complete Works of Richard Sibbes, ed. Alexander Balloch Grosart, vol. 1 (Edinburgh; London; Dublin: James Nichol; James Nisbet and Co.; W. Robertson, 1862), 163.

“Sin, in the first motions and titillations thereof, in the natural conflict, the fight is between distinct faculties, reason and passion, and so is at a distance, and as it were by missile arms; but in the spiritual conflict, the fight is close and immediate, there is something of grace in every faculty to encounter the corruption there.” Edward Polhill, The Works of Edward Polhill (London: Thomas Ward and Co., 1844), 276.

The concept here is that sin has better access to the heart through the passions than through reason, sin being by definition irrational. His trouble is irrational.

The second contrast:

I feel

I have more sight than sense.

Here the word “sense” takes on a different meaning, more akin to “sensibility.” I feel (which has implicitly been condemned in the first contrast with rationality) that I can see this better (sight) than I have reason (the sense) to stop what I am doing.

The poet can see and understand what is happening within him, but he feels unable to transform the working of his heart. He is seeing himself invested with a contrary army driving him along against his will. The effect of this is to increase his sense of guilt. These thoughts persecute him for his inability to change (his steel):

Which seems to be

A rod of sun beams t’whip me for my steel.

The sun beams are his knowledge of his situation, which only brings him trouble.

If he cannot count on his own heart, then certainly he can count on the work of the Holy Spirit to transform his heart. But even that seems ineffective:

My spirit’s spiritless, and dull in me 40

For my dead prayerless prayers, the Spirit’s wind

Scarce blows my mill about.

In both Greek and Hebrew (which would in Taylor’s knowledge and mind) the word for spirit is also the word for wind. The “Spirit’s wind” is thus a sort of pun.

His spirit (his soul, mind) is disheartened, it is “spiritless”. His prayers are without prayer. The Spirit blows upon him, but there is little effect.

The shift to the image of mill grinding (I little grind) perhaps was driven by the necessity of a rhyme on “wind”. Such mills would have been known to Taylor.

Gotland, Gotland, Bunge, Gotland, Byggnader-Jordbruk-Kvarn

The linguistic plays in this stanza are well executed: (1) The play on two senses of the word “sense”. (2) Spiritless spirit. (3) Prayerless prayer. (4) Spirit’s wind (a play on the English translations of the biblical languages).

There is also a remarkable play on the sound of the words particularly the use of the letter “s”

My reason now’s more than my sense, I feel

I have more sight than sense. Which seems to be

A rod of sun beams t’whip me for my steel.

My spirit’s spiritless, and dull in me 40

For my dead prayerless prayers, the Spirit’s wind

Scarce blows my mill about. I little grind.

Finally, while “grind” may have been suggested by his previous “wind,” Taylor does put it to good effect. The preceding lines have been quite “poetic”. There is careful attention to sound and word-play. But here at the end, the elevated language of poetry become quite pedestrian. It is as if the thought itself runs out of strength. The shift to “mill” introduces a conceptual difference (again perhaps his association of mill and wind was much stronger than mine). But in the last two lines we gather up some new sounds. There are the p’s of prayer/prayerless (and Spirit). But then we come to blows, about, grind. Then the speed of the lines completely changes. There is a full stop in the middle of the final line on the word “about.” The final sentence is prosaic, not musical, and slow, “I little grind.” It is like a resignation.

Edward Taylor, Meditation 40.3 (Was ever heart like mine)

29 Sunday May 2022

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Fifth Stanza

Grace shuffled is away; patience oft sticks 25

Too soon, or draws itself out, and’s out put.

Faith over trumped, and oft does lose her tricks.

Repentance’s chalked up noddy, and out shut

They post, and pare off grace, and its shine.

Alas! Alas! Was ever heart like mine? 30

Notes:

Something remarkable happens here. In the previous stanza, Taylor has spoken of his heart as a ground for games of all the devils. His heart is in full Hexensabatt with all the sports of debauchery in view. But here, those games are played with graces!

Grace shuffled is away; At first this is ambiguous. Something could be merely moved out of the way, but as the stanza goes on we will see that Grace has been shuffled in a deck of cards.

To skip ahead to line 27, “Faith over trumped, and oft does lose her tricks.” A trump in cards is a higher hand. A trick is the individual play. Faith is being set to play at cards against the sinful desires of his heart. Thus, to lose the trick must mean that the call of faith falls to the counter play of sin.

So, when Grace is shuffled away, it is played into the deck and does not play against the opposing side. Grace is simply inoperative because it is put away.

Patience is a key Christian virtue. It means something far more than merely tolerating a boring event. It contains within it the concept of endurance.

A key allusion here would be

James 1:2–3 “My brethren, count it all joy when ye fall into divers temptations; ³Knowing this, that the trying of your faith worketh patience.” More modern translation render the word translated “patience” (as it would have been in Taylor’s Bible) as “endurance.” Endurance being then the ability to withstand a trial without falling into sin. You should understand that the sin could be the result of a temptation, that is luring into a sinful project, or trial being forced and pressed and sinning in response. Patience would be the virtue to be neither pushed or pulled in sin.

Repentance’s chalked up noddy, and out shut

They post, and pare off grace, and its shine.

Repentance has no place in the response, it is a fool (noddy). It is just considered unnecessary.

The “They” that shuts out grace is not clearly identified in this stanza, so it must refer back to the devils given such free reign in the previous stanza. The line “They post, and pare off grace” is excellent. Note the movement of the sound on the accented syllables p, then pr, then gr. This returns to the refrain again, “Was ever a heart like mine.”

His heart seems utterly turned over to his enemy.

Sixth Stanza

Sometimes me thinks the Serpent’s head I maul

Now all is still: my spirits do recruit

But ere my harp can tune sweet praise, they fall

On me afresh, and tear me at my root.

They bite like badgers now, nay worse, although 35

I took them toothless skulls not long ago.

Notes

He sometimes thinks he has some success.

Sometimes me thinks the Serpent’s head I maul

The Serpent’s head is an allusion to the protoevangelium. When God passes sentence upon the original sin, a strange promise is made to the Serpent (the Devil who led them into sin):

Genesis 3:15

¹⁵And I will put enmity between thee and the woman, and between thy seed and her seed; it shall bruise thy head, and thou shalt bruise his heel.

There will be a conflict the “seed” of the serpent and the “seed” of the woman. The Serpent will cause him an injury, but he will deal a death blow to the Serpent. And so, there are moments when it seems that he has been successful suppressing his sin. He has “mauled” the Serpent’s dead. This brings about a reprieve from his sorrow, “Now all is still: my spirits do recruit.” He has peace, but before his peace can ripen into praise, trouble comes:

But ere my harp can tune sweet praise, they fall

On me afresh, and tear me at my root.

He no longer has some “victory” but sin returns and tears him at the very heart of his being.

The couplet gives voice to the strange movement of the Christian life. When freed from sin, when repentance has its place and there is rest, sin seems utter madness; something which could not possibly disturb a sane man. It looks over, temptations are not ravenous lions, but rather toothless skulls. And yet, somehow, those toothless skulls arise and attack:

They bite like badgers now, nay worse, although 35

I took them toothless skulls not long ago.

Edward Taylor, Meditation 40.2 (Was ever heart like mine?)

25 Wednesday May 2022

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Third Stanza

His palace garden where his courtiers walk

His jewel’s cabinet. Here his cabal

Do sham it, and truss up their privie talk. 15

In fardels of consults and bundles all.

His shambles, and his butcher’s stalls herein.

It is the fuddling school of every sin.

Notes

His heart now the Devil’s Palace.

It is the place where his servants gather, “where his courtiers walk.” A courtier is an attendant upon a king.

It is the place where precious things are kept, “His jewel’s cabinet” (cabinet for his jewels).

This is the place where the devils generally to meet together to make plans. They are a “cabal” who gather together to plan deceptions (sham). They are brought in a close-knit group (truss up) which belongs to the sovereign (privie).

A “fardel” is a bundle, a small pack a wrapping. So this would be a close gathering. The idea is repeated in the same line, “bundles all.” The OED provides an interesting use of fardel to be a burden used figuratively of sin. Thus, the thing which is experienced by Taylor as a burden (fardel) of sin and sorrow is the result of a close gathering (fardel) of demonic actors.

It is not just the place where the agents of Satan meet; it is even the place where they find time to eat. Their “butcher” has quarters present. But this also raises the idea of what is being butchered? There are no cattle or sheep mentioned.

Fuddle refers to intoxication. It is a drunken school: it is place where sin’s are learned and taught.

His heart is the palace of rebellion against God.

Fourth Stanza

Was ever heart like mine? Pride, passion, fell.

Ath’ism, blasphemy, pot, pipe it, dance 20

Play barlybreaks, and at last couple in hell.

At cudgels, kit-cat, carts and dice here prance.

At noddy, ruff-and trumped, jing, post-and-are,

Put, one-and-thirty, and such other ware.

Notes

He repeats the refrain, “Was ever heart like mine” which again alludes to Herbert’s poem on the passion of Christ (Was ever grief like mine?)

Line 19, through the first half of line 20 speaks to what his heart contains: pride, the archetype of all sin, passion (wild desire), “fell” (simply evil).

Line 20, active rebelling of God, atheism and blasphemy.

Atheism had a far more diabolical sound to a 17^th century minister than it does to modern ears. Consider Thomas Manton:

Partly because the most universal and incurable disease of the world is atheism; it is disguised under several shapes, but atheism it is that lies at the root, and blasts and destroys all practice and good conscience; and therefore it is good to deal upon this argument, and to reflect the light of this truth upon our conscience, and to take all occasions to batter down that atheism that is in our hearts.

Thomas Manton, The Complete Works of Thomas Manton, vol. 14 (London: James Nisbet & Co., 1973), 125. Atheism is a direct denial of God. This is followed by the charge of blasphemy, which would be disparaging God.

At this point, Taylor’s description of his heart sounds like the trouble faced by Christian in Pilgrim’s Progress as he crossed the Valley of the Shadow of Death:

One thing I would not let slip. I took notice that now poor Christian was so confounded that he did not know his own voice; and thus I perceived it. Just when he was come over against the mouth of the burning pit, one of the wicked ones got behind him, and stepped up softly to him, and whisperingly suggested many grievous blasphemies to him, which he verily thought had proceeded from his own mind. This put Christian more to it than any thing that he met with before, even to think that he should now blaspheme Him that he loved so much before. Yet if he could have helped it, he would not have done it; but he had not the discretion either to stop his ears, or to know from whence these blasphemies came.

John Bunyan, The Pilgrim’s Progress: From This World to That Which Is to Come (Oak Harbor, WA: Logos Research Systems, Inc., 1995).

Then seemingly in an incongruous move, the remainder of the stanza is merely a list of the drunken games played by the devils:

pot, pipe it, dance 20

Play barlybreaks, and at last couple in hell.

The Wikipedia page for Barley Breaks reads “Barley-Break is an old English country game frequently mentioned by the poets of the 17th and 18th centuries. It was played by three pairs, each composed of a man and a woman, who were stationed in three bases or plots, contiguous to each other. The couple occupying the middle base, called hell or prison, endeavoured to catch the other two, who, when chased, might break to avoid being caught. If one was overtaken, he and his companion were condemned to hell. From this game was taken the expression “the last couple in hell”, often used in old plays.”

Willam Chappell, Popular Music of the Olden Times (1859) contains this entry:

Edward Taylor, Meditation 40.1, Was ever a heart like mine?

23 Monday May 2022

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Still I complain; I am complaining still.

Oh! Woe is me! Was ever heart like mine?

A sty of filth, a trough of washing swill

A dunghill pit, a puddle of mere slim,

A nest of vipers, hive of hornet; stings, 5

A bag of poison, civit-box of sins.

Was ever heart like mine? So bad? Black, vile?

Is any devil blacker, or can hell

Produce its match? It is the very soil

Where Satan reads his charms, and set his spell. 10

His bowling alley, where he shears his fleece

At nine pins, nine holes, morrice, Fox and Geese.

Notes:

The opening of the poem is remarkable. To begin in the middle of an action, in medias res, is the form of an epic. The Illiad begins years into the Trojan War. Paradise Lost begins with Satan already cast down and Adam created. But lyrics usually begin at their beginning.

Here, the poem begins “Still I complain.” Unless we take the other poems written so far in this series of mediations as part of the conversation, we come into this poem mid-complaint and without a background.

The effect is interesting: We need to read what is written as part of a continuing complaint. Perhaps that explains the rather extended complaint which will follow. Taylor will four times in the poem write, “Was ever heart like mine.” He will speak at length concerning the depravity and sinfulness of heart.

We must heart this as a continuing complaint over his own sinfulness. “I am complaining still.”

He is incredulous that he possesses a heart capable of such sin, “Oh! Woe is me.”

And then he asks his question

Was ever heart like mine? (2)

The repetition and peculiar form of the question make for an interesting allusion to an earlier poem of George Herbert. Taylor studied Herbert in school and Herbert Stanford in his introduction to Taylor’s collected poems (1960) states that Herbert was a favorite poet of Taylor. Therefore, we are on good ground to see the allusion: (1) the questions are rhetorically distinct and similar to one-another; (2) Taylor would have known the poem from which the allusion comes.

Herbert’s poem The Sacrifice recounts the passion of Christ, from Christ’s point of view. Two representative stanzas read:

Mine own Apostle, who the bag did beare,

Though he had all I had, did not forbeare

To sell me also, and to put me there:

Was ever grief like mine?

For thirtie pence he did my death devise,

Who at three hundred did the ointment prize,

Not half so sweet as my sweet sacrifice:

Was ever grief like mine?

Each stanza ends with the refrain, “Was ever grief like mine?” Of particular interest for our allusion here is found in these stanzas:

O all ye who passe by, behold and see;

Man stole the fruit, but I must climbe the tree;

The tree of life to all, but onely me:

Was ever grief like mine?

Lo, here I hang, charg’d with a world of sinne,

The greater world o’ th’ two; for that came in

By words, but this by sorrow I must win:

Was ever grief like mine?

The death of Christ was for the sin of man. Christ was charged with sin, and for the sin man bore grief like no one.

Taylor alluding to this poem of Christ’s grief experienced for Taylor’s sin and look to his own heart and asks, Was ever a heart like mine. Taylor supplies the sin; Christ suffers the grief. Man stole the fruit; Christ is hoist onto the tree.

The first stanza simply recounts the foul things present in his heart: sty, swill, dunghill, puddle, vipers, hornets, stings, poison, sin. It is appropriate that the last in the list of evils is plain sin.

The second stanza begins with the question, Was ever a heart like mine? But this time, rather than recount the evil it contains it references his heart’s relationship to the Devil. His heart is the place where the Devil conducts magic (charms, spells); it is the place where Satan plays games and rejoices. The image of his heart as the Devil’s bowling alley or the place the Devil plays tag (Fox and Geese) is striking and terrifying.

He is filled with all evil; and evil has a playground in his heart. He thinks of Christ’s death and grief (“Was ever a grief like mine”) and can think only of his own evil (“Was ever a heart like mine.”)

Edward Taylor, Meditation 39, conclusion

18 Wednesday May 2022

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Seventh & Eighth Stanzas

What shall I do, my Lord? What do, that I
May have thee plead my case? I fee thee will
With faith, repentance, and obediently
Thy service against satanic sins fulfill.
I’ll fight thy fields while live I do, although
I should be hacked in pieces by thy foe.

Make me thy friend, Lord, be my surety: I
Will be thy client, be my advocate.
My sins make thine; thy pleas make mine hereby.
Thou wilt me save, I will thee celebrate.
Thou’lt kill my sins that cut my heart within:
And my rough feet shall thy smooth praises sing.

The poem ends with a prayer and praise, with a petition and a promise. The seventh stanza begins with “What shall I do”. The 8th with “Make my thy friend.” Thus, 7 is the potential, 8 the actuality.

What shall I do, my Lord? What do, that I
May have thee plead my case?

Here is the last hesitation in the poem. After this point has been resolved, he will proceed with confidence that his trouble will be resolved. What can I offer to God that he should provide me such a defense?

This question and the answer he will provide echoes the prophet Micah:

Micah 6:6–8 (ESV)

What Does the LORD Require?
6 “With what shall I come before the LORD,
and bow myself before God on high?
Shall I come before him with burnt offerings,
with calves a year old?
7 Will the LORD be pleased with thousands of rams,
with ten thousands of rivers of oil?
Shall I give my firstborn for my transgression,
the fruit of my body for the sin of my soul?”
8 He has told you, O man, what is good;
and what does the LORD require of you
but to do justice, and to love kindness,
and to walk humbly with your God?

What shall I do to come before God? The same scheme is here: What shall I do to receive christ as my Advocate? I fee thee will. “I fee thee” means I will pay you. A lawyer receives a “fee.” That is still the idiom of an attorneys’ payment.

   How will he pay?

With faith, repentance, and obediently
Thy service against satanic sins fulfill.
I’ll fight thy fields while live I do, although
I should be hacked in pieces by thy foe.

The language which follows is martial and political. The concept of faith is not a bare belief that something will be true, but rather an act of fealty to a King. I will submit my life to you. I will give you my faith, I will repent of not doing so, I will live in obedience in constant warfare with my sin: even if it should kill me.

This sort of language is not out of step with the general tenor of the Puritan (rough) contemporaries of Taylor. There is another way to understand Taylor’s promise at this point. In the current edition of Credomag, there is a discussion of how Jonathan Edwards understood saving faith. This might provide an alternative understanding to Taylor’s (and Edwards’) thinking on the question of faith:

“Edwards’s variance with his tradition on the issue of sola fide is seen even more clearly when we face the role of obedience in justification. In Part 1 of this series, I quoted Miscellany #218, entitled “Faith, Justifying,” where Edwards states the following:

“‘Tis the same agreeing or consenting disposition that according to the divers [sic] objects, different states or manner of exertion, is called by different names. When ‘tis exerted towards a Savior, [it is called] faith or trust…when toward unseen good things promised, faith and also hope; when towards a gospel or good news, faith; when towards persons excellent, love; when towards commands, obedience; when towards God with respect to changes, ‘tis properly called resignation; when with respect to calamities, submission.

“Edwards sees no difficulty blurring the distinction between faith and obedience. The Reformed tradition, on the other hand, held that faith alone, apart from obedience, apprehends Christ for justification in him. While faith alone justifies, faith is “not alone in the person justified, but is ever accompanied with all other saving graces.””

If the idea more clearly expressed in Edwards is found in Taylor in a less developed form, then the idea in some form was “in the air” in some fashion and found its way to Edwards. I do not know the answer to the question, beyond suggesting there is a possibility of something here. It will be something to consider more carefully in future readings.

Make me thy friend, Lord, be my surety: I
Will be thy client, be my advocate.

Here he moves to the direct petition. But notice that he begins with “friend.” The love comes before the advocacy. God loves us first. “For God so love the world he gave ….” God’s love comes first in time. Moreover, James 2 tells us the obedient Abraham who believed God “was called a friend of God.” James 2:23.

A surety pays another’s debts. Forgiveness of debt is another way to consider sin: The parable of the unforgiving servant Matthew 18:21-35 speaks of forgiving sin in terms of forgiven debt.

We then finally come to the direct petition which has been the thrust of the poem, “be my advocate.” He does not doubt that the petition will be granted.

My sins make thine; thy pleas make mine hereby.

This is an allusion to

2 Corinthians 5:21 (ESV)

For our sake he made him to be sin who knew no sin, so that in him we might become the righteousness of God.

The direct substitution: Christ takes on our sin. In exchange, his righteousness pleads for us. To be righteous here has the sense of being declared to be innocent of a charge. Christ stands ready to plead our case:

1 John 2:1 (ESV)

My little children, I am writing these things to you so that you may not sin. But if anyone does sin, we have an advocate with the Father, Jesus Christ the righteous.

Thou wilt me save, I will thee celebrate.

This is an allusion to:

Psalm 50:15 (ESV)
and call upon me in the day of trouble;
I will deliver you, and you shall glorify me.

We call upon God for salvation. God will deliver us. We will praise him. Interestingly, God will save him from God.

Thou’lt kill my sins that cut my heart within:

If by the Spirit you put to death the deeds of the body, you will live. (Rom. 8:13) This is best line in the poem, both for sound and sense. There is the sharp consonants lt/k/c/t and the internal rhyme sins/within. God will kill that which is killing me.

And then we end with the self-reference to the poem (my rough feet) as itself the praise promised above.

And my rough feet shall thy smooth praises sing.

Thus, the poem ends with the certainty that the Advocate has in fact made and will make the defense. The poem is the evidence of the pardon obtained.