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Category Archives: Edward Taylor

Edward Taylor, 28th Meditation.5

13 Tuesday Oct 2020

Posted by memoirandremains in Edward Taylor, John

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28th Meditation, Edward Taylor, Gospel of John, Grace, Living Water, poem, Poetry

Where Have We Been and Where Are We Going?: The Samaritan Woman encounters Christ at the Well of ...
Paolo Veronese: Christ and the Samaritan woman at the well.

In this last stanza, Taylor shifts the metaphor slightly. Now rather than wine from a cask it is water in a spring. Just as he never directly uses the word “wine,” but rather makes the allusion, here he never uses the word “water.”

The concept of water is apparent from the words “font,” “sea,” “spring,” and to a lesser extent “flow.” The dispersion of the grace from God to Taylor is still one of great to small: a “sea” of grace which “drops” into a “vessel.” The vessel is still “earthen.” 

But here there is something new. The intake of the grace results in dispersion of the grace from Taylor, “Spring up O well. My cup with grace make flow.” The grace which comes to him is not stagnant, but flows out. 

Finally, there is one additional new movement: The reception of grace itself becomes praise: “They drops will on my vessel sing thy praise.” And finally, this will become the basis for Taylor’s praise, “I’ll sing this song, when these drops embrace.” This actually makes for an interesting move in Taylor’s poetry: As he works through a matter, we realize that the poem is not the recollection of some earlier event but is itself the working through the difficulty with God. The poem in the end is the praise which he is seeking to bring at the beginning. 

My earthen vessel make thy font also:

And let thy sea my spring of grace in’t raise

Spring up O well. My cup with grace make flow.

They drops will on my vessel sing thy praise.

I’ll sing this song, when these drops embrace.

My vessel now’s a vessel of thy grace.

In making this movement to the reception and then dispersal of grace under the image of water, Taylor is again mining the Gospel of John. There are two places in John which distinctly makes this move. The first is in John 4, where Jesus sits with the Samaritan woman at the well. He asks her for drink of water. She says the well is deep, and I have nothing to draw water. He then turns the question on her and says, she should ask him for 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. 

John 4:11–15. This is precisely the position of Taylor: He wants that living water. He knows that if he has this water, the water will well up within him so that he becomes a spring of the water:

My earthen vessel make thy font also:

And let thy sea my spring of grace in’t raise

Spring up O well. My cup with grace make flow.

He wants to become a font of the grace: it flows into and then through him.

The next source for Taylor’s imagery is found in John 7:

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.) 

John 7:37–39. Again, water flows in and then through. However, on this instance, the imagery is further complicated by introduction of the new element of the Spirit. 

Thus, in this accumulation and complication of imagery, Taylor is not operating in the “normal” vein of a poet who carefully develops a single image. But he is mining his source text for imagery concepts and is not operating in a manner contrary to John’s Gospel.

The final element in the poem comes from the final scene in John’s Gospel. When the Risen Christ appears to the Disciples, Thomas is not present and famously doubts. But when Thomas himself meets Jesus, Thomas praises, “My Lord and my God!” John 20:28.

Edward Taylor, 28th Meditation.4

10 Saturday Oct 2020

Posted by memoirandremains in Edward Taylor, John

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Edward Taylor, John, Vine, wine

Let thy choice cask, shed, Lord into my cue

A drop of juice pressed from thy noble vine.

My bowl is but an acorn cup, I sue

But for a drop: this will not empty thine.

Although I’m in an earthen vessel’s place

My vessel make a vessel, Lord, of grace.

Below, I will work through the theological and conceptual structure of this stanza. But first some work play: cask, cue, aCorn, cup – drop. DroP-Pressed-cuP.

There is the repetition of vessel, vessel, vessel. The repetition sounds and words helps to underscore emotional intensity of the situation.

There is an interesting concealment and reveal in these lines. The unsaid subject of the whole is the wine. Look at the images, “juice pressed” it comes from a “vine”, it comes from a “cask.” The wine is to be poured into an “acorn” cup, very small, wooden cup. There is also another contrast between Lord and the poet: one is of grace, one of earth.

The imagery of wine and the Christ goes back to Jacob’s blessing of Judah:

Genesis 49:10–12 (KJV 1900) 

10         The sceptre shall not depart from Judah, 

Nor a lawgiver from between his feet, 

Until Shiloh come; 

And unto him shall the gathering of the people be.

11         Binding his foal unto the vine, 

And his ass’s colt unto the choice vine; 

He washed his garments in wine, 

And his clothes in the blood of grapes: 

12         His eyes shall be red with wine, 

And his teeth white with milk. 

The image of wine is developed further. There are two ways in particular the image of wine and vine work into this stanza. First, the image of vine. This passage comes from the Gospel of John in a conversation of Jesus as he is walking with his disciples onto Mount of Olives where he will be betrayed. The Last Supper and the institution of communion (which will follow) has been made. 

This passage from John is particularly relevant to the theme of the poem. In the beginning of the Gospel, John states that Jesus is the source of all grace. In this passage at the end of Jesus’ life, as his life will be poured out in death, he will become the source of life:

John 15:1–5 (KJV 1900)

I am the true vine, and my Father is the husbandman. 2 Every branch in me that beareth not fruit he taketh away: and every branch that beareth fruit, he purgeth it, that it may bring forth more fruit. 3 Now ye are clean through the word which I have spoken unto you. 4 Abide in me, and I in you. As the branch cannot bear fruit of itself, except it abide in the vine; no more can ye, except ye abide in me. 5 I am the vine, ye are the branches: He that abideth in me, and I in him, the same bringeth forth much fruit: for without me ye can do nothing.

And as Jesus said earlier in John 14:19, “Because I live, you also will live.” Earlier in the John 1, Jesus is light and life and grace. When the poet calls himself “earthen,” this also means that she is subject to death: “That which is born of flesh is flesh.” John 3:6. In 1 Corinthians 15, Paul develops at  length the concept that the body is “perishable,” sown in weakness. In particular, 1 Corinthians 15:47, “The first man was from earth, a man of dust.” But there is a resurrection, “But thanks be to God who gives us victory through Jesus Christ.” 

So to be a vessel of grace is not merely a matter of some sort of psychological benefit. It is the question of “salvation;” which is a matter of life:

John 3:16 (KJV 1900)

16 For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life.

What is not exactly clear to me in this stanza is whether the “choice cask” has a particular reference.

One further wine reference is necessary. When Jesus institutes the Lord’s Supper, he gives them the cup (again a reference in the poem: the poet’s cup), “Drink of it, all of you, for this is my blood of the covenant, which is poured out for many for the forgiveness of sins.” (Matt. 26:27-28.)

Thus, by asking for the cup, the poet is asking to partake of the “new covenant in my blood” (Luke 22:20). He is calling for grace: which is life, which is salvation from all the effects of the Fall.

Edward Taylor, 28th Meditation.3

08 Thursday Oct 2020

Posted by memoirandremains in Edward Taylor, Grace, Martin Luther, Puritan

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28th Meditation, Edward Taylor, Grace, John 1, Literature, poem, Poetry

Thou, thou my Lord, art full, top full of Grace,

The golden sea of grace whose springs thence come

And precious drills, boiling in every place.

Untap they cask and let my cup catch some

Although it is in an earthen vessel’s case

Let it no empty vessel be of grace.

This stanza begins with two stressed syllables separated by a pause: THOU — THOU my LORD…. The emphasis thus falls most heavily upon the addressee. This functions almost as a new invocation: he has asked to fill him, and here he repeats and makes even more emphatic the call for grace. 

In the second half of the line, Taylor does something similar where he repeats “full” with an emphasis falling on the second full (which is not merely full, but is “top full”). 

Although it is a “fault” with the line, it ends with an emphasized “grace”. The fault is that Taylor has put 6 stresses in a 5 stress line. Yet even though it is a technical fault, it helps underscore the desire of the poet. I truly need this. 

The second line smooths out with a fine alliteration of “g” from the end of the first line: grace … golden … grace.

The springs are rising up from the depth of the sea: the sea is so completely filled with grace, and grace wells-up continually so that the surface is “boiling” with rising streams of grace. And so matches the nature of the gospel of our grace: Our need is continual, but the grace of God in Jesus Christ is greater, inexhaustible. No matter the depth of our need, it cannot begin to exhaust the supply. 

A hymn has it

Grace, grace, God’s grace

Grace that is greater than all our sin.

The theology which underlies Taylor’s prayer in this poem: his own inability and need vs. Christ’s inexhaustive grace owes much to Luther’s statement in the Heidelberg Disputations no 18, “It is certain that one must utterly despair of oneself in order to be made fit to receive the grace of Christ.” Whether Taylor ever read the disputations, I do not know. But the theology set forth there was much developed by Lutheran and Reformed theologians and showed up theology which Taylor would have known.

He then uses the image of a cask filled with wine: He asks that the cask be tapped and that the grace flow into the empty, earthen vessel, until it is full:

Untap they cask and let my cup catch some

Although it is in an earthen vessel’s case

Let it no empty vessel be of grace.

Edward Taylor, 28th Meditation.2

30 Wednesday Sep 2020

Posted by memoirandremains in 2 Corinthians, Edward Taylor, Lord's Supper, Uncategorized

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28th Meditation, Communion, Edward Taylor, Noetic Effects of Sin, The Lords Supper

Lord clear the cost: and let thy sweet sun-shine

That I may better speed a second time:

Oh! Fill my pipkin with thy bloodred wine:

I’ll drink thy health: to pledge thee is no crime.

Although I but an earthen vessel be 

Convey some of my fullness to thee.

The image of a coast picks up on the “befogged dark fancy, clouded mind.” In days before the Coast Guard and lighthouses and radar and exhaustive maps, a cloudy coast would be an enormous danger. 

Here the coast is not a physical location, but rather the affections and mind “befogged” by the effects of sin and the fall. Without going through the entire doctrine here, which goes under the title “the noetic effects of sin,” it is sufficient to know that the residual effects of sin persist as long we exist in this world. And while there is improvement in this life under the operation of the Spirit and the Word, the effects persist.

Taylor here prays that the effects of sin be lifted: rather than fog, “let thy sweet sun-shine.” The hope of this transformative effect is that he will be able to rework the poem and create something more worthy. The poem is losing glory, because it lost it ways.

Perhaps Taylor is referring to an earlier version of the poem which he destroyed. But based upon this being a persistent claim, in various forms, which is seen throughout his corpus, it could be just his difficulty at the beginning of the poem.

In the remainder of the stanza he brings up the method of this shining light. Since the poems were written in preparation for communion, the reference of “blood red wine” is to the wine of communion. 

The nature of communion as a joy, while often not emphasized, is not absent from the ceremony. First, the Supper takes over for the Feast of Passover, which while in stressful circumstances also celebrates the escape from Egypt. Second, while the ceremony recalls the Lord’s Death, we also call that day “Good Friday.” Third, the ceremony recalls the Lord’s Death until he comes. The ceremony is based upon the Lord’s life and looks forward to the Lord’s return.

But there is another level of this image: He asks to have his “pipkin,” his small cup, is to be filled with wine. But in the last line, the image of “wine” is recounted as “fullness”:

Convey some of thy fullness into me.

“Fullness” is a reference to the fullness of grace in the moto for the poem, “16 And of his fulness have all we received, and grace for grace. 17 For the law was given by Moses, but grace and truth came by Jesus Christ.” Thus, it is the fullness of grace he is praying to receive.

The pipkin is repeated in the fifth line of the stanza as an “earthen vessel”. The move to an earthen vessel may seem disjointed on the face of the stanza, but when we see the nature of the illusion, Taylor’s relationship makes sense. 

Taylor is referring to 2 Corinthians 4:7, where Paul writes that “we have this treasure in jars of clay.”  While the reference to clay has become a bit of a Christian cliché to refer generally to the weakness of human beings, Taylor picks up this image not merely as a form self-abasement, but because the passage relates to his twin themes in this stanza of fullness of Christ’s grace and light to drive away the fog.

The treasure Paul identifies is  the “light of the glory of Christ, who is the image of God.”  The fuller passage reads as follows:

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. 

2 Corinthians 4:5–7.

Edward Taylor, 28th Meditation.1

26 Saturday Sep 2020

Posted by memoirandremains in Edward Taylor, Literature, Puritan

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28th Meditation, Edward Taylor, Meditation, poem, Poetry, Puritan Poetry, When I Lord send some bits of glory home

The 28th Meditation of Edward Taylor takes as its text John 1:16. In context, the passage (as it would have stood in Taylor’s Bible) reads as follows:

14 And the Word was made flesh, and dwelt among us, (and we beheld his glory, the glory as of the only begotten of the Father,) full of grace and truth. 15 John bare witness of him, and cried, saying, This was he of whom I spake, He that cometh after me is preferred before me: for he was before me. 16 And of his fulness have all we received, and grace for grace. 17 For the law was given by Moses, but grace and truth came by Jesus Christ. 18 No man hath seen God at any time; the only begotten Son, which is in the bosom of the Father, he hath declared him. 

John 1:14–18  

The poem will center upon the receipt of the grace which is in the Word made Flesh. However, as is a consistent theme in Taylor, it begins with the distance from God and the disorder of mind. Although not discussed in this place, the noetic effect of sin – the disordering effect of sin upon the thoughts, affections and behavior – lies behind  his description of his sense as “bewildered” and his “befogged dark fancy”. 

It should be noted that the effects are not simply in a cause-and-effect relationship with some particular sinful action, but are inherent in any human being on this earth. The damage done by Adam’s fall is not completely removed prior to one’s death and personal resurrection.

The poem begins with a self-conscious discussion of the poem itself as a matter of praise, sending some “glory home”. But this glory is returned in small sums, “bits” rather than in “lumps.” (Incidentally, “lumps” does not have the negative connotations it does in contemporary vernacular.) The first stanza reads:

When I Lord, send some bits of glory home

(For lumps I lack) my messenger, I find,

Bewildered, lose his way being alone

In my befogged dark fancy, clouded mind.

Thy bits of glory packed in shreds of praise

My messenger doth lose, losing his ways.

The first line creates an interesting rhythmic effect by beginning with a Bacchic foot: “when I LORD” followed by a pause.  The unusual English rhythm ending on a stress followed by a pause is difficult to read. The awkwardness creates an emphasis on the words. The vocative, Lord, would normally stand at the beginning of a clause, “Lord, when I send ….” Thus, the relationship between “I” and “Lord” is foregrounded.

The remainder of the first line and the second then flow along more easily. However, the poem introduces a puzzling reference, “my messenger”. The messenger is the means by which he is returning glory to the Lord. The precise identity of the messenger is not otherwise clarified. What is the means by which he is sending glory home: the messenger is the poem itself.

And so, as is common in Taylor, his poem is in part about the poem itself. His thinking which creates the poem is bewildered. His “befogged dark fancy” would be the weakness of his ability to conceive and create the poem.

And here comes the problem: he seeks to return some glory to the Lord within the praise which is the poem itself, but the glory falls out (is lost) from the poem:

Thy bits of glory packed in shreds of praise

My messenger doth lose, losing his ways.

Edward Taylor, Oh Wealthy Theme.4

01 Saturday Aug 2020

Posted by memoirandremains in Christology, Edward Taylor

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christology, Edward Taylor, Justice, mercy, poem, Poetry

All office fulness with all office gifts

Embossed are in thee, whereby thy grace

Doth treat both God and man, brings up by hifts

Black sinner and white justice to embrace:

Making the glory of God’s justice shine

And making sinners to God’s glory climb.

Office:  At this point, Taylor is using the standard theological language of “office” to describe the work of Jesus Christ. It is a reference to particular aspects of Christ’s work as prophet, priest and king. The Westminster Shorter Catechism, questions 23-27 read as follows:

Q. 23. What offices doth Christ execute as our Redeemer?

A. Christ, as our Redeemer, executeth the offices of a prophet [a], of a priest [b], and of a king [c], both in his estate of humiliation and exaltation.

[a]. Deut. 18:18; Acts 2:33; 3:22-23; Heb. 1:1-2

[b]. Heb. 4:14-15; 5:5-6

[c]. Isa. 9:6-7; Luke 1:32-33; John 18:37; 1 Cor. 15:25

Q. 24. How doth Christ execute the office of a prophet?

A. Christ executeth the office of a prophet, in revealing to us, by his Word [a] and Spirit [b,] the will of God for our salvation [c].

[a]. Luke 4:18-19, 21; Acts 1:1-2; Heb. 2:3

[b]. John 15:26-27; Acts 1:8; 1 Pet. 1:11

[c]. John 4:41-42; 20:30-31

Q. 25. How doth Christ execute the office of a priest?

A. Christ executeth the office of a priest, in his once offering up of himself a sacrifice to satisfy divine justice [a], and reconcile us to God [b]; and in making continual intercession for us [c].

[a]. Isa. 53; Acts 8:32-35; Heb. 9:26-28; 10:12

[b]. Rom. 5:10-11; 2 Cor. 5:18; Col. 1:21-22

[c]. Rom. 8:34; Heb. 7:25; 9:24

Q. 26. How doth Christ execute the office of a king?

A. Christ executeth the office of a king, in subduing us to himself, in ruling and defending us [a], and in restraining and conquering all his

and our enemies [b].

[a]. Ps. 110:3; Matt. 28:18-20; John 17:2; Col. 1:13

[b]. Ps. 2:6-9; 110:1-2; Matt. 12:28; 1 Cor. 15:24-26; Col. 2:15

What Taylor means is that Christ fulfills the work of prophet, priest and king in the Incarnation, and that also Christ has the “gifts,” the abilities to fulfill such work.

Treat God and man: Christ, in his unique position as God Incarnate can deal equally with God and with Human Beings. He can communicate between the two as a bridge before the finite and infinite, the creator and creature. 

Justice and mercy: The concept which causes Taylor to so praise, is that Christ, by means of his unique position being God and Man, can reconcile two completely opposite demands. 

Justice by its nature requires satisfaction of the guilty party. If one is guilty, it is unjust for the law to ignore the demand. To understand this point, perhaps you need to feel it. 

Imagine that someone you dearly loved was victimized by a brutal criminal. This criminal was then brought before a judge, where the fact of the crime was unquestionably established. However, the judge simply determined to let the criminal free without any penalty. You would rightly be angry: the law was unjust in permitting the guilty to go free. 

Thus, God – to be God – must be perfectly just and cannot ignore crime. 

However, this presents an unsolvable problem for humanity. The wrong done to an infinitely perfect being does not permit an easy resolution. What could we possibly do to satisfy the justice of God? 

The prophet Micah put it this way:

Micah 6:6–7 (ESV) 

            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?” 

What we need is mercy from God. 

How then can God be perfectly just (fully punishing crime) and merciful (passing over crime)? 

Jesus as God and Man stands in for humanity. God’s justice is brought upon Jesus who suffers as a substitute and thus obtains mercy for human beings. In the act of faith and repentance, God transfers our guilt to Christ and Christ’s righteousness to us and so the sinner and justice “embrace.”

Edward Taylor Oh Wealthy Theme.3

24 Friday Jul 2020

Posted by memoirandremains in Christology, Edward Taylor

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Christ, Edward Taylor, poem, Poetry, Puritan Poetry

Oh! Wealthy box: more golden far than gold

A case more worth than wealth: a richer delph

Than rubies; cabinet than pearls here told

A purse more glittering than glory ‘tiself

A golden storehouse of all fullness: shelf

Of heavenly plate. All fullness in thyself. 

The box which holds the fullness of Christ, then must be Christ himself. He compares Christ to a box, a case, a cabinet, a purse, a storehouse, a shelf.  For each compared container, Christ is worth more than any earthy good which could be placed into the container; of more worth than gold, rubes, pearls, silver. 

Delph would be variant of a delft, a decorative box. 

Oh! Godhead fullness! There doth in thee flow

All wisdom’s fulness, fulness of all strength:

Of justice, truth, love, holiness also

And grace’s fulness to its upmost length

Do dwell in thee. Yea and thy Father’s pleasure

Thou art their cabinet and they thy treasure.

This stanza makes two points. First, it details the elements of the fullness, which is a summary of biblical statements about Christ. Second, there is a statement of the Father’s pleasure in the Son. 

This stanza is then linked up to the preceding argument by use of the word “cabinet”. Christ is the “cabinet” in which these virtues reside. And the Father then takes pleasure in the cabinet filled with treasure, which is the Son incarnate.

Wisdom:

Colossians 2:1–3 (ESV) 

For I want you to know how great a struggle I have for you and for those at Laodicea and for all who have not seen me face to face, 2 that their hearts may be encouraged, being knit together in love, to reach all the riches of full assurance of understanding and the knowledge of God’s mystery, which is Christ, 3 in whom are hidden all the treasures of wisdom and knowledge. 

Strength:

1 Timothy 1:12 (ESV) 

12 I thank him who has given me strength, Christ Jesus our Lord, because he judged me faithful, appointing me to his service, 

Justice:

Matthew 12:18–21 (ESV) 

            18         “Behold, my servant whom I have chosen, 

my beloved with whom my soul is well pleased. 

                        I will put my Spirit upon him, 

and he will proclaim justice to the Gentiles. 

            19         He will not quarrel or cry aloud, 

nor will anyone hear his voice in the streets; 

            20         a bruised reed he will not break, 

and a smoldering wick he will not quench, 

                        until he brings justice to victory; 

            21         and in his name the Gentiles will hope.”

Truth:

John 1:17 (ESV) 

17 For the law was given through Moses; grace and truth came through Jesus Christ. 

Holiness:

Romans 1:4 (ESV) 

4 and was declared to be the Son of God in power according to the Spirit of holiness by his resurrection from the dead, Jesus Christ our Lord, 

Grace

2 Corinthians 8:9 (ESV) 

9 For you know the grace of our Lord Jesus Christ, that though he was rich, yet for your sake he became poor, so that you by his poverty might become rich. 

Pleasure:

Mark 1:9–11 (ESV) 

9 In those days Jesus came from Nazareth of Galilee and was baptized by John in the Jordan. 10 And when he came up out of the water, immediately he saw the heavens being torn open and the Spirit descending on him like a dove. 11 And a voice came from heaven, “You are my beloved Son; with you I am well pleased.”

Edward Taylor, Oh Wealthy Theme.2

22 Wednesday Jul 2020

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Edward Taylor, Meditations, Oh Wealthy Theme, poem, Poetry

What shall I say? Such rich fullness would

Make stammering tongues speak smoothly, and enshrine 

The dumb man’s mouth with silver streams like gold

Of eloquence making air to chime

Yet I am tongue-tied, stupid, senseless stand,

And drier drained than is my pen I hand.

There is an irony in this stanza: The theme of the fullness of Christ would make a “stammering tongue speak smoothly”. And yet, Taylor is unable to speak smoothly – the theme which would make the dumb speak, fails to make him – a man of some talent – able to speak at all. 

In fact, he does not merely fail to rise to the occasion, he fails completely: his speaking tongue is tied, he has less ability to write than his quill pen without ink.

There is another level of irony in this structure: lines 1-4 run smoothly, they are eloquent. The meter and sentence structure are free and the lines run easily. And so the thought of the theme creating eloquence is in fact eloquent. 

But when Taylor comes to himself, in the last two lines, the lines stammer. The fifth line is simply ungrammatical:

Yet I am tongue-tied, stupid, senseless stand,

If we remove the middle phrases it reads, Yet I am senseless stand. The necessary addition which must come before final clause (I… senseless stand) is missing, and so the line is tongue-tied. He is becoming stupid (unable to speak) in the act of considering his senselessness. 

Likewise the last night also ends with poor grammar – forced by the length of the line and the need for a rhyme:

And drier drained than is my pen I hand.

The last word must be “hold” “that is my pen I hold.” But “hold” will not rhyme, and so Taylor forces “Hand” into that space. Interestingly a modern writer would like use hold – if rhyme were the only rule being broken. But Taylor maintains the rhyme and kills the sense. It is a deft touch.

It would be easy to read this stanza as merely being ill-constructed, perhaps a draft waiting for the final version. But I think it is purposeful. I make that conclusion because the first four lines do run smoothly. It is in the act of considering his own lack of merit that the poem begins to “lack merit.” 

The poem in structure is what means by sense: I am a bad writer, and thus he writes poorly. He begins to write poorly as soon as the question of his ability presents itself. 

Edward Taylor, Oh Wealthy Theme.1

21 Tuesday Jul 2020

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Edward Taylor, Oh Wealthy Theme, poem, Poetry

Oh! Wealthy theme!

The Scripture reference for this poem (Taylor’s Meditations were mediations on particular passages of Scripture) is Colossian 1:19. This particular verse comes in a midst of a poem concerning the unique nature of Jesus Christ, as both God and man. The particular verse chosen by Taylor reads

For in him [Christ] all the fullness of God was pleased to dwell.

This passage is related to another passage also by Paul describing Christ found in 1 Corinthians 1:30

Christ Jesus who became to us wisdom from God, righteousness and sanctification and redemption..

One way to think of the Christian understanding of Christ is to see Jesus Christ holding a position between God and humanity. God does us good in Christ; and God reconciles us to Him in Christ.  When Jesus says, “No one gets to the Father except through me,” that is built up in the concept. 

It is this extraordinary concept, that the fullness of God dwells in Jesus – which is both wonderful and paradoxical in the extreme (the infinite and the finite bound up) which leads Taylor to begin (By “fancy” he means “imagination”)

Oh! Wealthy theme! Oh! Feeble fancy: I

Must needs admire, when I recall to mind

That’s fullness, this it’s emptiness, though spy

I have no flowering brain thereto incline. 

May damps do out my fire. I cannot, though

I would admire, find heat enough thereto.

The first line has an odd structure, because it has three major breaks. The final “I” following the colon hurries the thought over into the second line; it feels like falling down a stair.

The third line is difficult to. I believe that it should be elongated as follows:

That is its (the theme) or that is his (Christ’s or God’s) fullness; this it’s emptiness (the it must be Taylor’s “fancy” or Taylor himself). 

Though spy: must mean: notice this: look.

The idea must be a contrast between the theme of “fullness” and Taylor’s “emptiness”. 

The fourth line is a good example of Taylor’s poetic reasoning: Rather than elaborate a single metaphor at length, he tends to pull up imagery, even when it does not have obvious connections. In these last three lines he moves from flowering to a furnace. 

His “flowering brain,” would be a brain which could produce the necessary understanding and language – he does not have a “flowering brain,” which is another way of stating that he does not have sufficient “fancy”. (The term “fancy” had a very particular intellectual meaning in the 17th Century. 

Jonathan Edwards, a generation after Taylor, uses the phrase, a “very fruitful brain and copious fancy.”  [Jonathan Edwards, “‘Images of Divine Things’ ‘Types,’” in Typological Writings, ed. Wallace E. Anderson, vol. 11, The Works of Jonathan Edwards (New Haven; London: Yale University Press, 1993), 32.] Which is similar to flowering brain and fancy being mixed.

Edwards also draws together fancy and fire in the following passage:

“Observe the danger of being led by fancy; as he that looks on the fire or on the clouds, giving way to his fancy, easily imagines he sees images of men or beasts in those confused appearances.” Jonathan Edwards, “‘Images of Divine Things’ ‘Types,’” in Typological Writings, ed. Wallace E. Anderson, vol. 11, The Works of Jonathan Edwards (New Haven; London: Yale University Press, 1993), 116.

Perhaps some such thinking (seeing images in a fire) lead Taylor to draw fancy and a fire(furnace) together.

The last two lines draw upon the concept of “heat” as the basis for human conduct and intellectual production. Although perhaps uncommon to us, it was not a strange way of thinking for one of Taylor’s time. (For example, “   Christians are to receive such as are weak in the faith into their hearts by love, and not to trouble or heat their heads with cramping disputes.” James Nichols, Puritan Sermons, vol. 4 (Wheaton, IL: Richard Owen Roberts, Publishers, 1981), 372.)

The “damps” are the dampers on a furnace to keep a furnace from overheating. His natural inclinations and dullness prevent a sufficient rise in his imagination.

A Comparison of Tennyson and Edward Taylor

26 Friday Jun 2020

Posted by memoirandremains in Edward Taylor, Tennyson

≈ 2 Comments

Tags

Edward Taylor, Lord Tennyson, Poetry, Prayer, Sin, St. Agnes Eve, Tennyson

(This lovely picture is entitled “Alaska Moonlight” by JLS Photography.)

St. Agnes’ Eve by Tennyson forms an interesting counterpart to the Taylor’s Was There a Palace of Pure Gold (Meditation 24).  Both poems are driven by the desire to be with God.  

Both concern a present a present desire to be with God and the need to be fit for such a translation. But despite the similar concern the effect and content of both poems is remarkably different. 

The First Stanza:

Deep on the convent-roof the snows 

Are sparkling to the moon: 

My breath to heaven like vapour goes; 

May my soul follow soon! 

The shadows of the convent-towers 

Slant down the snowy sward, 

Still creeping with the creeping hours 

That lead me to my Lord: 

Make Thou my spirit pure and clear 

As are the frosty skies, 

Or this first snowdrop of the year 

That in my bosom lies. 

Summary: The poet is perhaps a nun of some sort “the convent-roof”; or at least a deeply religious person. One a cold night, while looking over the moonlight snow, the poet’s breath fogs and lifts toward heaven. That leads to a thought of the poet’s soul likewise ascending:

My breath to heaven like vapour goes; 

May my soul follow soon! 

In this desire to be with God, the present time consists of “shadow” and “creeping hours”.  Thus, the prayer that the poet’s spirit may ascend. Like Taylor the poet prays that the soul be purified, “Make thou my spirit pure and clear.” But unlike Taylor there is no meditation on one’s own sinfulness. In fact, the sense is different. The poet’s mediation is made a convent and the sense is a cold, chaste, unworldly desire. 

There are two other marked differences between the poets. Taylor rhythm and imagery are complex, contradictory, often jarring. But Tennyson writes great polish. 

The rhythm is meticulous held in check to draw attention precisely as the poet intends:

DEEP on the CONvent-ROOF the SNOWS 

Are SPARKling TO the MOON: 

My BREATH to HEAven like VAPour GOES; 

MAY my SOUL FOLlow SOON! 

The initial deep slows down the entire scene. The line break, the semicolon and the two accented syllables slow down the movement of the verse and throw the emphasis on the initial syllable of the prayer, “MAY”. 

The imagery is all of a picture: nothing which is not organic to the scene intrudes. A cold night, the snow, the moon, the freezing breath are all of the same event.  

Taylor by contrast would draw together images which have a certain conceptual link, even if in “nature” they would never be found together. Taylor would bring together any number of beautiful images, even if those images have no natural correspondence in the “real world.” I could image Taylor writing of moonlight and the glint of a fish’s scales and the sunshine and a white flower and a ruby, because they all flash light: eventhough sun and moon can never both shine at once.

Here is another similarity to Taylor. Tennyson’s prayer acknowledges an unfitness for heaven, robes are “soiled”, the candle is pale, earthy. Taylor would rail and bemoan his unfitness. Tennyson is more Platonic and less moral. Tennyson sees the physical body as an ontological impediment. Taylor seems the human trouble as more profound.  Both speak of new clothes, but Taylor is more desperate and disgusted. Tennyson sees the current trouble being merely the need for an invitation to ascend:

As these white robes are soil’d and dark, 

To yonder shining ground; 

As this pale taper’s earthly spark, 

To yonder argent round; 

So shows my soul before the Lamb, 

My spirit before Thee; 

So in mine earthly house I am, 

To that I hope to be. 

Break up the heavens, O Lord! and far, 

Thro’ all yon starlight keen, 

Draw me, thy bride, a glittering star, 

In raiment white and clean. 

When Tennyson comes to the doors of heaven, he will be cleared of “sin”; it will be a purging at that time and place,

For me the Heavenly Bridegroom waits, 

To make me pure of sin. 

Taylor too sees the need for the work to be on God’s side: “Oh! That my heart was made thy golden box.” And both see that they will be admitted by God’s grace. But there is one point on which they profoundly differ:

He lifts me to the golden doors; 

The flashes come and go; 

All heaven bursts her starry floors, 

And strows her lights below, 

And deepens on and up! the gates 

Roll back, and far within 

For me the Heavenly Bridegroom waits, 

To make me pure of sin. 

The sabbaths of Eternity, 

One sabbath deep and wide— 

A light upon the shining sea— 

The Bridegroom with his bride! 

In Tennyson’s poem, the one who is praying has no conflict in the passions. The desire to be God is perfect and consistent: just like the flow of the poem’s language. All of is a consistent piece. The poet desires to be God. The poet trusts that God will work and raise the poet up. 

Taylor too has faith in God’s work and a desire to be God. But in Taylor there is a profound sense of the conflict and inconsistency of religious desire.  

Tennyson’s prayer contains no conflicting emotion.  The covenant towers which reach up toward heaven cast moon-shadows upon the earth. Time on earth creeps. The breath and soul ascend to God by their own nature movement. 

Taylor objectively sees how much better it is to be with God. But then he sees the conflicting desires of his heart which also seeks the earth. Taylor confesses to a desire contrary to God. Taylor is in love with the earth. The breath ascends upward from the convent. But Taylor would also be thinking of the warm bed which waits within, and of the good meal waiting in the morning.

Tennyson’s poem is the prayer of a “saint” who experiences no contrary desire. It is far more beautiful than Taylor’s conflicted mess. Tennyson’s saint would never call herself, “More blockish than a block.” She is a saint, after all. 

But that I thinks makes Taylor’s poem more honest. Tennyson’s saint has achieved a sort of earthly perfection. While Taylor’s penitent is horrified at his conflicted hearts which desires those things which are at odds with his own happiness. As John writes, “If we say we have no sin, we deceive ourselves and the truth is not in us.”

Tennyson’s saint admits to some lurking imperfect, but the poem does not express that terrified sense of sin which makes up Taylor’s meditations.

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