Tag Archives: 28th Meditation

Edward Taylor, 28th Meditation.5

13 Tuesday Oct 2020

Posted by in Edward Taylor, John

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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.3

08 Thursday Oct 2020

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

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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 in 2 Corinthians, Edward Taylor, Lord's Supper, Uncategorized

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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 in Edward Taylor, Literature, Puritan

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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.