Another thought on Taylor and Tennyson

26 Friday Jun 2020

Posted by memoirandremains in Psalms, Uncategorized

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The great difference between the two poems lies in the way the poet perceives himself on coming to God. Taylor sees himself as wretched and weak; Tennyson, while giving some acknowledgement of sinfulness, comes as a “saint”.

Psalm 6 is also a poem of coming to God, which begins:

Psalm 6:1–3 (AV)

¹O LORD, rebuke me not in thine anger, neither chasten me in thy hot displeasure. ²Have mercy upon me, O LORD; for I am weak: O LORD, heal me; for my bones are vexed. ³My soul is also sore vexed: but thou, O LORD, how long?

Charles Spurgeon, in The Treasury of David, writes:

“Have mercy upon me, O Lord; for I am weak.” Though I deserve destruction, yet let thy mercy pity my frailty. This is the right way to plead with God if we would prevail. Urge not your goodness or your greatness, but plead your sin and your littleness. Cry, “I am weak,” therefore O Lord, give me strength and crush me not. Send not forth the fury of thy tempest against so weak a vessel. Temper the wind to the shorn lamb. Be tender and pitiful to a poor withering flower, and break it not from, its stem. Surely this is the plea that a sick man would urge to move the pity of his fellow if he were striving with him, “Deal gently with me, ‘for I am weak.’ ” A sense of sin had so spoiled the Psalmist’s pride, so taken away his vaunted strength, that he found himself weak to obey the law, weak through the sorrow that was in him, too weak, perhaps, to lay hold on the promise. “I am weak.” The original may be read, “I am one who droops,” or withered like a blighted plant. Ah! beloved, we know what this means, for we, too, have seen our glory stained, and our beauty like a faded flower.

And so, while not the only thing to say on the topic, Edward Taylor has come in the vein of the one who was weak.

A Comparison of Tennyson and Edward Taylor

26 Friday Jun 2020

Posted by memoirandremains in Edward Taylor, Tennyson

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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.

Edward Taylor, Was there a palace of pure gold.3

24 Wednesday Jun 2020

Posted by memoirandremains in Edward Taylor, Worship, Worship

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Edward Taylor, Literature, Poems, Poetry, Praies, Praise, Romans 12:1

Having fully set out the problem, Taylor prays for a resolution. If he is not adequate by nature, then he seeks to be made adequate by grace. That is, it is not a work of Taylor’s effort, but a work of God, “this worthy work of thine.”

The prayer is threefold: first that his heart be made a sacred vessel (thy golden box); second, filled with the correction disposition (love divine); third, offered up to God.

Oh! That my heart was made thy golden box

Full of affections and of love divine

Knit all in tassels, and the true-love knots,

To garnish o’re this worthy work of thine.

This box and all therein more rich than gold

In sacred flames I to thee offer would.

The image of gold is used for those things most proper to God. In the previous stanza the poet notes that he had tied “knots” – had decorated the “earth’s toys” lovingly with flowers; but in this stanza, the God-given new heart would decorate the be a “golden box” impossibly knit together from tassels and flower (knots).

The box would contain “affections” and “love divine”.

The golden box so decorated would be more wonderful than a mere gold box.

And last, the box would then be offered up as a sacrifice to God. He would spend this box “in sacred flames.”

The concept of sacrifice here may sound odd, because a fiery sacrifice would be the destruction of the golden box. While Taylor is perfectly willing to mix metaphors (a golden box made of flowers), the concept here is more likely the concept of a “living sacrifice”:

Romans 12:1 (AV)

¹I beseech you therefore, brethren, by the mercies of God, that ye present your bodies a living sacrifice, holy, acceptable unto God, which is your reasonable service.

If he so reworked and remade, then he will be fit for that heavenly pleasure he desires:

With thy rich tissue my poor soul array:

And lead me to thy Father’s House above.

Thy graces’ storehouse make my soul I pray.

Thy praise shall then wear tassels of my love.

If thou conduct me in thy Father’s Ways,

I’ll the golden trumpet of thy praise.

The word “tissue” does not here mean an insubstantial paper. The older meaning was a cloth interwoven with gold or silver: the clothing of royalty. And so dress me like a prince and lead to the Father’s House.

Father’s House comes the Lord’s words in the Upper Room:

John 14:1–2 (AV)

¹Let not your heart be troubled: ye believe in God, believe also in me. ²In my Father’s house are many mansions: if it were not so, I would have told you. I go to prepare a place for you.

By the way, “mansion” does not mean separate enormous houses: the Greek here speaks of a place to live, a dwelling place.

The prayer to be led, is a common prayer in the Psalms; which undoubtably was behind Taylor’s prayer in the poem. For instance:

Psalm 43:3 (AV)

³O send out thy light and thy truth: let them lead me;

let them bring me unto thy holy hill, and to thy tabernacles.

He prays not merely to be led, but rather for the entire renovation of the soul to be a storehouse filled with grace. The idea of grace is free work of God in him: it is the good which God does and gives.

Then finally being filled with God’s grace and no longer a “leaden mind”, a “blockhead”, he will burst forth in praise. In fact, the praise will be “tassels” a decoration of his love: thus bringing the image of a decorated heart again into view.

This time, if God will bring Taylor to that “Palace of Pure Gold” he will no longer be dumb but will now offer praise.

Edward Taylor, Was there a palace of gold.2

18 Thursday Jun 2020

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1 John 2, Edward Taylor, Love of world, Meditation 24, poem, Poetry, Puritan, Was there a palace of gold

What could possibly motivate God to show grace? And if God were inclined in general to do good, why would he do good to such a one as the poet? This is a central mystery in Christianity as Paul write in Romans 5:8, “But God commendeth his love toward us, in that, while we were yet sinners, Christ died for us.”

Christ does not die so that we will be loved. Rather, God loves us first. The cross is provided because God loves us – not so that God will love us.

This leads to the paradox which Taylor considers: If God does me so much good, why do I return so little? Love naturally begets love; but the love which Taylor shows to God is nothing compared to the love which God has shown him.

What aim’st at, Lord? That I should be so Cross.

My mind is leaden in thy golden shine.

Though all o’re Spirit, when this dirty dross

Doth touch it with its smutting leaden line.

What shall an eagle t’catch a fly thus run?

Or Angel dive after a mote int’sun?

What is the intention of God, when Taylor is

Lead; where God is gold

Dross, filth; where God is Spirit.

What motivation could there be? Why would an eagle waste its time to capture a fly; or an angel chase a speck of dust.

How then can Taylor remedy the trouble? He will take “vengeance” upon himself for his improper response to God’s love.

And yet, all he can muster is a mismatch: I should have actual tears in my eyes for my wretchedness, but all I can offer is the idea: these words, this poem:

What folly’s this? I fain would take, I think,

Vengeance upon myself: But I confess,

I can’t. Mine eyes, Lord, shed no tears but ink.

My handy works, are words and wordiness.

Earth’s toys wear knots of my affections, nay,

Though from thy glorious self, they stole away.

The trouble is in Taylor’s affections. Affections are deeper word than an emotion; it is the emotion with the matching desire. To love or hate are both affections; but rather than a brief feeling, the affection deeper, more settled.

Taylor knows that he should love. Then not loving well, he should have sorrow for his sinful lack of love. But he cannot even manage that sorrow. The trouble is his heart is set too fully upon “toys”.

A “knot” is a bouquet of flowers. The image is the various “toys” being dressed with loving affection.

To understand Taylor, you must understand how Taylor thought:

Love not the world, neither the things that are in the world. If any many love the world, the love of the Father is not in him. For all that is in the world, the lust of the flesh, and the lust of the eyes, and the pride of life, is not of the Father, but is of the world.

1 John 2:15-16. This does mean a hatred of human beings: there is a command to love human beings. This does not mean destruction of the world. The world is given as a stewardship: it belongs to God, but cared for by us. In John, the “word” means the system of being in rebellion against God.

You must think of the world like the Witch’s House in Handsel and Gretel: it is made of candy, but it is a trap. Having fully set out the problem, Taylor must

Edward Taylor, Was there a palace of gold.

16 Tuesday Jun 2020

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Edward Taylor, poem, Poetry

The poem begins with a fantastic, impossible scene of the throne of God. The subjective, if such a place actually existed, does not deny the existence of such a place, but rather underscores the desire:

The image only in generalities tracks any biblical scene. The references to gemstones here – and in Scripture – as well as impossibly beautiful, even absurd (a cushion of sunshine, what could that even as a concrete item?) hints to the reason why such things even exist as gemstones: They are concrete items to act as metaphors to the heavenly original. They give us an inkling as to the marvel. It is sort of a reverse Platonism. Rather than the earth being a copy of the heavenly; the earth is given as a metaphor for the heavenly.

Was there a palace of gold, all ston’d

And pav’d with pearls, whose gates rich jaspers were

And throne a carbuncle whose king enthroned

Sat on a cushion all of sunshine clear

Whose crown a bunch of sunbeams was: I should

Prize such as in his favor shrine me would.

A carbuncle is a ruby.

Thus, if there were such a place, I would give anything to be there. But how could I ever gain entrance?

There are only two possibilities: To earn it or to receive as a gift. And Taylor, being a Christian, knows that salvation is of grace; not of personal merit:

Was there a palace of gold, all ston’d

And pav’d with pearls, whose gates rich jaspers were

And throne a carbuncle whose king enthroned

Sat on a cushion all of sunshine clear

Whose crown a bunch of sunbeams was: I should

Prize such as in his favor shrine me would.

The Lord of perfect purity is the one who opens (opes) the entrance. Standing behind this scene is the concept of Psalm 24:

Psalm 24 (ESV)

A Psalm of David.

¹ The earth is the Lord’s and the fullness thereof,

the world and those who dwell therein,

² for he has founded it upon the seas

and established it upon the rivers.

³ Who shall ascend the hill of the Lord?

And who shall stand in his holy place?

⁴ He who has clean hands and a pure heart,

who does not lift up his soul to what is false

and does not swear deceitfully.

⁵ He will receive blessing from the Lord

and righteousness from the God of his salvation.

⁶ Such is the generation of those who seek him,

who seek the face of the God of Jacob. Selah

⁷ Lift up your heads, O gates!

And be lifted up, O ancient doors,

that the King of glory may come in.

⁸ Who is this King of glory?

The Lord, strong and mighty,

the Lord, mighty in battle!

⁹ Lift up your heads, O gates!

And lift them up, O ancient doors,

that the King of glory may come in.

¹⁰ Who is this King of glory?

The Lord of hosts,

he is the King of glory! Selah

Who may enter into this holy place? Only one who is perfect. Who is such a one? The King of Glory. And who is the King of Glory? Jesus Christ. The psalm is commonly taken as a reference to the Ascension of Christ into glory.

The poet is thus being offered entrance into this impossible, heavenly scene.

And important point of contrast which will be developed in this poem is the matter of words. Here note that the words of the king upon his throne are embellished with more radiance than sunshine.

And so we come to the contrast which marks Taylor’s mediations: The Lord is all of glory, but I am not.

This is a point which is under considered when academics discuss “Calvinists”. Election does not give rise to a thought of superiority but rather of confusion, How am I here? It is not merit, but impossibility. And the stark understanding of human nature is not a matter of despair, but rather of hope for remaking the world.

Thy milk white hand, my glorious Lord, doth this:

It opes this gate and me conducts into

This golden palace whose rich pavement is

Of precious pearls; and to this King also.

Thus, thron’d and crown’d: whose words ‘bellish’d all

With brighter beams, than e’re the sun let fall.

There two marvelously awkward line breaks here. The first line “I” following a pause hurries on to the second line, like a tumble down the stairs. Also the break from the third to fourth line works perfectly: My affections fly On toys. The short half line of two syllables followed by a remaining line of 8, puts tremendous force upon the insufficient object of affection. I love toys!

We so often love the good things God gives things, we love the gift more than the one who has given the gift. The poet would rather have the toys than the hand.

And this is the great fault of human beings: our affections are curved back up on ourselves as Augustine notes.

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

13 Wednesday May 2020

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Edward Taylor, Literature, marriage, poem, Poetry, Would God I in that Golden City were

At this point, the poet continues on with the absurdity which lies at the heart of Christianity: How and why could or would God be joined to us?

I have heard atheist mock Christian belief with the ridiculous thought that God – if there were a God – would concern his Godship with a particular set of beasts roaming around on a small planet around an insignificant star in the midst of an enormous universe.

However, that absurdity is the nature of the Christian claim. One can reject it; but it is silly to think that one has come upon some novel insight. Even before we realized the size of the universe, we were well aware of the ridiculous claim.

Here Taylor presses home the point: it would be more reasonable to believe a king married a flea than to believe God should have dealings with us:

My Maker, he my husband? Oh! Strange joy!
If kings wed worms and monarchs mites we should
Glory spouse shame, a prince a snake or fly
An angel court an ant, all wonder would.
Let such wed worms, snakes, serpents, devils, flies.
Less wonder than the wedding in our eyes.

At this point, it would be useful to take time to consider what is meant by “marriage in this context. It plainly cannot mean an actual human marriage. Rather, marriage is one of the many images which God has given in the world to help us understand what it means for God to love us.

First, it is not the only image: other incompatible images are used such as Father and son or Lord and servant or Creator and creature. There are, for instance, 95 different images used to describe the Church in the New Testament.

To understand this marriage imagery, John Piper helps in his bookSex and the Supremacy of Chirst:

In answering this question let’s remember that knowing someone in the fullest biblical sense is defined by sexual imagery. Genesis 4:1, “Now Adam knew Eve his wife, and she conceived and bore Cain.” Knowing here refers to sexual intercourse. Or again in Matthew 1:24- 25 we read, “When Joseph woke from sleep, he did as the angel of the Lord commanded him: he took his wife, but knew her not until she had given birth to a son. And he called his name Jesus.” He “knew her not” means he did not have sexual relations with her.

Now I don’t mean that every time the word know is used in the Bible there are sexual connotations. That’s not true. But what I do mean is that sexual language in the Bible for our covenant relationship to God does lead us to think of knowing God on the analogy of sexual intimacy and ecstasy. I don’t mean that we somehow have sexual relations with God or he with man. That’s a pagan thought. It’s not Christian. But I do mean that the intimacy and ecstasy of sexual relations points to what knowing God is meant to be.

The language of marriage and sex helps as a metaphor to understand God’s love. Since we could not understand God directly, God created metaphors in the world so that could understand God analogically. The metaphor helps to understand the original.

Taylor continues on with this theme of the absurdity of God’s love. The analogy of a King wedding a mite is insufficient. Christ’s love for me makes less sense than a king marrying an ant:

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

Human sin makes a human being more unfitting of relation to God than does mud make a worm less fitting to an emperor. And yet this Good News (which is the meaning of Gospel) is not too good to be rejected

The heart of the Gospel is not going to heaven, it is being with God. We are not seeking a place but a friend and more than a friend.

In this stanza, Taylor hits upon the grace of God which first works upon us before we believe and love Him. The Spirit first speaks these words to us before we believe. As it reads in 1 John, we love Christ because he first loved us:

Yet to this wonder, this found in mee,
I am not only base but backward clay,
When Christ doth woo, and till his Spirit be
His spokesman to compel me I deny.
I am so base and forward to him, he
Appear as wonders wonder wedding me.

The poem ends with a prayer that Spirit work upon his heart to make him into the man who can be conformed and fitting to this call:

Seeing, Dear Lord, it’s thus, thy Spirit take
And send thy spokesman to my soul, I pray.
Thy saving grace my wedding garments make:
Thy spouses frame into my soul convey.
I then shall be thy bride espoused by thee
And thou my bridegroom dear espoused shalt be.

Marriage is the beginning and end of the Bible. In the Garden of Eden God performs the first marriage. The eschatological hope of the Church is the marriage party of the Lamb.

Edward Taylor, Would God I in that Golden City Were.2

09 Saturday May 2020

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Edward Taylor, Literature, poem, Poetry

May my rough voice and blunt tongue but spell

My tale (for tune they can’t) perhaps there may

Some angel catch an end of’t up and tell

In Heaven when he doth return that way

He’ll make thy palace, Lord, all over ring

With it in songs, thy saint and angels sing.

The poet cannot now come to heaven; for as Paul writes, flesh and blood cannot inherit the kingdom of God. And thus, he prays that perhaps his song spoken on earth might be heard by an angel and delivered to Heaven – and there it might be sung.

The idea that an angel might hear his song and deliver it to Heaven is a remarkable conceit, but that precise idea does not appear in the Bible. There are numerous instances of an angel speaking to a human being, but I can think of no instance in which an angel delivered an earthly message to heaven. It should be understood that the word “angel” means messenger.

The idea of speaking with a rough voice and a blunt tongue seems to be most related to two passages. First, when God calls Moses to speak to Pharaoh, Moses protests that he cannot deliver the message because he is a defective speaker:

Exodus 4:10 (AV)

¹⁰And Moses said unto the LORD, O my Lord, I am not eloquent, neither heretofore, nor since thou hast spoken unto thy servant: but I am slow of speech, and of a slow tongue.

The related passage which also may have informed Taylor’s poem comes from the book of Romans where Paul explains that the Holy Spirit corrects our prayers:

Romans 8:26–27 (AV)

²⁶Likewise the Spirit also helpeth our infirmities: for we know not what we should pray for as we ought: but the Spirit itself maketh intercession for us with groanings which cannot be uttered. ²⁷And he that searcheth the hearts knoweth what is the mind of the Spirit, because he maketh intercession for the saints according to the will of God.

In the next stanza, Taylor continues with the theme of his inability. He then addresses the rank absurdity which lies at the heart of Christianity – if God is so great, so perfect, so holy, how could God also love us:

I know not how to speak’t, it is so good;

Shall Mortal and Immortal marry? Nay,

Man marry God? God be a match for mud?

This King of Glory wed a worm? Mere clay?

This is the case. The wonder too in bliss.

Thy maker is thy husband, hear’st thou this?

That marriage was given not merely for human comfort but ultimately as the basis for understanding the relationship between God and human beings is intrinsic to the Christian understanding of redemption. A parable by Kierkegaard can help open this idea:

Once upon a time, there was a prince who was single and very eager to marry a lovely maiden for his future queen. Near his palace was a large city, and often he rode his carriage down to the city to take care of various chores for his father. One day, to reach a particular merchant, he had to go through a rather poor section. He happened to glance out of the window and right into the eyes of a beautiful maiden.

He had occasion on the next few days to return to the section of the city–drawn as he was by the eyes of the maiden. And more than that, he had the good fortune once or twice actually to meet this young girl. Soon he began to feel that he was in love with her. But now he had a problem. How should he proceed to procure her hand?

Of course, he could order her to the palace and there propose marriage. But even a prince would like to feel that the girl he marries wants to marry him. Or perhaps, somewhat more graciously, he could arrive at her door in his most resplendent uniform and, with a bow, ask her hand. But even a prince wants to marry for love.

Again, he could masquerade as a peasant and try to gain her interest. After he proposed, he could pull off his ‘mask.’ Still, the masquerade would be ‘phony.’ He really could not manage it.

Finally a real solution presented itself to his mind. He would give up his kingly role and move into her neighborhood. There he would take up work as, say, a carpenter. During his work in the day and during his time off in the evening, he would get acquainted with the people, begin to share their interests and concerns, begin to talk their language. And in due time, should fortune be with him, he would make her acquaintance in a natural way. And should she come to love him, as he had already come to love her, then he would ask for her hand.

Or a passage from Thomas Watson:

Christ is full of love, as he is of merit. What was it but love, that he should save us, and not the angels? Among the rarities of the loadstone, this is not the least, that leaving the gold and pearl, it should draw iron to it, which is a baser kind of metal; so, that Christ should leave the angels, those more noble spirits, the gold and pearl, and draw mankind to him, how doth this proclaim his love? Love was the wing on which he did fly into the virgin’s womb. 1. How transcendent is Christ’s love to the saints! The apostle calls it a love ‘that passeth knowledge,’ Eph. 3:19. It is such a love as God the Father bears to Christ; the same for quality, though not equality, John 15:9. ‘As the Father hath loved me, so have I loved you:’ A believer’s heart is the garden where Christ hath planted this sweet flower of his love. It is the channel thro’ which the golden stream of his affection runs. 2. How distinguishing is Christ’s love, 1 Cor. 1:26. ‘Not many wise, not many noble are called.’ In the old law God passed by the lion and the eagle, and took the dove for sacrifice; that God should pass by so many of birth and parts, and that the lot of free grace should fall upon thee; O the depth of divine grace! How invincible is the love of Christ! ‘It is strong as death,’ Cant. 8:6. Death might take away his life, not this love; and as death, so neither sin could wholly quench that divine flame of love; the church had her infirmities, her sleepy fits, Cant. 5:2 but though blacked and sullied, yet still a dove; Christ could see the faith, and wink at the failing.

Thomas Watson, “A Christian on the Mount, or a Treatise Concerning Meditation,” in Discourses on Important and Interesting Subjects, Being the Select Works of the Rev. Thomas Watson, vol. 1 (Edinburgh; Glasgow: Blackie, Fullarton, & Co.; A. Fullarton & Co., 1829), 212–213.

The picture of the love between God and humanity being symbolized as marriage is the backdrop for the book of Hosea. In Isaiah, the particular image of maker and husband is given:

Isaiah 54:4–5 (AV)

⁴Fear not; for thou shalt not be ashamed: neither be thou confounded; for thou shalt not be put to shame: for thou shalt forget the shame of thy youth, and shalt not remember the reproach of thy widowhood any more. ⁵For thy Maker is thine husband; the LORD of hosts is his name; and thy Redeemer the Holy One of Israel; The God of the whole earth shall he be called.

And in the letter to Ephesians, Paul makes plain this point:

Ephesians 5:30–33 (AV)

³⁰For we are members of his body, of his flesh, and of his bones. ³¹For this cause shall a man leave his father and mother, and shall be joined unto his wife, and they two shall be one flesh. ³²This is a great mystery: but I speak concerning Christ and the church. ³³Nevertheless let every one of you in particular so love his wife even as himself; and the wife see that she reverence her husband.

Edward Taylor, Would God I in that Golden City were.1 (Imposter syndrome)

08 Friday May 2020

Posted by memoirandremains in Edward Taylor, Literature, Uncategorized

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A meditation on Canticles 4:8

This poem begins with an unmistakable picture of the heavenly Jerusalem come down to earth. In the first stanza, the poet tells us that his soul would become “inflamed” if he were only to see that city filled with saints and angels.

To understand the function and bite of the poem, you must first know what Taylor alludes as he writes:

Revelation 21:9–27 (AV)

⁹And there came unto me one of the seven angels which had the seven vials full of the seven last plagues, and talked with me, saying, Come hither, I will shew thee the bride, the Lamb’s wife. ¹⁰And he carried me away in the spirit to a great and high mountain, and shewed me that great city, the holy Jerusalem, descending out of heaven from God, ¹¹Having the glory of God: and her light was like unto a stone most precious, even like a jasper stone, clear as crystal; ¹²And had a wall great and high, and had twelve gates, and at the gates twelve angels, and names written thereon, which arethe names of the twelve tribes of the children of Israel: ¹³On the east three gates; on the north three gates; on the south three gates; and on the west three gates. ¹⁴And the wall of the city had twelve foundations, and in them the names of the twelve apostles of the Lamb. ¹⁵And he that talked with me had a golden reed to measure the city, and the gates thereof, and the wall thereof. ¹⁶And the city lieth foursquare, and the length is as large as the breadth: and he measured the city with the reed, twelve thousand furlongs. The length and the breadth and the height of it are equal. ¹⁷And he measured the wall thereof, an hundred and forty and four cubits, according to the measure of a man, that is, of the angel. ¹⁸And the building of the wall of it was of jasper: and the city was pure gold, like unto clear glass. ¹⁹And the foundations of the wall of the city were garnished with all manner of precious stones. The first foundation was jasper; the second, sapphire; the third, a chalcedony; the fourth, an emerald; ²⁰The fifth, sardonyx; the sixth, sardius; the seventh, chrysolite; the eighth, beryl; the ninth, a topaz; the tenth, a chrysoprasus; the eleventh, a jacinth; the twelfth, an amethyst. ²¹And the twelve gates were twelve pearls; every several gate was of one pearl: and the street of the city was pure gold, as it were transparent glass. ²²And I saw no temple therein: for the Lord God Almighty and the Lamb are the temple of it. ²³And the city had no need of the sun, neither of the moon, to shine in it: for the glory of God did lighten it, and the Lamb is the light thereof. ²⁴And the nations of them which are saved shall walk in the light of it: and the kings of the earth do bring their glory and honour into it. ²⁵And the gates of it shall not be shut at all by day: for there shall be no night there. ²⁶And they shall bring the glory and honour of the nations into it. ²⁷And there shall in no wise enter into it any thing that defileth, neither whatsoever worketh abomination, or maketh a lie: but they which are written in the Lamb’s book of life.

It is a city of remarkable beauty. And unlike the Garden of Eden, the serpent (something which would “defile”) the whole cannot enter:

Would God I in that Golden City were

With jaspers walld, all garnish, and made swash,

With precious stones, whose gates are pearls most clear,

And street pure gold, like to transparent glass.

That my dull soul might inflamed to see

How saints and angels ravish are in glee.

If I could only see that joy, how it would overcome my soul. He then begins to imagine what he could do if he were present in the City. “His story” would be his testimony of Christ’s redemption. The poet is unworthy of entrance – and yet his entrance his story would be the greatness not of himself, but of Christ who would love someone like him (as we shall see as the poem progresses):

Were I but there, and could but tell my story

‘Twould rub those walls of precious stones more bright;

And glaze those gates of pearl with brighter glory,

And pave the golden street with greater light.

‘Twould in fresh raptures saints and angels fling.

But I poor snake crawl here, scare mudwalld in.

The bite is in that last line. The poet is the defiled thing which has no right to entrance.

As an aside to the poem, there is the concept of being an imposter. When placed in a position where one is thought well of, where one is given position or power, the person who stops to self-reflect knows himself to be a fraud.

This poem points at a theological basis for that sensation: It is the heart of the Christian religion that human beings are meant to be with God. To be in the image of God is the highest possible conception of a human being. And simultaneously, we understand ourselves to be ruined creatures.

This remarkable inconsistency in our self-understanding creates a tremendous conflict in our self-understanding. As Lewis writes in Prince Caspian:

“You come of the Lord Adam and the Lady Eve,” said Aslan. “And that is both honour enough to erect the head of the poorest beggar, and shame enough to bow the shoulders of the greatest emperor on earth. Be content.”

If only I were to come to heaven, what praise I could bring. But if I were to come to heaven, I would be the serpent in Paradise.

Edward Taylor, When Thy Bright Beams.2

18 Wednesday Dec 2019

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He then ends with a praise to God’s great glory which shall be revealed on Judgment Day. To understand the shift from a general statement of responding to God’s glory and a specific discussion of God’s judgment, it is necessary to consider the note that this poem is a meditation upon Philippians 2:9. To best understand that passage, we must first consider the sentence in context:

Philippians 2:5–11 (AV 1873)

⁵ Let this mind be in you, which was also in Christ Jesus: ⁶ Who, being in the form of God, thought it not robbery to be equal with God: ⁷ but made himself of no reputation, and took upon him the form of a servant, and was made in the likeness of men: ⁸ and being found in fashion as a man, he humbled himself, and became obedient unto death, even the death of the cross. ⁹ Wherefore God also hath highly exalted him, and given him a name which is above every name: ¹⁰ that at the name of Jesus every knee should bow, of things in heaven, and things in earth, and things under the earth; ¹¹ and that every tongue should confess that Jesus Christ is Lord, to the glory of God the Father.

Verse 9 looks to the exaltation of Christ upon the completion of his bearing sin; it is a verse which looks to the resurrection and ascension of Christ, and then forward to Judgment Day when Christ shall be publicly vindicated and all will acknowledge his position as “Lord”.

Therefore, the “bright beams” of the first line of the poem concern the glory of Christ to be exhibited on Judgment Day. This exaltation by God of Christ comes in response to contrary powers’ insult of Christ during his humiliation:

By proclaiming God’s gift of the name Lord to Jesus, the hymn gives assurance to the church that this ultimate vindication belongs to the Lord Jesus Christ. In the midst of present suffering and persecution for her faith in Jesus Christ, the church sings this hymn about the vindication of her faith when every tongue will acknowledge that Jesus Christ is Lord. In fact, “the church is the earthly center from which the full Lordship of Christ becomes visible.”289 When the church worships Jesus by bowing before him and proclaiming that he is Lord, she embodies the vision of the future submission of all creation to the Lord Jesus. The proclamation that Jesus is Lord announces his destiny: because he has been given the name Lord, he will rule over all creation. Jesus, crucified on a Roman cross, not Caesar seated on a Roman throne, is destined to receive universal acknowledgment that he alone is the sovereign Lord. “In the hymn the Church is caught up from earth to heaven, from the scene of conflict and duress into the presence of the all-conquering Lord, from the harsh realities of what is to the glorious prospect of what will be, because it is so already in God’s sight.”290

Walter Hansen, The Letter to the Philippians, The Pillar New Testament Commentary (Grand Rapids, MI; Nottingham, England: William B. Eerdmans Publishing Company, 2009), 167–168.

The passage notes that all creation will give praise to Christ. Taylor picks up this strand when he notes that even birds and bees give praise.

This passage is also relevant to the themes of this poem, in that Paul uses the example of Christ to encourage humility in people of Philippi.

This shining sky will fly away apace,

When thy bright glory splits the same to make

Thy majesty a pass, whose fairest face

Too foul a path is for thy feet to take.

What glory then, shall tend thee through the sky

Draining the heaven much of angels dry?

This stanza draws upon various biblical texts concerning the coming of Christ in Judgment.

The sky will “fly away” and the will be “split”:

Revelation 6:14, “The sky departed as a scroll.” Hebrews 1:11, God will “fold … up” the heavens.

This stanza draws generally from the description of Revelation 19 concerning the return of Christ:

Revelation 19:11–16 (AV 1873)

¹¹ And I saw heaven opened, and behold a white horse; and he that sat upon him was called Faithful and True, and in righteousness he doth judge and make war. ¹² His eyes were as a flame of fire, and on his head were many crowns; and he had a name written, that no man knew, but he himself. ¹³ And he was clothed with a vesture dipt in blood: and his name is called The Word of God. ¹⁴ And the armies which were in heaven followed him upon white horses, clothed in fine linen, white and clean. ¹⁵ And out of his mouth goeth a sharp sword, that with it he should smite the nations: and he shall rule them with a rod of iron: and he treadeth the winepress of the fierceness and wrath of Almighty God. ¹⁶ And he hath on his vesture and on his thigh a name written, KING OF KINGS, AND LORD OF LORDS.

Heaven is drained dry of angels, because they accompany Christ in his return.

Taylor puts an emphasis on “draining” by beginning the line with this word and putting the accent on the first syllable.

What light then flame will in thy Judgment Seat,

‘Fore which all men and angels shall appear?

How shall thy glorious righteousness treat

Rend’ring to each after his works done here?

Then saints with angels thou wilt glorify:

And burn lewd men and devils gloriously.

This stanza follows in order the logical consequence (return then judgment) and the text of Revelation, in that the judgment follows the return:

Revelation 19:11–16 (AV 1873)

The concept of fire with judgment is a natural combination. It is also used throughout the Scripture. In Leviticus 10:2, a fire judges the two dishonoring priests. In Revelation 1:15, the eyes of the risen Christ are said to “flame like a furnace.” Hebrews 10 refers to God’s judgment as “fiery indignation”

Hebrews 10:26–27 (AV 1873)

²⁶ For if we sin wilfully after that we have received the knowledge of the truth, there remaineth no more sacrifice for sins, ²⁷ but a certain fearful looking for of judgment and fiery indignation, which shall devour the adversaries.

The rendering each according to his works, whether blessing or judgment is rehearsed in Romans 2:

Romans 2:5–11 (AV 1873)

⁵ But after thy hardness and impenitent heart treasurest up unto thyself wrath against the day of wrath and revelation of the righteous judgment of God; ⁶ who will render to every man according to his deeds: ⁷ to them who by patient continuance in well doing seek for glory and honour and immortality, eternal life: ⁸ but unto them that are contentious, and do not obey the truth, but obey unrighteousness, indignation and wrath, ⁹ tribulation and anguish, upon every soul of man that doeth evil, of the Jew first, and also of the Gentile; ¹⁰ but glory, honour, and peace, to every man that worketh good, to the Jew first, and also to the Gentile: ¹¹ for there is no respect of persons with God.

One glimpse, my Lord, of thy bright Judgment Day

And glory piercing through, like fiery darts,

All devils, doth me make for grace to pray

For filling grace had I ten thousand hearts.

I’d through ten hells to see thy Judgment Day

Wouldst thou but guild my soul with thy bright ray.

Seeking to see Christ’s judgment day may seem to be a strange desire of the poet. But note that his concern does not fall on the judgment nor what happens to those who are judged (whether good or ill). His concern falls on the matter of Christ being glorified on the Judgment Day.

The picture is of a king being installed, having defeated his enemies and rewarded his friends.

The picture that Christ’s glory itself effectively renders judgment (glory piercing through, like fiery darts,/ All devils)comes from the scene of Philippians 2:9-11. Christ will be glorified such that even his enemies will become overcome with glory and acknowledge his lordship. It is not a devoted, willing confession but rather a confession which comes from sheer force of truth.

Edward Taylor, When Thy Bright Beams

18 Wednesday Dec 2019

Posted by memoirandremains in Edward Taylor, Uncategorized, Worship, Worship

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Edward Taylor, Literature, poem, Poetry, Praise, Psalm 148, Worship

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(2009 photo contest winner for the Nature / Landscapes category. Photo by Kurt Svendsgaard/USFWS)

When thy bright beams, my Lord, do strike mine eye,

Methinks I then could truly chide out-right

My hidebound soul that stands so niggardly

That scarce a thought gets glorified by’t.

My quaintest metaphors are ragged stuff,

Making the sun seem like a mullipuff.

When I am struck evidence of your glory, I see how little right effect that glory works into my soul. I chide myself that I show so little effect up me. The words which I produce are of so little value.

“chide out-right”: Scold, upbraid.

“My hidebound soul”: his soul is unresponsive.

“Niggardly”: selfish, tightfisted: It is as if his soul is a miser which will pay out no praise.

“scarce a thought get glorified”: The glory of God does not translate into transformed thinking. In Romans 12:2 Paul calls up us to be “transformed by the renewal of your mind”

“quaintest metaphors”: my most clever metaphors. The style of writing exercised by Taylor gives great emphasis to the cleverness of metaphor. He here raises his most able talent and says that it means nothing: it is “ragged stuff”.

He ends the stanza with a comic comparison: rather than raise what I know in admiration by means of comparison, I turn the very sun into a fuzzball.

It’s my desire, thou shouldst be glorified:

But when thy glory shine before mine eye,

I pardon crave, lest my desire be pride,

Or bed thy glory in cloudy sky.

The sun grows wan; and angels palefac’d shrink

Before thy shine, which I besmear with ink.

It is my aim – my desire – that you, God, should be honored by my work. But I see your already existing glory, rather than thinking of some means of providing you greater honor; I feel myself ashamed. I ask that you should forgive me (I pardon crave).

Rather than my writing providing something honoring to, I fear that I will dishonor you with my words. Rather than adding a luster to God’s glory, Taylor’s words will have the effect of being a “cloudy sky” to the sun. His poem will merely “besmear with ink” the glory of God.

This realization that (1) his soul has not responded rightly to the realization of God’s glory and (2) his complete inability to glorify God, leads to a crisis: What will I do? That crisis is set forth in the third stanza:

But shall the bird sign forth thy praise and shall

The little bee present her thankful hum?

But I who see thy shining glory fall

Before mine eyes, stand blockish, dull, and dumb?

Whether I speak, or speechless stand, I spy,

I fail thy glory: therefor, pardon cry.

Even the most simple things give glory to God: birds singing, bees humming. This matter that all nature praises God is a theme in Scripture. For instance, Psalm 149

Psalm 148:7–10 (AV 1873)

⁷ Praise the Lord from the earth,

Ye dragons, and all deeps:

⁸ Fire, and hail; snow, and vapour;

Stormy wind fulfilling his word:

⁹ Mountains, and all hills;

Fruitful trees, and all cedars:

¹⁰ Beasts, and all cattle;

Creeping things, and flying fowl:

I do like “dragons”, but the contemporary translations render as something like “great sea creatures”. All of nature praises God, “All thy works shall praise thee”. Ps. 145.10.

So, if all of creation praises God, then certainly Taylor – who has better reason and better ability to praise God – must do something. It is particularly wrong for Taylor to stand agape and say nothing,

But I who see thy shining glory fall

Before mine eyes, stand blockish, dull, and dumb?

So Taylor has no escape: If he praises God or he fails to praise, both will be wrong:

Whether I speak, or speechless stand, I spy,

I fail thy glory: therefor, pardon cry.

What can he possibly do but seek mercy?

But this I find: my rhymes do better suit

Mine own dispraise than tune forth praise to thee.

Yet being chide, whether consonant, or mute,

I force my tongue to tattle, as you see.

That I thy glorious praise my trumpet right

Be thou my song, and make Lord, me thy pipe.

He acknowledges that his best ability in terms of poetry is to note his own deficiency rather than God’s glory:

But this I find: my rhymes do better suit

Mine own dispraise than tune forth praise to thee.

And God, you also see since I deserve no matter I do (“whether consonant or mute”), but you also see that I cannot help but speak and praise you.

So then, Taylor prays that God will work in Taylor’s praise to remedy his defect. In making this prayer, Taylor is seeming relying upon the promise of Romans 8:27 that when we pray the Holy Spirit will intercede for us – that He will effectively correct our defective prayers.

He then ends with a praise to God’s great glory which shall be revealed on Judgment Day.