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Edward Taylor, The Daintiest Draft.5

17 Sunday Jan 2021

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At this point, Taylor turns to petition in his prayer. The first part of the poem lays the ground for the prayer, the nature of the need, the greatness of the Savior, and praise. But there he comes to ask that this “sovereign solder” come to repair.

It is a rather musical stanza, particularly relying upon alliteration of R: Rod, bRanch, repair, ridge, rib, rafter, gRace, renew, gRace; D: David, deck, do, ridge, guilD; B: Branch, bough, blood bad, ridge, riB. 

There is the contrast of the Rod and Branch versus the “flesh and blood bag” (which is a ghastly image). 

In line 25, Taylor puts the emphasis on Branch, by placing it immediately after the pause and beginning the second half of the stanza with a trochee rather than iamb: BRANCH of his BOUGH.

Thou Rod of David’s root, Branch of his bough (25)

My Lord, repair thy palace. Deck thy place.

I’m but a flesh and blood bag; Oh! Do thou

Still, plate, ridge, rib, and rafter me with grace.

Renew my soul, and guild it all within:

And hang thy saving grace on every pin. (30)

The prayer is direct, “Repair thy palace.”  He gives details of the repair which must be done in lines 28-30:

Still, plate, ridge, rib, and rafter me with grace.

Renew my soul, and guild it all within:

And hang thy saving grace on every pin

Every element is to be remade “hang thy saving grace on every pin.” The revision is to be total.

The reference to Christ as a “branch” has prophetic warrant. In Isaiah 11, we read:

Isaiah 11:1–2 (AV) 

1 And there shall come forth a rod out of the stem of Jesse, and a Branch shall grow out of his roots: 2 And the spirit of the LORD shall rest upon him, the spirit of wisdom and understanding, the spirit of counsel and might, the spirit of knowledge and of the fear of the LORD; 

The Branch from the stem of Jesse (King David’s father) is plainly the Lord. 

Jeremiah 33:14–16 (AV)

14 Behold, the days come, saith the LORD, that I will perform that good thing which I have promised unto the house of Israel and to the house of Judah. 15 In those days, and at that time, will I cause the Branch of righteousness to grow up unto David; and he shall execute judgment and righteousness in the land. 16 In those days shall Judah be saved, and Jerusalem shall dwell safely: and this is the name wherewith she shall be called, The LORD our righteousness.

The prophetic references to Christ as the “Branch” are in the context of the coming of Christ are both in the context of the restoration and repair the Christ (the anointed one) will bring. The full context of the Isaiah prophecy reads:

Isaiah 11:1–9 (AV)

1 And there shall come forth a rod out of the stem of Jesse, and a Branch shall grow out of his roots: 2 And the spirit of the LORD shall rest upon him, the spirit of wisdom and understanding, the spirit of counsel and might, the spirit of knowledge and of the fear of the LORD; 3 And shall make him of quick understanding in the fear of the LORD: and he shall not judge after the sight of his eyes, neither reprove after the hearing of his ears: 4 But with righteousness shall he judge the poor, and reprove with equity for the meek of the earth: and he shall smite the earth with the rod of his mouth, and with the breath of his lips shall he slay the wicked. 5 And righteousness shall be the girdle of his loins, and faithfulness the girdle of his reins. 6 The wolf also shall dwell with the lamb, and the leopard shall lie down with the kid; and the calf and the young lion and the fatling together; and a little child shall lead them. 7 And the cow and the bear shall feed; their young ones shall lie down together: and the lion shall eat straw like the ox. 8 And the sucking child shall play on the hole of the asp, and the weaned child shall put his hand on the cockatrice’ den. 9 They shall not hurt nor destroy in all my holy mountain: for the earth shall be full of the knowledge of the LORD, as the waters cover the sea.

The theme of repair also has prophetic background. The repair comes after there has been a lapse. Thus, Elijah calls the people to repair the altar of the Lord which was torn down in the time of Baal worship (1 Kings 18:30); the repair of  the temple by King Jehoash (2 Kings 12) after the usurpation of Athaliah; the repair of the temple by Josiah after the wicked rule of Amon (2 Kings 22); the repair of Jerusalem under Nehemiah after the return from exile.  

Thus, this prayer of Taylor has deep biblical roots: He calls upon the Branch to repair the palace of God, the manner of the Kings and prophets who repaired temple and altar.

The next three stanzas add more detail to the prayer of repair. 

In this next stanza, the musical effect is upon the assonance, particularly the “o’s”: soul, Lord, floor, o’re, orient, o’re, gold, glorious; and alliteration of p’s and g’s. The words of this stanza must be voiced to be appreciated. 

My soul, Lord, make thy shining temple, pave

Its floor  all o’re with orient grace: thus gild

It o’re with heaven’s gold: its cabins have 

Thy treasuries with choicest thoughts up filled

Portray thy glorious image all about (35)

Upon thy temple wall within and out.

The general tenor of the prayer is plain: make this a golden palace. But of special interest are lines 34-36. Asking to be gilded by God does not have a plain reference in the life of a man. What does it mean to be “gilded”. He gives details here: First, it concerns the nature of his psychological life: it is to be filled with choice thoughts. He is asking specifically for a rational revision of his thought life. 

Second, he asks that the image of God by made plain in him. This prayer is from Colossians:

Colossians 3:9–10 (AV)

9 Lie not one to another, seeing that ye have put off the old man with his deeds; 10 And have put on the new man, which is renewed in knowledge after the image of him that created him:

The Christian is being renewed after the image of God – which is in in Christ. He is asking to be like Jesus. The renewal is a life which is wholly remade in the image of God, which here would be seen in the way in which he thinks (and thus lives). 

The next specific prayer is taken from Ephesians 6 in a well-known passage about “spiritual warefare”:

Ephesians 6:10–17 (AV)

10 Finally, my brethren, be strong in the Lord, and in the power of his might. 11 Put on the whole armour of God, that ye may be able to stand against the wiles of the devil. 12 For we wrestle not against flesh and blood, but against principalities, against powers, against the rulers of the darkness of this world, against spiritual wickedness in high places. 13 Wherefore take unto you the whole armour of God, that ye may be able to withstand in the evil day, and having done all, to stand. 14 Stand therefore, having your loins girt about with truth, and having on the breastplate of righteousness; 15 And your feet shod with the preparation of the gospel of peace; 16 Above all, taking the shield of faith, wherewith ye shall be able to quench all the fiery darts of the wicked. 17 And take the helmet of salvation, and the sword of the Spirit, which is the word of God:

Taylor reworks that imagery into a prayer as follows:

Garnish thy hall with gifts, Lord, from above 

With that rich coat of mail thy righteousness

Truth’s belt, the Spirit’s sword, the buckler love

Hope’s helmet, and the shield of faith kept fresh.

The scutcheons of thy honor my sign.

As garland tuns are badges made of wine.

The last line is a bit difficult: a “tun” is a large barrel of wine. A garland tun would be a garlanded barrel. I assume this is a reference to festivity. 

The last stanza partakes of two biblical allusions. First, the motto for the poem, 2 Corinthians 5:17 (AV) “Therefore if any man bein Christ, he is a new creature: old things are passed away; behold, all things are become new.”

The second reference is from David’s great prayer of repentance in Psalm 51:

Psalm 51:9–11 (AV) 

9 Hide thy face from my sins, and blot out all mine iniquities. 10 Create in me a clean heart, O God; and renew a right spirit within me. 11 Cast me not away from thy presence; and take not thy holy spirit from me. 

Note the repeated use of the word “new/renew” in this stanza:

New mold, new make me thus, me new create

Renew in me a spirit right, pure, true.

Lord make me thy new creature, then new make

All things of thy new creature here anew.

New heart, new thoughts, new words, new ways likewise.

New glory then shall to thyself arise.

A new heart is the great promise of the new covenant (which the Branch brings about). And all things “new” is the great eschatological promise:

Revelation 21:1–5 (AV) 

1 And I saw a new heaven and a new earth: for the first heaven and the first earth were passed away; and there was no more sea. 2 And I John saw the holy city, new Jerusalem, coming down from God out of heaven, prepared as a bride adorned for her husband. 3 And I heard a great voice out of heaven saying, Behold, the tabernacle of God is with men, and he will dwell with them, and they shall be his people, and God himself shall be with them, and be their God. 4 And God shall wipe away all tears from their eyes; and there shall be no more death, neither sorrow, nor crying, neither shall there be any more pain: for the former things are passed away. 5 And he that sat upon the throne said, Behold, I make all things new. And he said unto me, Write: for these words are true and faithful. 

And so the renewal of one’s spirit in this life points to the eschatological new creation when all is made new. 

Edward Taylor,The Daintiest Draft.4

10 Sunday Jan 2021

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Here is another level of the mystery and paradox of the Christ. His death upon the Cross was meant to maximize the shame he would experience: the death was degrading. It was made as public as possible, not merely to terrorize the populace (you will be next!) but to degrade the subject: you are utterly without power against the Roman government. 

And yet, upon his resurrection, those wounds which he still bears in his body, are his greatest ornament of power and praise. The rulers of the world did their worst and he overcame – not merely the men who attacked him but also the death itself. And in conquering death and bearing the penalty for sin he overcame the curse God had laid upon creation for the sin of Adam. 

There is another paradox here: not merely the paradox of power and glory in shame and weakness, but also the paradox of beauty. Isaiah 53:2 says of the coming messiah:

He had no form or beauty that we should look at him

And no beauty that we should desire him.

And yet, in his conquering, the Lord has become beautiful: the evil poured upon him turned to praise, honor and glory. As David prays in Psalm 27:4

One thing I have asked of the Lord

That I will seek after

That I may dwell in the house of the Lord 

All the days of my life

To gaze upon the beauty of the Lord

And to inquire in his temple

And so Taylor, looking upon the broken Christ who wounds heal stops in the middle of mediation to praise the beauty of the Lord:

Oh! Lovely one! How doth thy loveliness

Beam through the crystal casement of the eyes (20)

Of saints and angels sparkling flakes of fresh

Heart ravishing beauty, filling up their joys?

And th’devils too; if envy’s pupils stood

Not peeping there these sparkling rays t’exclude?

This stanza is, for Taylor, rather straightforward. The beauty of Christ beams through the eye: The understanding being that rather than light reflecting the object gives off its radiance. This beauty is such that it is “heart ravishing” – it is also a beauty that creates joy in the one who sees the beauty. 

But there is something interesting here: Envy makes it impossible to see and enjoy this beauty. That is an interesting observation: rather than rejoicing in the beauty – which is a proper response to beauty – the devils look upon the sight of Christ with envy for his greatness and rather than rejoicing in the sight they experience envy. The envy in the one seeing the beauty blots out the sight of beauty.

Envy’s pupil peeps out (not the alliteration on the “p”) and excludes the sight of beauty. 

There is something here for us to understand about human nature too. 

Edward Taylor, The Daintiest Draft.3

06 Wednesday Jan 2021

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The third stanza resolves the issue of whether the poet refers to himself (or humanity generally) or to Christ:

But yet thou stem of David’s stock when dry

And shriveled held, although most generous green was lopt

Whose sap a sovereign solder is, whereby

The breach repaired is in which it’s dropped.

Oh gracious twig! Thou cut off? Bleed rich juice

T’cement the breach, and glory’s shine reduce?

The “stem of David’s stock” can only refer to Jesus, who is the “Son of David” par excellence (“Jesus, Son of David, have mercy on me” Mark 10:47). 

The language of “stock” is a metaphor for a descendent. Thus, the development of the image of this stock=tree in terms of being dry or green sounds as if the poet were merely developing the metaphor at greater length. This is true, but there is also a direct reference to the words of Jesus in this same context.

There is a scene recorded in Luke’s Gospel of a conversation Jesus has with some women while being marched to Golgotha to be crucified:

Luke 23:27–31 (KJV)

27 And there followed him a great company of people, and of women, which also bewailed and lamented him. 28 But Jesus turning unto them said, Daughters of Jerusalem, weep not for me, but weep for yourselves, and for your children. 29 For, behold, the days are coming, in the which they shall say, Blessed are the barren, and the wombs that never bare, and the paps which never gave suck. 30 Then shall they begin to say to the mountains, Fall on us; and to the hills, Cover us. 31 For if they do these things in a green tree, what shall be done in the dry?

Thus the green tree cut, “although most generous green was lopt.” There is one further allusion contained within these lines:

Isaiah 53:2 (KJV)

      2       For he shall grow up before him as a tender plant,

      And as a root out of a dry ground:

      He hath no form nor comeliness;

      And when we shall see him, there is no beauty that we should desire him.

The concept here is that Christ is a green branch that was cut down and then dried as its sap runs out. 

The sap is a “sovereign solder”, a means of sealing together two broken parts. The sap in this instance is the blood of Christ lost in crucifixion. 

What is not immediately clear from the poem is what the solder repairs. The first two stanzas speak of a ruined palace/image. A palace is not repaired by means of a solder. The image of a solder repairs a break between two things. 

The image of solder seems to be drawn from (1) the sap=blood; (2) the break of the branch which bleeds; (3) and then the healing of the branch. The sap from the breach in the branch becomes the solder which heals the branch. 

Taylor does something fascinating here. The branch itself is healed by means of the sap which runs from the breach:

Whose sap a sovereign solder is, whereby

The breach repaired is in which it’s dropped.

Oh gracious twig! Thou cut off? Bleed rich juice

T’cement the breach, and glory’s shine reduce?

In particular note, “Bleed rich juice/T’cement the breach”. The blood spent heals the wound which caused the bleeding.  This makes for a fascinating theological point.

The death of Christ heals the breach between God and Man. In the body of Christ, the bridge and the breach between God and Man are manifest: Christ is God and Man, the mediator between the two. The death of the mediator heals the breach. 

But there is another level at work in Taylor’s poem: The death of Christ, the wounding of his body is the breach between God and Man. The cross is an assault upon God.

This is brought out by Psalm 2 which is a commentary upon the death of Christ:

Psalm 2:1–6 (KJV) 

1           Why do the heathen rage, 

And the people imagine a vain thing? 

2           The kings of the earth set themselves,

And the rulers take counsel together, 

Against the Lord, and against his anointed, saying, 

3           Let us break their bands asunder, 

And cast away their cords from us. 

4           He that sitteth in the heavens shall laugh: 

The Lord shall have them in derision. 

5           Then shall he speak unto them in his wrath, 

And vex them in his sore displeasure. 

6           Yet have I set my king 

Upon my holy hill of Zion. 

The nations attack the Lord in the person of Christ, thinking to free themselves. But in so doing, rather than prevailing, they are witnesses to a coronation; the cross is a throne seen from the right perspective.

Taylor is working on this paradox with these lines: The wound is healed by the blood which flows from the wound. The death of Christ pays for the sin of killing Christ. The breaking of the body of the one who stands between God and Man heals the breach between God and Man. 

Taylor underscores the surprise of the breach being the repair by means of the meter:

Oh GRACious twig! THOU CUT-OFF? BLEED rich JUICE

The excess accented syllables requires one to show down to even say the words. 

Finally, Taylor makes good use of alliteration of D’s and S’s:

But yet thou stem of David’s stock when dry

And shriveled held, although most generous green was lopt

Whose sap a sovereign solder is, whereby

The breach repaired is in which it’s dropped.

Edward Taylor, The Daintiest Draft.2

23 Wednesday Dec 2020

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The second stanza is perhaps the most difficult in the poem in that here the ambiguity of reference is focused. It looks upon the ruined imaged  and speaks of the heavenly sorrow at the tremendous loss:

What pity ‘s this? Oh! Sunshine art! What fall?

Thou that wast more glorious than glory’s wealth.

More golden far than gold! Lord, on whose wall

Thy scutcheons hung, the image of thyself!

It’s ruined, and must rue, though angels should

To hold it up heave while their heart strings hold.

What pity is this: What a thing is here to pity. 

Sunshine art must refer to the original, before it fell. Since Taylor was writing from a rural place in a Northern latitude during the “Little Ice Age,” a reference to sunshine would be especially potent.  

He is looking upon the ruined image which was “more glorious than glory’s wealth./More golden far than gold!” Rhythmically, note the inversion of the iamb to a trochee at the beginning of line 8:

THOU that was MORE GLORiou. 

The inversion of the “normal” order forces attention upon the “thou”. He focuses our attention upon the lost image. 

Jonathan Edwards who was a generation after Taylor, but whose father knew Taylor, writes of God’s glory in Christ (in the funeral sermon for David Brainerd) with similar imagery:

Their beatifical vision of God is in Christ; who is that brightness or effulgence of God’s glory, by which his glory shines forth in heaven, to the view of saints and angels there, as well as here on earth. This is the Sun of Righteousness, which is not only the light of this world, but is also the sun which enlightens the heavenly Jerusalem; by whose bright beams the glory of God shines forth there, to the enlightening and making happy of all the glorious inhabitants. “The Lamb is the light thereof; and so the Glory of God doth lighten it,” Rev. 21:23. No one sees God the Father immediately. He is the King eternal, immortal, invisible. Christ is the Image of that invisible God, by which he is seen by all elect creatures. The only begotten Son who is in the bosom of the Father, he hath declared him and manifested him. No one has ever immediately seen the Father, but the Son; and no one else sees the Father in any other way, than by the Son’s revealing him.

Jonathan Edwards, The Works of President Edwards (New York: S. Converse, 1829), 459. 

The wall is the thus the human being created to display the image of God. God’s image was hung upon the walls. There are shields upon the walls which show the coat of arms of this royal family. But now it houses a treasonous family. 

The closing couplet (lines 11-12) are difficult in terms of their reference:

It’s ruined, and must rue, though angels should

To hold it up heave while their heart strings hold.

“It’s ruined” must refer to the house whose walls bear the image (or at least should do so). But what are we to make of “must rue.” Is that the house should rue it’s loss? Apparently so. But it could also be taken as a cohortative to the reader, you should rue this loss. Both are possible here. 

Angels are sent hold up house. This seems to be an oblique reference to Hebrews 1:14, where angels are explained to be ministering spirits sent out to care for those human beings who will inherit salvation on the basis of Christ’s work. 

We could also read this entire stanza as a reference to Christ in his passion, where he was struck down, killed and buried.  This removes much of the ambiguity of the stanza in-and-of itself. The reader sees this destruction and is called upon the rue the loss of such beauty, while the angels attend to the Savior. And it is angels who “long to look” into this salvation: a salvation which was granted to humanity but not to angels. 1 Peter 1:12.

As noted above, this ambiguity of reference makes theological sense because the image of God which is superlatively in Jesus Christ is by imitation the property of redeemed humanity. In 2 Corinthians 3:18, Paul writes that as the redeemed behold glory of the Lord, the redeemed are transformed into the image which they behold:

2 Corinthians 3:18 (KJV) 

But we all, with open face beholding as in a glass the glory of the Lord, are changed into the same image from glory to glory, even as by the Spirit of the Lord. 

Thus, that image is both Christ and also the property of renewed humanity. 

There is also reference to the First Adam, Adam of Genesis 2 who was created in the image of God and so quickly rebelled against his place of honor. 

Edward Taylor, The Daintiest Draft.1

19 Saturday Dec 2020

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Meditation 30, First Series

2 Cor. 5:17

This poem contains an interesting ambiguity in the way in the precise focus of poem is in places difficult to find. The overall thrust of the poem is a prayer that the Lord would repair the ruined palace of the human being. It is a prayer that the Lord would make the poet into something new

Lord, make me thy new creature. (line 45). Which comes from the text for the meditation, “If anyone is in Christ, he is a new creature.” 2 Cor. 5:17.

The “palace” in need of repair is the human being. The ambiguity comes about by the unclear focus as to whether it is the poet or Christ who is immediately in view. To call the poet himself “the stateliest palace angels e’er did view” (3) seems wrong. That would necessarily be Christ, himself.  

It would also be appropriate to write that the palace had been spoiled by an enemy. In Isaiah 52:14, the prophet writes that “his visage was so marred more than any man, and his form more than the sons of man.”

In the second stanza, the poet writes

Thou wast more glorious than glory’s wealth. (8)

Again, this would be more appropriately addressed to Christ, than to read this as the poet writing thus of himself fin the second person. 

But then in line 26, Taylor writes

My Lord, repair thy palace. 

And the remainder of the poem unambiguously reckons the poet to be the palace to be repaired, with the prayer to be made a new creature being the sum of that prayer. The deliberate use of the word “palace” then brings us back to the first stanza and the reference to “the stateliest palace”. It is possible the move referenes to two separate palaces. 

But I suspect that Taylor is doing something else. The palace is the image of God which is the purpose and the created nature of each human being (“the image of thyself”). Jesus is the perfect representation of that image; human beings who were created to accurately reflect that image are now spoiled and need to be remade to display that image.

The ambiguity which runs in this poem in his moving between apparent references to Christ and then to the poet can be sorted by using Colossians 3:10 as a key:

And we have put on the new man, which is renewed in knowledge after the image of him that created him. 

In Colossians 1:16 Paul identifies the creator as Christ, “For by him all things were created.” And in verse 15, Paul identified Christ as “the image of the invisible God.” 

The ambiguity in the poem as to the reference of the palace being renewed lies in the identification of the Christian with Christ. I think that Taylor is playing off of this identification and purposefully creating an ambiguity of a dual reference. This is inherent in text for the poem. Consider:

Therefore if any man be in Christ, he is a new creature.

To be “in Christ” is to be the “new creature”. What appertains to Christ becomes in a manner impressed upon the creature in Christ. This identification of the individual believer with Christ lies at the heart of this poem. 

The first stanza sets up the problem:

The daintiest draft thy pencil ever drew

The finest vessel, Lord, thy fingers framed

The stateliest palace angels e’er did view

Under thy hatch betwixt decks here contained

Broke, marred, spoiled, undone, defiled doth lie

In rubbish ruined by thine enemy. 

It begins with a series of three parallel descriptions of the object of the poem: “The daintiest draft”, “the finest vessel,” “the stateliest palace.” Dainty no longer carries the same connotation as it did for Taylor, but the meaning is apparent by looking at the parallel construction: This is the finest which could be. To call a human being a “draft” (a drawing) is an interesting play on the concept of “image.”

A vessel and palace likewise make sense as that bears or displays something greater. 

As we have previously considered, the reference is ambiguous in that it appears to refer to Christ (who would be the greatest of all examples) and yet the reference in the end will be to Taylor and his prayer to be remade.

The fourth line creates a nearly impossible combination of metaphors: this draft, vessel, palace, is now stowed between the decks of a ship. A draft could easily fit below deck, but to put a ship or even more strangely a palace below deck is impossible. Perhaps the use of the word “vessel” in line 2 suggested a return to a ship in line 4.

This for Taylor must have been a vivid image, when we realize that he had taken a ship from England to New England in the 17th century, which would have been a couple of months in a cramped tiny ship in the middle of the Atlantic. That many things must be been spoiled below decks on these trips in the salt water and bilge I take for granted. 

And it is there in the depths of the vessel, churning on the sea, something of surpassing value. An enemy has thrown it into the bilge where is now ruined and sloshing in the half light.

a bilge pump

This is an apt image for the fallen human race; and for the head of the redeemed race, the Second Adam Christ as he was struck down at the cross. 

And before leaving this stanza we should know the alliteration:

The daintiest draft thy pencil ever drew

The finest vessel, Lord, thy fingers framed

The stateliest palace angels e’er did view

Under thy hatch betwixt decks here contained

Broke, marred, spoiled, undone, defiled doth lie

In rubbish ruined by thine enemy. 

Edward Taylor, My Shattered Fancy.6

01 Tuesday Dec 2020

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But, Lord, as burnished sunbeams forth out fly,
Let angel-shine forth in my life outflame,
That I may grace Thy graceful family
And not to Thy relations be a shame.
Make me Thy graft, be Thou my golden stock.
Thy glory then I’ll make my fruits and crop. 

The rhythm of this final stanza is quite regular until the accent on the first syllable of the fifth line:

MAKE ME, thy GRAFT, be THOU my GOLDen STOCK

The emphasis works particularly well here: it puts an emphasis on an element of the prayer. The entire poem has been a meditation upon what it would be to be grafted into Christ and here he makes his prayer: Make me that graft. The spondee on the first foot of the line makes the prayer a plea, a demand: DO THIS FOR ME!

The language of the angels and fire is not mere commonplace for bright. In Hebrews 1:7 it reads


Of the angels he says

He makes his angels winds,

And his ministers a flame of fire. 

And thus, while he is not praying to be made an angel for a fire, the allusion to angles and flame has a basis in the glory given to Christ. The rest of the chapter in Hebrews describes the greatness of Christ over the angelic host. 

This last stanza is not merely a prayer that the wonder of being joined to Christ should be Taylor’s. There is the issue honor and shame. 

The concept of shame and honor are a major theme throughout the Bible. Shame is first seen in Genesis 2 when Adam and Eve. They experience shame as a result of their sinfulness. The biblical concept of shame contains both an objective and subjective element – both of which are present in the Genesis account. 

First, there is the subjective element: I feel ashamed of what I have done. I am not mere guilty, but I worthy to be excluded. This is shown by the human pair both hiding in the trees and trying to make clothing. They feel they cannot be seen by God.

Second, there is an objective element: shame from the position of the other. This is typically seen as being vulnerable to the power of another. For instance in Psalm 25:2, the prayer reads:

O my God, in you I trust let me not be put to shame

Let not my enemies exult over me.

To be in shame is for the enemy to exult. Or in 37:1

In you, O LORD, do I take refuge; 

Let me never be put to shame

In your righteousness deliver me. 

To be protected from shame is to be rescued. 

There is also the reversal of shame. Since suffering, particularly at the hands of an enemy is shameful. But, as Peter writes, the apparent shame of suffering will be reversed by Christ:

1 Peter 1:6–8  

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

Now shame is something which one can convey to others. To be in the company of one who is shameful is to shame me. This is seen by the nature of being unclean under Mosaic Law: one can convey uncleanness by contact. 

To bring Taylor into the relations around Christ has the power to bring shame upon the family. And so Taylor prays that he not bring such shame

But, Lord, as burnished sunbeams forth out fly,

Let angel-shine forth in my life outflame,
That I may grace Thy graceful family
And not to Thy relations be a shame.

Thus, to avoid such shame, Taylor is dependent upon Christ to make him glorious. Taylor is not contending that such glory is inherent in him – he is asking that be made in him. 

This particular prayer has an interesting relation to Hebrews 2 which describes Christ’s relationship to humanity. That God would be sinful humanity would cast shame upon God. God should be ashamed to be with human beings, who are not glorious (which is obvious if you have ever met one of us). But the Son is not ashamed to be called our brother:

Hebrews 2:10–13 (KJV 1900)

10 For it became him, for whom are all things, and by whom are all things, in bringing many sons unto glory, to make the captain of their salvation perfect through sufferings. 11 For both he that sanctifieth and they who are sanctified are all of one: for which cause he is not ashamed to call them brethren, 12 Saying, I will declare thy name unto my brethren, in the midst of the church will I sing praise unto thee. 13 And again, I will put my trust in him. And again, Behold I and the children which God hath given me.

The Son is not ashamed because he sanctifies – he makes holy (which is glorious) – his own. Therefore, he is not ashamed to call them brothers. He makes his people who are not glorious glorious and so fit to live with him. 

There is a line in C.S. Lewis to the effect that the least saint in glory would be such a wonder we would all be tempted to worship that human being were we to see such a one. 

And indeed that hope to be glorious is not a matter of vanity; it is lovely. We are often so petty and ridiculous because we seek to make ourselves glorious – and not receive true glory from our Creator. 

Edward Taylor, My Shattered Fancy.5

25 Wednesday Nov 2020

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This stanza presents a question without an answer, but it does mention the response.

My Lord, what is it that Thou dost bestow?
The praise on this account fills up, and throngs
Eternity brimful, doth overflow
The heavens vast with rich angelic songs.
How should I blush? How tremble at this thing,
Not having yet my gam-ut learned to sing.

The introductory question, “What is that thou does bestow?” is not directly answered. The implied answer is, An engrafting of your life into my life, which results in you being brought into my web of relationships.

The rhythm of the first line puts the emphasis on the first word of the question, “What”. It does this by placing the word immediately after a pause and accented syllable. 

my LORD, WHAT is IT that THOU dost BEstow?

Yes, what is it? The rhythm makes it impossible to run past the question. 

It is now interesting that the question is not answered.  It is assumed by the word “this”


The praise on this account fills up, and throngs
Eternity brimful

But he never clearly says what “this” is.  He does raise the matter of relations again in the next stanza, “Thy graceful family”.  But here it is merely implied.

The result of this “this” is unceasing praise throughout heaven:

The praise on this account fills up, and throngs
Eternity brimful, doth overflow
The heavens vast with rich angelic songs.

In this, Taylor is again on solid scriptural ground. First, Taylor has come to a gathering:

Hebrews 12:22–23 (KJV 1900)

22 But ye are come unto mount Sion, and unto the city of the living God, the heavenly Jerusalem, and to an innumerable company of angels, 23 To the general assembly and church of the firstborn, which are written in heaven, and to God the Judge of all, and to the spirits of just men made perfect,

Second, the most common scene in the pictures of heaven is one of singing:

Revelation 5:8–14 (KJV 1900) 

8 And when he had taken the book, the four beasts and four and twenty elders fell down before the Lamb, having every one of them harps, and golden vials full of odours, which are the prayers of saints. 9 And they sung a new song, saying, Thou art worthy to take the book, and to open the seals thereof: for thou wast slain, and hast redeemed us to God by thy blood out of every kindred, and tongue, and people, and nation; 10 And hast made us unto our God kings and priests: and we shall reign on the earth. 

11 And I beheld, and I heard the voice of many angels round about the throne and the beasts and the elders: and the number of them was ten thousand times ten thousand, and thousands of thousands; 12 Saying with a loud voice, Worthy is the Lamb that was slain to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. 13 And every creature which is in heaven, and on the earth, and under the earth, and such as are in the sea, and all that are in them, heard I saying, Blessing, and honour, and glory, and power, be unto him that sitteth upon the throne, and unto the Lamb for ever and ever. 14 And the four beasts said, Amen. And the four and twenty elders fell down and worshipped him that liveth for ever and ever. 

The picture of heaven being “brimful” and overflowing with song is remarkable. We normally do not picture songs as occupying a space, but here the songs are palpable. 

As is most common in Taylor, he pauses for a moment at the fact that he is not fit to be present in this company. Taylor’s treatise on the Lord’s Supper begins with a discussion of the scene in Matthew 25 of the man who is present at the wedding feast but lacks the proper garments. That image seems to lie behind Taylor’s unfitness which these preparations were met to remedy.

He says:

How should I blush? How tremble at this thing,
Not having yet my gam-ut learned to sing.

His gamut would be the full range music. The original usage from Gamma (the Greek letter) which in Medieval music was on tone lower than middle A + ut. The concept developed into the full range of musical notes which a voice or instrument could produce. In our modern usage, the origin in music has dropped out and now the concept is merely the full range. Here, Taylor has the musical usage in mind:

How can I possibly participate in this singing and not be ashamed – I don’t know how to sing with these angels.

Edward Taylor, My Shattered Fancy.3

18 Wednesday Nov 2020

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The third stanza picks up on the concluding clause of the second stanza. The second stanza ends with the unfinished idea Thou’lt make me.

The third stanza begins, Thou’lt make me then its fruit

So second through third stanze read:

             Thou’lt make me

Thou’lt make me then its fruit. 

The chaining of the end-beginning clauses creates musical effect of speed, which is not common in Taylor’s often jagged verse. The effect is joyful and expectant. He will become a tree which shall not be moved though wind blow and hell attacks:


Thou’lt make me then its fruit, and branch to spring,
And though a nipping east wind blow, and all
Hell’s nymphs with spite their dog’s sticks therat ding
To dash the graft off, and its fruits to fall,
Yet I shall stand Thy graft, and fruits that are
Fruits of the tree of life Thy graft shall bear.

As explained with respect to the second stanza, the language of graft recalls the letter to the Romans. Here Taylor echoes Psalm 1. The blessed man whose delight is in the law of the Lord:

…he shall be like a tree

Planted by the rivers of water, 

That bringeth forth his fruit in his season;

His leaf also shall not wither;

And whatsoever he doeth shall prosper.

The rhythmic effects are interesting here. Two lines of regular rhythm are jarred by the accent on the first syllable of the third line, 

HELL’S NYMPHS

The enemy thus is emphasized. The fourth line scans

To DASH the GRAFT OFF, and its FRUITS to FALL,

The spondee GRAFT OFF followed by a pause, slows down the line and places emphasis on this attack. The damage is further emphasized in the second half of the line by the alliteration, “fruits/fall” which draws the two words together – but also harkens back to the f in Graft and Off.

The words “graft” and “fruit” then take the foreground in the final lines of the stanza. Notice how the repetition of the words also draws the two words together due to the alliteration of “f”, “r” and “t”:

To dash the graft off, and its fruits to fall,
Yet I shall stand Thy graft, and fruits that are
Fruits of the tree of life Thy graft shall bear.

The work which God does by grafting Taylor into the tree is a work which shall not be lost. This is a picturesque display of the doctrine of perseverance. Simply put, if God does a true work in a heart, that person will not be lost; God will cause them to continue. 

This is the understand of the doctrine of election: It is a comfort: you will not be lost. Unfortunately, it is sometimes raised a barrier: you cannot enter. Taylor puts the emphasis in the right. The tree will be battered; the graft will be tried: but, the graft will stand, because it is God’s work. This is shown in the first line of the stanza:


Thou’lt make me then its fruit, and branch to spring

God’s work will stand. Hell will raise against it, but Hell will prevail.

Edward Taylor, My Shattered Fancy.2

11 Wednesday Nov 2020

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Thou! Thou! my dear dear Lord, art this rich tree,
The tree of life within God’s Paradise.
I am a withered twig, dried fit to be
A chat cast in Thy fire, writh off by vice.
Yet if Thy milk-white gracious hand will take me
And graft me in this golden stock, Thou’lt make me.

The first line of the poem breaks the structure of iambic feet with a series of accented syllables:

THOU THOU my DEAR DEAR LORD art this RICH TREE

The repetition and emphasis is emphatic the Lord is the tree. Why the need for this emphasis, what is the effect of it? 

The poet (in his wooling imagination) goes through the Garden of God and comes upon the tree of life, but then something happens to him. The divine tree he realizes to be more than a tree. The tree is already something unreal, it is divine, it is gold – but now something new comes upon his realization: The Lord is the Tree. This tree of life upon which saints and angels live is the Lord himself. 

In this image, Taylor seems to be borrowing a conceit from the book of Daniel. In the fourth chapter we read of the King of Babylon Nebuchadezzar has a dream a great tree in which all the kingdoms of the world rest is the king (“it is thou O king”). Taylor seems to take that image and rework it to apply to the Lord who is the tree of life which upholds the people of God and the divine beings. 

And so the poet finds something he did not expect to find: it was one thing to find the tree, but to learn the Lord is the tree has taken him back.

This begins a rhetoric turn which Taylor will use though out this poem: the repetition of a phrase:

                                    This rich tree

The tree of life. 

The repetition of the phrase with slight variation is a feature of Hebraic poetry (it is more complex than mere repetition) which would be familiar to Taylor from the Bible. 

The phrase “God’s Paradise” harkens back to “God’s Garden” in the first stanza. Paradise equaling a garden. 

Next he brings up “withered twig”. This brings in two allusions. First is the man with the withered hand whom Jesus heals as recounted in Mark 3. Second is the dead branches which are cast in Jesus’s parable of the vine and branches. I will quote it a length because it’s imagery of vines and branches and fruit underlies a great deal of this poem: 

John 15:1–8 (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. 6 If a man abide not in me, he is cast forth as a branch, and is withered; and men gather them, and cast them into the fire, and they are burned. 7 If ye abide in me, and my words abide in you, ye shall ask what ye will, and it shall be done unto you. 8 Herein is my Father glorified, that ye bear much fruit; so shall ye be my disciples.

Here Taylor begins as a withered branch. But rather than being cast into the fire, he seeks to be grafted into the tree.

He is asking to have the life of the tree flow into his dead life. Which is also a picture from the Gospel of John, “In him was life.” 

But there is yet another passage which lies behind Taylor’s prayer to be grafted into the tree. This comes from Paul’s letter to the Romans. In his image, Paul is describing the relationship of Gentile believers who are coming to relationship with the Jewish Messiah. Paul says the wild branches of Gentiles are being grafted into the existing tree:

Romans 11:16–21 (KJV 1900) 

16 For if the firstfruit be holy, the lump is also holy: and if the root be holy, so are the branches. 17 And if some of the branches be broken off, and thou, being a wild olive tree, wert graffed in among them, and with them partakest of the root and fatness of the olive tree; 18 Boast not against the branches. But if thou boast, thou bearest not the root, but the root thee. 19 Thou wilt say then, The branches were broken off, that I might be graffed in. 20 Well; because of unbelief they were broken off, and thou standest by faith. Be not highminded, but fear: 21 For if God spared not the natural branches, take heed lest he also spare not thee. 

Taylor has done something interesting with these various allusions. By using the allusion of a tree and the King of Babylon, the Lord’s position is pastoral and political: he is a protective ruler. The use of “withered” brings to mind Jesus healing the withered arm, which reverses the use of withered in John 15, where the withered branch is burned: Do not burn me, heal me. By then using a branch being grafted onto a tree, Taylor takes the personal prayer and makes it ecclesiastical: To be grafted into the Olive Tree is to be in the Church.

This also alludes back to the final line of the first stanza where the tree holds angels and saints (and again supports the use of the tree as the King). 

By piling up allusions, he creates greater depth in the meaning of the poem.

The third line is well constructed:

I am a withered twig, dried fit to be

The withered in the first half of the line becomes dried in the second half. The repetition again being Hebraic, but also AngloSaxon in the alliterative first and second half of the lines with the rhythm being more of equal stresses than iambs or other regular feet:

I and WITHERed TWIG, DRIED FIT to be 

The pause between twig and dried puts even more emphasis on dried.  I am … DRIED. 

What has caused his trouble: vice. He has fallen into this state due to sin. This is useful because sin is more than a mere action: it has an ontological component: it is not merely breaking a law it is also to be dead.

The stanza then ends with the incomplete idea: Thou’ll make me. 

Make me what? 

Edward Taylor, My Shattered Fancy.1

06 Friday Nov 2020

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Meditation 29

John 20:17

My shattered fancy stole away from me

(Wits run a-wooling over Eden’s Park)

And in God’s Garden saw a Golden Tree,

Whose heart was all divine, and gold its bark.

Whose glorious limbs and fruitful branches strong 

With saints and angels bright are richly hung.

The opening image of this poem is remarkable. His “fancy” runs away! At this time “fancy” referred particularly to the creative imagination. We would say this is a “flight of fancy,” a running away of the imagination. 

It is interesting that his fancy has been “shattered.” Why or how it became shattered is not said. It as if we have come upon a crime scene or a moment of chaos. His imagination has taken off.  His “wits” – his thoughts have run off.

The phrase “a-wooling” does not appear in the Shorter OED. The verb “wooling” appears in the Glossary of Northamptonshire Words and Phrases from 1854 where it refers to picking up scraps of wool (this usage is also attested by the OED). The meaning her seems to mean something like our usage in the phrase, “wild and woolly” – his wit is completely out of control.

But where is it out of control? In Eden’s Park. This is an interesting turn of phrase: it is meant to allude to the Garden of Eden – but he uses the word “Park” would here mean a very orderly garden – a wealthy estate, well laid out and maintained. But his imagination is blasting through this precise park.  

The use of the word wool suggests a ram running wild across a pristine green park with well-attended trees.

This park is not merely Eden, it becomes “God’s Garden” which transports us from Genesis 1 to Revelation 22:

Revelation 22:1–5 (KJV 1900) 

And he shewed me a pure river of water of life, clear as crystal, proceeding out of the throne of God and of the Lamb. 2 In the midst of the street of it, and on either side of the river, was there the tree of life, which bare twelve manner offruits, and yielded her fruit every month: and the leaves of the tree were for the healing of the nations. 3 And there shall be no more curse: but the throne of God and of the Lamb shall be in it; and his servants shall serve him: 4 And they shall see his face; and his name shall be in their foreheads. 5 And there shall be no night there; and they need no candle, neither light of the sun; for the Lord God giveth them light: and they shall reign for ever and ever. 

And here with find the Tree of Life transported from Eden to God’s Garden.

Thus, Taylor’s wild fancy has run from Eden to the New Heavens and New Earth in one wild run.

Since we will look more at the tree and branches later in the poem, we will pass that and look to the tree: it has a heart. What sort of tree has a heart? This is not a normal tree but it is something more. 

And there is one final point which cannot be missed here: Taylor is laying hold upon a sight of Christ by his imagination. I do not mean that he is speculating. As we will see, he is intensely scriptural in each place. This is a sort of picturesque theology. But he is imaging this event: he is making it present and real by seeing it. 

This is certainly not the most common of spiritual practices of present– at least for someone who would hold Taylor’s theology.  I do not believe I have ever heard a sermon which extolled imagination. This of course is what Taylor is doing throughout his meditations. But in this place he makes that paramount.

The only explanation I can have for his fancy being shattered is the overwhelming beauty of his vision.