Tag Archives: Literature

Edward Taylor, Meditation 33 Stanza Two

04 Tuesday May 2021

Posted by in Edward Taylor

≈ Leave a comment

Tags

, , , , ,

Stanza Two

Oh! What strange charm encrampt my heart with spite

Making my love gleam upon a toy?

Lay out cartloads of love upon a mite?

Scarce lay a mite of love on thee, my Joy?                             10

Oh, lovely thou, shalt not thou loved be?

Shall I a-shame thee thus? Oh! Shame for me!

Summary: 

The argument of the poem begins to come more in focus here:  The poet demands of himself, why do I so love this thing so unworthy of love, a “toy”.

Notes:

The concept of “toy” here emphasizes unimportance or triviality far more than a plaything which might be precious to a child. For instance, Shakespeare, has Macbeth upon “hearing” that the king has been murdered, say with multiple levels of irony:

Had I but died an hour before this chance,
I had lived a blessed time; for, from this instant,
There ‘s nothing serious in mortality:
All is but toys: renown and grace is dead;
The wine of life is drawn, and the mere lees
Is left this vault to brag of.

That is, “life is meaningless” it is but a toy.

His love “gleams” upon the toy. His love produces a light which makes the toy visible. It is a striking image of love enlightening an object. Coupled with “strange charm” in the first stanza, we have an image of some sort of witchcraft:

Oh! What strange charm encrampt my heart with spite

Making my love gleam upon a toy?

Although not a direct allusion, there seems to be something in the background here of Paul to the Galatians, “Who hath bewitched you, that ye should not obey the truth” (Gal. 3:1) Something so inexplicable must be the result of a spell. Remember, that while our public culture has either a bemused or a sort of positive view of such things, Taylor would have found the idea horrifying and wicked. 

Encrampt: His heart is brought under the control of something foreign (the spell) and thus does not function rightly. His heart is unnaturally constrained.

This brings us to the “spite” lying at the source of this spell which constrains his heart to fix its attention upon a pointless object. 

[Midsummer night's dream, IV, 1, Titania adorns Bottom with flowers] [graphic] / [Alexandre Bida ...

Another image from Shakespeare helps, where the Tatiana Queen of the Fairies falls in love the imbecile Bottom whose human head has been replaced with a donkey head. She has fallen in love by means of a spell meant to humble her.

This brings us to the incredulous irony: 

Lay out cartloads of love upon a mite?

Scarce lay a mite of love on thee, my Joy?     

We have here a biblical allusion: Cartloads of treasure were brought to Moses by the leaders of each tribe at the setting up of the tabernacle. A mite reminds us of the widow who could only give a mite. It was an insignificant offering. And so a treasure of love is being loaded upon something meaningless, which his “joy” is being neglected.

The joy is identified in the first line of the poem as “My Lord, my life.” He has fallen profoundly in love with something which is utterly valueless and has in the same moment neglected his Lord and life. The only explanation can be some hideous spell.

We then end with the couplet providing a judgment upon the situation: 

Oh, lovely thou, shalt not thou loved be?

Shall I a-shame thee thus? Oh! Shame for me!

He is shaming the true object of his love by withholding honor to whom honor is due and showering that upon a trifle. It is a shame, because the it is a deliberate dishonor. But in the end, it is the poet who is in shame by loving something so valueless.

Prosody:

Oh! What strange charm encrampt my heart with spite

Making my love gleam upon a toy?

Lay out cartloads of love upon a mite?

Scarce lay a mite of love on thee, my Joy?                             10

Oh, lovely thou, shalt not thou loved be?

Shall I a-shame thee thus? Oh! Shame for me!

An interesting aspect of this stanza is the accent of the first syllable of every line (except the last). Also note the trochees as well as the repeated L alliteration: love/lay

OH what STRANGE CHARM

MAKING my LOVE GLEAM

LAY out CARTloads of LOVE

SCARCE LAY a MITE of LOVE

OH LOVELY thou, shalt not THOU LOVed BE?

There is the fine wordplay in the last line on a-shame/shame which works with the internal rhyme on “thee/me”.

Dylan Thomas, To Be Encompassed by the Brilliant Earth

08 Thursday Apr 2021

Posted by in Dylan Thomas, Uncategorized

≈ Leave a comment

Tags

, , , , , , ,

To be encompassed by the brilliant earth

Breathing on all sides pungently

Into her vegetation’s lapping mouths

Must feel like such encroachment

As edges off your nerves to mine,

The hemming contact that’s so trammelled

By love or look,

In death or out of death,

Glancing from the yellow nut,

Eyeing from the wax’s tower,

Or, white as milk, out of the seeping dark,

The drooping as you close me in

A world of webs

I touch and break,

I touch and break.             

This is a horrifying poem in many ways. Although written from a profoundly pagan point of view (that life is a sort of force which of its own runs through all living things and our life is ultimately impersonal and not our own), the moral of the poem is as critical of lust as the most passionate turn or burn preacher. 

The poem begins with a phrase which may be an imagining which may be a wish or a fear. 

To be encompassed by the brilliant earth.

I hope to be, I fear to be, I may be; I am fascinated by, or I am in terror of, this encompassing.  The use of the verb “encompassed” provides the ambiguity. For instance, if we change the verb to “buried” or “crushed,” we could easily see the negative. If we read “blanketed” of “cradled,” we could see this as a good. But encompassed denotes a state without providing a connotation to relieve the ambiguity.

Moreover, there is an ambiguity as to whether the poet considers his own, another’s, or the abstracted idea, of the state of encompassing. 

The phrase the brilliant earth is one of the paradoxical turns one finds in Dylan. The earth by nature is not “brilliant”: it does exhibit light. There are a few ways we could take this phrase.

The easiest way to “understand” the phrase would be to reject it as nonsense. If we were to find this phrase in a textbook on dirt we would have to think of the phrase as somehow in error. 

However, since we are reading a work of creative literature, and a poem by Dylan Thomas in particular, we charitably consider this as a deliberately paradoxical phrase; perhaps along the lines of a Zen koan. If this phrase is not to be taken as a deliberate contradiction nor a “literal” description of glowing dirt, what could Dylan’s point be?

It might be there is a sort of “brilliance” in the earth which is not immediately the subject of apprehension. It might be a metaphorical brilliance: The earth is living or active in some sense and exudes something which could be described as “brilliant”. It might be a reference to the effect upon the poet: somehow the earth has made in me the sensation that the earth is brilliant.

We could also conclude that “earth” has reference which is not precisely inert dirt in the field. What this reference could be is unclear at this point. 

Of course, the metaphorical use could entail both elements. 

And thus at the end of the first line, we are in a state of necessary ambivalence. 

The line scans as follows:

to BE encompassed [pause] by the BRILLiant EARTH

The two halves of the line are held together by the alliteration of “B” on either side of the pause: Be Brilliant

The second line

Breathing on all sides pungently

This line connects to the prior line as follows:

The “B” of “Breathing. This point is emphasized by the accent on the first syllable. 

The entire line also functions as an appositive to the “brilliant earth”: The “brilliant earth [is] breathing.”

The description of the earth “breathing” complicates the problem of the first line in describing earth. So we now know the earth is “brilliant” and “breathes”. How this could be so is not yet clear. But by the addition of “breathing” tells us that somehow the earth is alive. The brilliance is just glowing dirt: this living entity.

The prepositional phrase, “on all sides” complements “encompassing”. This does not answer who is encompassed by the earth (the poet or another).

Someone is now on all sides experiencing a living, breathing earth. Moreover, this experience is intimate: the earth is close enough, one can experience this “pungent” breathing.

Into her vegetation’s lapping mouths

Where does the vegetation have a mouth? Does the earth breathe into the roots or the leaves? 

This also changes the tenor of the adverb “pungently”. Rather than emphasizing the earth’s bad breath, it seems to emphasize the pointedness of the earth’s action. 

The vegetation is pictured as an animal lapping at the water: but here, rather than water it is the breathing earth.

At this point, the poem takes a dramatic turn:

Must feel like such encroachment

As edges off your nerves to mine,

The relationship between the mouths and the breathing earth is pictured as an “encroachment”: it is a forcible entrance, or a least an unwelcomed entrance. 

At this point, the metaphorical language of a brilliant, breathing earth becomes another step removed from experience: the earth and the plants mouths are not “your nerves to mine”. 

The first clause, “as edges off” modifies the “encroachment”. 

We have now moved from actual plants and earth to the poet and someone else. Precisely what is taking place here is not exactly clear, but the relationship between this poet and, we can presume at this point, a lover is extraordinarily intimate. 

This also raises a theme which runs through other poems by Thomas such as 

The force that through the green fuse drives the flower 

Drives my green age

This concept of there being a continuous correlation between the life of plants and nature and his own life. Because of this theme, it is perhaps wrong to understand the current poem (To be encompassed ….) is not using the language of earth and plants as merely a conceit: a metaphor to dress-up the relationship between the poet and lover, but rather to express something which Thomas contends is inherent in the relationship.

He is pointing out something which is intimate, but also (he sees) as impersonal. Walt Whitman makes a similar argument in Song of Myself:

Urge and urge and urge, 

Always the procreant urge of the world.

It is as if Thomas is speaking to her and removing the personal him and her from the equation and contending for a deeply impersonal intimacy. He even describes this intimacy as something which “love” or “look” (there knowledge and notice of one-another) as trammeling upon the intimacy:

The hemming contact that’s so trammelled

By love or look,

The contact is not profound, rather it is “hemmed.”  The intimacy of the two is the intimacy of plants in the soil. It is not even animalistic, but rather vegetable. It does not sound passionate or even desirable: breath is pungent, the intimacy an encroachment. The brilliant earth thus comes back not as a joyous brilliance but rather a description of energy: as if life were a thing like gravity which just acted without personality.

The trammeling is further explicated in these lines:

In death or out of death,

Glancing from the yellow nut,

Eyeing from the wax’s tower,

Or, white as milk, out of the seeping dark,

The exact references of these lines are unclear to me. The first line “In death or out of death” make sense, because this force is not something confined to persons, but a force which courses through nature with or without Thomas’s existence. 

I can’t make out the “yellow nut,” unless it is some reference to birth in the way that a wax tower which would melt with heat is a reference to death. That life-death-life movement would make sense of nut and wax, and then white seeping from dark: a force of life which moves through opposites and moves through people without any person being their own life.

USA, TX, Bandera Co.: Bandera Hill Country State Natural Area 9-iv-2016

The poem ends with this horrifying lines:

The drooping as you close me in

A world of webs

I touch and break,

I touch and break.

The lover’s closeness is “drooping” she closes in on him in a manner which he describes as “a world of webs”. This intimacy is no loving relationship, rather it is a black widow coming into the kill the male with whom she mates. This moment of procreation will he is death:

“I touch and break.” 

To touch her is to be destroyed. 

This moment of dispassionate lust, a lust which is independent of either the poet or the woman, results in profound disillusionment. It something forced upon them both, something which love or true intimacy can only ‘trammel’ upon. They are forced into this “encroachment” which overwhelms them. In the end, she comes to him as a spider who destroys him as soon as she touches him. 

Thomas decidedly does not call this lust “sin”: sin would be too volitional an understanding. But the result of this lust is certainly death. 

This then leads us back to the first line of the poem: On the first run through, one lover encompassing the other is the “brilliant earth”. The brilliant earth is the human being made of earth and animated by the “green force”. But here at the end, we return to the earth and now it is a tomb: he has been buried. The procreative act is also the entombing action. Life runs through the human, running the puppet from life to death to life and so on.

So I hated life

Because what is done under the sun is grievous to me

For all is vanity

And a striving after wind.

Eccl. 2:17

Edward Taylor, Meditation 32, Seventh Stanza

06 Tuesday Apr 2021

Posted by in Edward Taylor

≈ Leave a comment

Tags

, , , , , , , ,

Seventh Stanza

Thou to the cups dost say (that catch this wine)

This liquor, golden pipes, and wine-vats plain,

Whether Paul, Apollos, Cephas, all are thine.

Oh golden word! Lord speak it o’re again

Lord speak it home to me, say these are mine.

My bells shall then thy praises bravely chime.

Summary: The poem ends with the words of God to the poet: This grace you have received and more – “all [these things] are thine”. This final stanza breaks the form of the previous stanzas in that the prayer is found in the fourth & fifth lines, rather than the final couplet: Here he prays that God will repeat the promise, “all are thine.” It then ends with a final promise of future praise.

Notes:

The image here is of one who bestows the feast: God speaks to the cups which hold this grace and he bids them continually be filled with grace. 

Indeed, the entire stanza is about speaking: And since it is God is speaking the words are efficacious (And God let there be light, etc.)

Thou to the cups dost SAY (that catch this wine)

This liquor, golden pipes, and wine-vats plain,

“Whether Paul, Apollos, Cephas, all are thine.”

Oh golden WORD! Lord SPEAK it o’re again

Lord SPEAK it home to me, SAY these are mine.

My bells shall then thy praises bravely CHIME.

This stanza is a plea for God to speak directly to Taylor, “Say, these are mine.”

But there is an interesting shift in the address of the first three lines of the stanza. Poet speaks to and of God speaking

You, God, say to the cups, “All [these things] are thine.” The cups are not something separate from the poet, he does not take up a cup: he is the cup. God blesses the cup – who is the poet – and says to him: All these things are yours.

So far, the emphasis in the poem has been on grace of salvation. But here the scope and breadth of that salvation is made plain: It is not a bare escape from hell but rather a great promise.

Now, there is something interesting in the section of the promise which Taylor selects, the three names Paul, Apollos, Cephas (Peter). In the passage selected, Paul has been speaking to the Corinthians concerning their fighting one-another under the banner of this or that preacher: Some say they follow Paul, some Apollos, I follow Peter. Paul explains that God does all the work and the ministers are merely those who serve God in his work. Immediately after the passage quoted by Taylor, Paul will go onto state that ministers are “stewards of the mysteries of God.” They are those delivering someone else’s property. 

Thomas Watson, an English Puritan and near contemporary of Taylor, gave this sense of the clause quoted by Taylor:  “Under these words, ‘Paul and Apollos,’ by a figure are comprehended all the ministers of Christ, the weakest as well as the eminentest. ‘Paul and Apollos are yours,’ viz. their labours are for edifying the church. They are the helpers of your faith; the parts of a minister are not given for himself, they are the church’s.” Thomas Watson, The Christian’s Charter of Privileges.

Taylor hiself was a minister. And while I have no idea of how he felt or thought upon the day this poem was drafted (beyond the poem itself), I could see some peculiar encouragement to a pastor in these words. God has redeemed Taylor – God has also given Taylor all things. He has given Taylor the work of other Christian ministers.

But God has also given Taylor for others in this particular capacity. 

And Taylor states that having received this grace from God, he will turn around praise this grace of God, As he hears these words over again, he will in turn chime the praise of God to others. Thus, in a manner, Taylor is taken up into the promise of Paul’s letter. 

This meditation being a preparation for the service which Taylor would lead for his congregation, this promise of “all things are thine” and the promise that he will praise God works out in the fact of Taylor’s ministry.

Moreover, the poem itself answers to this promise to praise God. By writing the poem, Taylor is in fact praising God.

Musical

The accents are interesting: I have marked the irregular lines:

THOU to the CUPS dost SAY (that CATCH this WINE)

This liquor, golden pipes, and wine-vats plain,

WHEther Paul, Apollos, Cephas, all are thine.

OH GOLDen WORD! LORD SPEAK it O’RE aGAIN

LORD SPEAK it HOME to ME,  SAY THESE are MINE.

My bells shall then thy praises bravely chime.

The accents help to direct the attention of the speech. The first line of the stanza accents “Thou”: it gets attention and functions like a greeting. The fourth and fifth lines of the stanza are over-accented. Each word must be said separately and slowly which creates substantial emphasis. This makes sense, because they two lines are the petition of the prayer. The last line is part of the prayer, but it is a promise of future praise, not a request from God. 

The repetition of the phrase, “Lord speak” coupled with the strongly emphasized syllables creates an impassioned plea: Lord, say these words, give me assurance this is true: I know it is so, I just want to hear it again. This is the sort of intensity of the lover saying, “Say you love me again.” Or the pardoned criminal, “Say it again, I can hardly believe I have been freed.”

Robert Browning, The Lost Mistress

21 Sunday Feb 2021

Posted by in Robert Browning

≈ Leave a comment

Tags

, , , ,

All’s over, then: does truth sound bitter 

As one at first believes? 

Hark, ’tis the sparrows’ good-night twitter 

About your cottage eaves! 

And the leaf-buds on the vine are woolly, 

I noticed that, today; 

One day more bursts them open fully 

– You know the red turns grey. 

Tomorrow we meet the same then, dearest? 

May I take your hand in mine? 

Mere friends are we, – well, friends the merest 

Keep much that I resign: 

For each glance of the eye so bright and black, 

Though I keep with heart’s endeavor, – 

Your voice, when you wish the snowdrops back, 

Though it stay in my soul for ever! – 

Yet I will but say what mere friends say, 

Or only a thought stronger; 

I will hold your hand but as long as all may, 

Or so very little longer! 

Summary: The poem itself is remarkably simple at one level. The poet is saying goodbye to a romantic relationship, not to the woman. As he parts from her home, their romance is over. Come the morning, they will be “friends.”  

What makes the poem striking is the manner in which Browning sketches this awkward, ambivalent moment. He works out the intricacy of the thoughts and emotions of the man who has lost the woman; revealing the shift in their relationship.

It is by turns delicate, melancholy, wicked, hopeful. This short piece is an absolute gem.

First Stanza 

All’s over, then: does truth sound bitter 

As one at first believes? 

Hark, ’tis the sparrows’ good-night twitter 

About your cottage eaves! 

Summary: There are three elements to this stanza: (1) the interjection; (2) the question; and (3) the seemingly irrelevant turn to the sparrows. He is saying a goodbye of sorts, and then he turns to the birds.

Notes:

All’s over: 

The poem is in the voice of the poet to the mistress. We pick up the story in the middle. Something has just happened, but what did happen is unknown to the reader. We’ve walked onto the intimate of moments between two people. The only thing we know is that is definitively over.

By not telling us more than the end has come, Browning puts our focus wholly upon the moment. There is no possible negotiation; our attention thus solely upon the now of their relationship.

The rhythm accentuates the meaning. The poem begins with two consecutive accented syllables. 

Then: does truth sound bitter 

As one at first believes? 

Just as the poem abruptly begins with the end, we see in these lines the subtle turn which is taking place. At first, the truth was bitter. But here is negotiating with the truth and his relationship to it. By saying the bitterness was “at first believe[d]”, he implies that perhaps his original bitterness could be otherwise. He is negotiating with his situation. 

This is not quite hopefulness for the relationship: he is not asking her to reconsider whatever has just taken place. But he is finding something here which will be new. Somehow the bitterness can be displaced.

This sets the agenda for the poem. The initial interjection closes the door on what has just happened. This pausing to think of bitterness opens the door to the movement through the remainder of the poem.

Hark, ’tis the sparrows’ good-night twitter 

About your cottage eaves! 

One misses the connection of these lines if the poem is considered as a straight logical argument. The sparrows from nothing directly to do with the proceeding events. But when we think of this as it would play out emotionally, we have a clue.

You are standing at the door of the woman whom you have loved, and now you must say goodbye to all that hope and desire and expectation. You were on the verge of being crushed and then there in the evening an idea begins to form. You have just been saved from bitterness. And in this moment of incipient joy or hope you notice the birds. The tiny sparrow twitter about her “cottage eaves” (which is much more becoming than “roofline”).

Finally, I can’t help but hearing Wordsworth’s Strange Fits of Passion in the background. I can’t prove it up, but somehow I think it’s lurking here.

Second Stanza

And the leaf-buds on the vine are woolly, 

I noticed that, today; 

One day more bursts them open fully 

– You know the red turns grey. 

He then continues with this lingering observation of her home. Yes, here are the sparrows. I hadn’t noticed them just a moment ago, and look her are the flowers on the vine. 

He is telling her notice that flowers are about to burst open: it will happen tomorrow. By the way, he has a resolution for tomorrow himself. 

The last line is vicious. It is easy to miss the point here and think that Browning is raising the commonplace observation that nothing is permanent. That would be boring. 

Think more carefully: You have just been rejected, on some unknown basis. You were on the verge of being crushed (bitterness) and then you had a change in thoughts. You are not going to be destroyed. You note the lovely sparrows. You note the flowers ready to burst open.

And then he says to her: You know all those flowers will die. He doesn’t say it directly. The vague way he raises the point makes it sound as if he is merely thinking out loud. 

But he tells his “lost mistress,” you know those flowers will die. Yes, that is a retrospective evaluation of his relationship: but the dying flowers are in the future. The death is not what he has just suffered, but what she will soon face. Her flowers have reached their zenith.

Third Stanza

Tomorrow we meet the same then, dearest? 

May I take your hand in mine? 

Mere friends are we, – well, friends the merest 

Keep much that I resign: 

Here begins the negotiation. He has gone from rejection in the first words to having some control over the circumstance. He has already suffered whatever loss he will suffer; her flowers have yet to face.

The “dearest” at the end of the first line is loaded. Is it plaintive? Ironic?

The complication then comes in the lines: (1) may I take your hand; (2) we will be “mere” friends.  These lines are negotiating the nature of their new relationship. 

Mere friends are we, – well, friends the merest 

The rhythm throws the accent on the first syllable. There are two pauses in one line. The chiasm: mere-friends-friends-mere drives the point home in an overkill:

MERE FRIENDS are we ….. well …. FRIENDS the MERest

The last line then introduces his “offer”

Stanza Four

Keep much that I resign: 

For each glance of the eye so bright and black, 

Though I keep with heart’s endeavor, – 

Your voice, when you wish the snowdrops back, 

Though it stay in my soul for ever! – 

This stanza reminds of John Donne’s poem “The Message” which begins:

Send home my long stray’d eyes to me, 

Which O too long have dwelt on thee, 

Yet since there they have learn’d such ill, 

Such forc’d fashions, 

And false passions, 

That they be 

Made by thee 

Fit for no good sight, keep them still.

But the possible allusion to Donne is ironic. Donne is sending everything back, but Browning returns nothing though it is resigned to her. Note the use of the word “though” in the second and fourth lines of the stanza:

For each glance of the eye so bright and black, 

Though I keep with heart’s endeavor, – 

Your voice, when you wish the snowdrops back, 

Though it stay in my soul for ever! – 

He offers back to her each glance she shared with him, and the sound of her voice. And yet, even if he returns it to her, it still remains in his heart and soul. She has already been communicated to him and this cannot be undone. 

So we have come to the place where she cannot obtain she apparently sought: a place where this had never taken place. She has already bestowed something upon him which she cannot retrieve. 

This trope of the lover turning over some secret token which cannot be retrieved and which has become a liability lurks in the background of these lines. 

This matter of love and loss has become significantly more dangerous. 

Which leads us to the conclusion

Fifth Stanza

Yet I will but say what mere friends say, 

Or only a thought stronger; 

I will hold your hand but as long as all may, 

Or so very little longer! 

He returns to the negotiated space of “mere friends” but now discloses what has happened. She has left the tokens with him, and since those tokens cannot be retrieved, even their position of “mere friends” is different.

He only raises the matters of speaking to her and holding her hand. But these matters were already raised above. He said things which mere friends would say, about sparrows and flowers – and yet what he has said is a “thought stronger.” There was more in his mentioning sparrows and flowers than would if someone else had spoken. 

When he touches her hand, it will be for no longer than anyone else. But she will know that something has happened here that has not happened among her other “mere friends.” 

Edward Taylor, Meditation 31, Begraced by Glory.5

14 Sunday Feb 2021

Posted by in Edward Taylor

≈ Leave a comment

Tags

, , , , , , , ,

Stanza 5

By me all lost, by thee all are regained.

All things are thus fall’n now into thy hand.

And thou steep’st in thy blood what sin had stained

That th’stains and poisons may not therein stand.

And having stuck thy grace o’re all the same (35)

Thou giv’st it as a glorious gift again.

Summary: The eschatology of Christianity is both personal and universal; it is both in time and beyond time. The time before the Fall is brought forward into eternity. The tree of life which was lost in the Fall in the Garden is in the New Heavens and New Earth. (Rev. 22:2) The rivers of Eden return as the River of Life. (Rev. 22:1) What was had – and lost – is given “as a glorious gift again.” There is also the person eschatology: The damage done by sin is remedied by blood of Christ – which is both a healing gift of grace, and what makes the poet fit to receive grace.

Notes:

By me all lost, by thee all are regained.

This language of “all” comes directly from motto for this poem, “All things are yours .. the world or life or death or the present or the future”. This theme of “all” played a substantial element of Puritan theology. Thomas Watson wrote an entire book on the subject, “The Christian’s Charter.” Often this “all things” is contrasted at length with good which we can have in this world: goods which do not keep. So for instance, George Swinnock, in chapters 14 & 15 of The Fading of the Flesh, contrasts the difference between what is had the graceless and gracious (one who has received grace) in this world and the different between the sinner’s and the saint’s portion in the life to come. 

The all received by grace is not merely the consummation of the world and a life to come. It is a thing present now in this life. 

A passage by Thomas Brooks may help to understand what is regained:

O sirs! if God be your portion, 

then every promise in the book of God is yours, 

and every attribute in the book of God is yours, 

and every privilege in the book of God is yours, 

and every comfort in the book of God is yours, 

and every blessing in the book of God is yours, 

and every treasury in the book of God is yours, 

and every mercy in the book of God is yours, 

and every ordinance in the book of God is yours, 

and every sweet in the book of God is yours; 

if God be yours, all is yours.

Thomas Brooks, The Complete Works of Thomas Brooks, ed. Alexander Balloch Grosart, vol. 2 (Edinburgh; London; Dublin: James Nichol; James Nisbet and Co.; G. Herbert, 1866), 66.

All things are thus fall’n now into thy hand.

There is an irony in this line: in the fall all was lost; but now through the reversal of sin and death by Christ suffering death for others sin, and thus the “all” falls into his hands.

And thou steep’st in thy blood what sin had stained

That th’stains and poisons may not therein stand.

There has been an irony in Christian imagery that the blood of Christ washes the sinner clean. A much later song which became well-known through the Salvation Army’s use:

Are you washed in the blood,
In the soul cleansing blood of the Lamb?
Are your garments spotless?
Are they white as snow?
Are you washed in the blood of the Lamb?

The perhaps the most direct biblical allusions which line behind this line

Isaiah 1:18 (AV)

18 Come now, and let us reason together, 

saith the LORD: 

though your sins be as scarlet, 

they shall be as white as snow; 

though they be red like crimson, 

they shall be as wool.

There is also the imagery of the sacrifice which runs through the Bible. What is always so strange of these passages is how something can be cleansed with blood? Blood would never make anything clean. 

Taylor explains that the sin which has stained his life is removed by means of the blood shed, because the blood takes the place of the sin stained.  The garment becomes so soaked in blood that there is no room for the poison and stains

There is an implied image of the thing being cleansed being a garment. The image of the garment being cleansed is present in certain rules concerning being unclean, but perhaps is most directly taken from Jude 18, “the garment spotted by the flesh.”

And having stuck thy grace o’re all the same (35)

Thou giv’st it as a glorious gift again.

The restored garment – the restoration of the entire life – is given back to Taylor as a gift. One relationship here is found in the return of the Prodigal Son. The son who has hatefully rebelled against his father and lost his inheritance returns home to hope for the life of a servant is given a glorious robe and invited to a feast. 

This also is similar to the imagery of Pilgrim’s Progress where Christian is given glorious clothing to make his new life. 

Also note that the grace conveys “glory”. The hope of the Christian is glorious, but is also glory:

1 Peter 1:3–9 (AV)

3 Blessed be the God and Father of our Lord Jesus Christ, which according to his abundant mercy hath begotten us again unto a lively hope by the resurrection of Jesus Christ from the dead, 4 To an inheritance incorruptible, and undefiled, and that fadeth not away, reserved in heaven for you, 5 Who are kept by the power of God through faith unto salvation ready to be revealed in the last time. 

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: 9 Receiving the end of your faith, even the salvation of your souls.

Thus, while the renovation of the Creation will be glorious, there also will be glory of each individual. We will become glorious. In the Weight of Glory, C.S. Lewis wrote, ““the dullest and most uninteresting person you can talk to may one day be a creature which, if you saw it now, you would be strongly tempted to worship.” 

Union with Christ

One final note on this stanza is the blood which is graciously given which makes him fit to receive the grace. Blood is as intimate as could exist. Moreover, the life is in the blood. Lev. 11:17. The is this life blood which works the transformation. His identification as being covered in this blood is the gracious condition which makes “all yours.”

Musical:

And thou STeep’Tt in thy blood what Sin had STained

That th’STains and poiSonS may not therein STtand.

And having STuck thy Grace o’re all the Same (35)

Thou Giv’ST it as a Glorious Gift aGain.

The repetition of the sounds as noted, tied these lines together. 

The scansion has some interesting features:

and thou STEEP’ST in THY BLOOD what SIN had STAINED

that TH’STAINS and POIsons may NOT therein STAND

and having STUCK thy GRACE o’re ALL the SAME

THOU GIV’ST it as a GLORious GIFT aGAIN

The accents tracks the alliteration, so that each underscores the other. Thus, the rhythm and the sounds each seek to press the emphasis on meaning of the words. 

Edward Taylor, Meditation 31, Begraced With Glory.3

06 Saturday Feb 2021

Posted by in Edward Taylor, Literature, Sin

≈ Leave a comment

Tags

, , , , , , ,

Seen at 107 South Street, NY, NY; https://www.instagram.com/dirtcobain/

Oh! Sad-sad thing! Satan is now turned cook:

Sin is the sauce he gets for every dish.

I cannot bite a bit of bread or root (15)

But what is sopped therein and venomish.

Right’s lost in what’s my right. Hence I do take

Only what’s poisoned by the th’infernal snake.

Summary: Now every experience, everything which the poet experiences has been imbued with sin, which he refers to as “poison” or “venom.”

Notes: That Satan is referred to as a serpent is undisputed. In Genesis 3, the Tempter – although not explicitly referred to as Satan – is referred to as the Serpent, the most crafty of subtle beasts of the field (the field was the world outside the Garden). In Revelation 20:2, Satan is explicitly referred to as “that ancient serpent.”

The imagery of Satan as a cook is interesting and unusual. I cannot find any references to Satan as a cook. But, the image is on point because the original sin was brought about through eating. He did provide a dish for Adam and Eve. 

Use of this image then makes for a fascinating overlay with original sin. That fruit from the Garden has now become an overlay for all subsequent human action. 

All life must be lived in a manner which entails loving God with all heart, soul, mind, and strength. And no action of a human being ever approximates such a level of devotion. It is impossible for post-fall human conduct to ever be perfect. 

This actually makes for a fascinating contrast with the current social mobs which attack any deviancy from orthodox thought and conduct. These mobs allow for zero tolerance, zero grace. But in contrast: Paul persecuted the Church; Peter denied Christ; David committed adultery and murder; et cetera. These are our saints. Taylor will get to the inexplicable grace of God – which so contrasts with the judgment of human beings.

Note also that this is not merely sinful but is poisonous: it is filled with venom. Thus, while it is food and desirable; it is also poisonous and spells my death.

Of special note must be the word “sopped”:

Oh! Sad-sad thing! Satan is now turned cook:

Sin is the sauce he gets for every dish.

I cannot bite a bit of bread or root

But what is sopped therein and venomish.

What is so perfect about the word is not merely the sound, but the meaning. Sin as a sauce has been poured over all of his food. He is not merely content to the sauce as it happens to be on his meat: he next uses bread to sop up all the remainders. What a vicious and brilliant vision of sin. 

Musical: I rather like this stanza.

Look at all the alliteration on “s”: 

Sad, sad, satan, sin, sause, diSh, sopped, venomISH, rightS, lost, 

 The phrase, “Sin is the Sause” is wonderfully balanced in concept, rhythm, and sound

SIN is the SAUCE

The first line SAD SAD THING SATan: the slow beat, the repetition of not merely S, but SA. “Sad thing” is a near rhyme to “Satan”

The third line of the santza switches to B and R and makes for a wonderful contrast to the sibilant S

I cannot bite a bit of bread or root

But

The alliteration draws the words together. The near rhyme of bite-bit, the movement from B to R in Bite, Bit, BRead, Root is brilliant.

Here it is again:

Oh! Sad-sad thing! Satan is now turned cook:

Sin is the sauce he gets for every dish.

I cannot bite a bit of bread or root

But what is sopped therein and venomish.

Right’s lost in what’s my right. Hence I do take

Only what’s poisoned by the th’infernal snake.

Edward Taylor, Meditation 31, Begraced with Glory.2

02 Tuesday Feb 2021

Posted by in Edward Taylor, Uncategorized

≈ Leave a comment

Tags

, , , , ,

Stanza 2

But as a crystal glass, I broke, and lost
That grace, and glory I was fashion’d in
And cast this rosy world with all its cost
Into the dunghill pit and puddle sin. (10)
All right I lost in all good things, and each
I had did hand a vein of venom in.

Summary: This stanza recounts the fall. Here again, Taylor puts himself into Adam’s story and casts himself as the culprit. “I” am the one who broke the crystal glass. I cast “this rosy world” into the “dunghill.” The “rosy world” is taken over from the first stanza.

He has lost all “right” (that is as in a right in) all that is good. And now all that he has is shot through with “venom.” Venom is a reference to Genesis 3:

Genesis 3:1 (AV) Now the serpent was more subtil than any beast of the field which the LORD God had made. And he said unto the woman, Yea, hath God said, Ye shall not eat of every tree of the garden?

Notes: The reference to this sinful earth in terms of a “dunghill” was a commonplace in English Puritan writing, such as:

First, here is their portion, they are never like to have any other consolation, but that they have here, here is their All. This is as it were their Kingdom; They are upon their own dunghil.

Jeremiah Burroughs, Moses His Choice, with His Eye Fixed upon Heaven: Discovering the Happy Condition of a Self-Denying Heart (London: John Field, 1650), 100. The reference to sin and puddles is also not unknown, though less common. For instance:

One sin may keep possession for Satan, and hinder Jesus Christ from his right—I mean, from sitting on the throne and swaying the sceptre of thy soul. Wallowing in one puddle defiles the body, and tumbling in one piece of filthiness defiles the soul.

George Swinnock, The Works of George Swinnock, M.A., vol. 5 (Edinburgh; London; Dublin: James Nichol; James Nisbet and Co.; G. Herbert, 1868), 454. A striking similarity to Taylor’s use in this stanza is found in Thomas Adams, The Fatal Banquet (the first sermon), found in volume 1 of his collected works at page 169: “Sin is, like water, of a ponderous, crass, gross, stinking, and stinking nature.”

Musical: The g’s of the first stanza, glory, grace, gold, here appears only as what has been lost: the broken glass, the fled glory and grace, the good which is gone.

The meter is regular until the last two lines:

All right I lost in all good things, and each
I had did hand a vein of venom in.

Two things are interesting here. The 11th line can be read as a regular line: all RIGHT i LOST. But it also works with an accent on ALL: ALL right I LOST in ALL GOOD things.

Also pause coming between the 8th and 9th syllables creates a run-on, where the last two syllables are essentially unaccented and the entire line runs into the line. As explained on the Poetry Foundation website, this is known as “Enjambment: The running-over of a sentence or phrase from one poetic line to the next, without terminal punctuation; the opposite of end-stopped.”

Effect: The effect of this stanza is to create a sense of both loss, disgust and anger. There is the loss of the “rosy world”; but this loss was not at the hands someone else: I did this.

The use of the I puts the reader in an interesting place, because the I becomes the reader while reading the poem: I – not Taylor – am the one who lost this world.

But this also is to incur disgust. The beautiful world has been lost and now what was glorious is now a pestilent puddle.

Edward Taylor, Meditation 31, Begraced with Glory.1

30 Saturday Jan 2021

Posted by in Edward Taylor, Uncategorized

≈ 1 Comment

Tags

, , , , ,

The motto for this mediation is 

1 Corinthians 3:21–22 (AV) 

21 Therefore let no man glory in men. For all things are yours; 22 Whether Paul, or Apollos, or Cephas, or the world, or life, or death, or things present, or things to come; all are yours; 

Paul is warning the congregation to cease to make the approval of other men the primary goal of life. They were seeking glory; and seemed to see Paul in a similar light. Paul specifically disclaims such glory and urges the congregation to look beyond such glory. 

The weight of this poem and Taylor’s emphasis from the motto lie upon the fact that for the congregation “all things are yours.”

The poem works through a history of the world and brings this into a history of Taylor. At the first, he had Paradise he was “begraced with grace.” But that original innocence and blessing was lost. The poem will end with a prayer and a praise that in Christ he has received all things. 

Begraced with glory, gloried with grace,

In Paradise I was, when all sweet shines

Hung dangling on this rosy world to face

Mine eyes, and nose, and charm mine ears with chimes.

All these were golden tills the which did hold (5)

My evidences wrapt in glorious folds. 

Summary: The poet places in himself (impossibly) in Paradise before the Fall, where all was “very good” in the language of Genesis 1. Everything for him was “glorious”.

Notes: 

Begraced with glory: Grace is unmerited, undeserved gift from God. Any good received from God is a grace. Glory is an aspect of God. The ideas are of beauty, blazing light, and honor; in contrast to the broken, fallenness of a world of sin and shame. So to be given grace is to give one glory. 

The line is a antimetabole: “Repetition of words, in successive clauses, in reverse grammatical order.” http://rhetoric.byu.edu Grace – glory – glory – Grace.

In Paradise I was: This can only be accessed by means of imagination. Thus, by means of imagination the poet is accessing this place out of time.

All sweet shines: everything good.

Golden tills: a “till” is a box for keeping money or valuables. The phrase is ambiguous, because it is unclear precisely what constitutes the till: did his sense bear such things or does he refer to the beauty of the various things which perceives?

My evidences: This is an interesting phrase, evidence of what. This line from a near contemporary Thomas Watson may help, “The saints’ graces are weapons to defend them, wings to elevate them, jewels to enrich them, spices to perfume them, stars to adorn them, cordials to refresh them: and does not all this work for good? The graces are our evidences for heaven; is it not good to have our evidences at the hour of death?” Thomas Watson, A Divine Cordial; The Saint’s Spiritual Delight; The Holy Eucharist; and Other Treatises, The Writings of the Doctrinal Puritans and Divines of the Seventeenth Century (The Religious Tract Society, 1846), 18.

The combination of “grace” and “evidence” (a not uncommon concept in Puritan theology of the Taylor’s period) is apparent in this first stanza. To be graced is to have an evidence. While his vision of this beauty could be seen as an evidence that is in Paradise, I think it better to see the experience of such bliss as evidence of the grace. The glory evidences the grace; and the grace makes possible both the glory and the sight of glory.

The evidences here are wrapped in “glorious folds”. 

Musical: The first word should be read “be-grac-ed” as three syllables for the line to scan properly.  The play on the “g” sound in grace, glory, gold, works quite well in this stanza.

Byron, Childe Harold’s Pilgrimage, Dedication 1

23 Saturday Jan 2021

Posted by in Literature, Lord Byron

≈ Leave a comment

Tags

, , , , ,

Lord Byron & the Elephant in the Room | Katie Sciba

TO IANTHE.

Not in those climes where I have late been straying,

Though Beauty long hath there been matchless deemed,

Not in those visions to the heart displaying

Forms which it sighs but to have only dreamed,

Hath aught like thee in truth or fancy seemed:

Nor, having seen thee, shall I vainly seek

To paint those charms which varied as they beamed—

To such as see thee not my words were weak;

To those who gaze on thee, what language could they speak?

The musical effects in this stanza extraordinary.

First the rhyme scheme:  ABABB CBCC

Next the rhythms

NOT in those CLIMES where I have LATE been STRAYing

Though BEAUty LONG hath THERE been MATCHless DEEMED

NOT in those VISions to the HEART displaying

FORMS which it SIGHS but to have ONly DREAMED

Hath AUGHT like THEE in TRUTH or FANCy SEEMED

NOR, having SEEN THEE, shall I vainly SEEK

To PAINT those CHARMS which VARied as they BEAMED—

To such as SEE THEE not my WORDS are WEAK;

To THOSE who GAZE on THEE, what LANGuge COULD they SPEAK?

Next for some effects:

The first and third lines begin with the same introductory phrase (anaphora, http://rhetoric.byu.edu/Figures/A/anaphora.htm)

“Not in those”

The two lines set off two separate elements: The first goes to an investigation of the physical work ‘Not in those climes’. The second concerns an investigation of the imagination: “Not in those visions”. 

They are also paired in this manner: The climes are where Byron is:  “those climes were late I have been straying.” The second, his dreams, imagination, are the recollections and fancies of the absent woman. The word and his internal world are thus presented for review. 

He then brings both aspects together in a single conclusion: neither truth (the physical world) nor his fancy (imagination) was there anything so wonderful as you:

Hath aught like thee in truth or fancy seemed:

He begins with the answer to the proceeding by use of the word “nor” which echoes back to the “not” which opened the introductory concern. He then engages in the paradox of so much poetry: I cannot use words to express this thing which I am here expressing in words:

Nor, having seen thee, shall I vainly seek

To paint those charms which varied as they beamed—

To such as see thee not my words were weak;

To those who gaze on thee, what language could they speak?

The sixth line is quite wonderful. The pause coming after the first syllable creates sets off the words “having seen thee”.

Nor …. Having seen thee  … shall I vainly seek

Nothing in the world compares to you and an attempt by me to do so would be vain itself. 

There an interesting verb in the next line “paint”  which is picked up in the 8th line as “my words”. The poem could be a painting in words.

There is an interesting contrast in these four lines between speech and sight: Having seen her, he cannot paint her by means of words (which would be heard), because words are “weak” in comparison to the sight. Indeed, there is no language adequate for the task:

To those who gaze on thee, what language could they speak?

Edward Taylor, The Daintiest Draft.5

17 Sunday Jan 2021

Posted by in Edward Taylor, Puritan

≈ Leave a comment

Tags

, , , , , , , ,

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.