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Robert Browning, The Lost Mistress

21 Sunday Feb 2021

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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

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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

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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

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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

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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

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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

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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.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.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.