Edward Taylor, Meditation 32, Seventh Stanza

06 Tuesday Apr 2021

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All Things are Thine, Edward Taylor, Literature, Meditation 32, poem, Poetry, Puritan, Puritan Poetry, Thomas Watson

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.”

Edward Taylor, Meditation 31, Begraced by Glory.5

12 Friday Feb 2021

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Stanza 5:

What e’re we want, we cannot cry for, nay, (25)

If that we could, we could not have it thus.

The angels can’t devise, nor yet convey

Help in their gold pipes from God to us.

But thou my Lord (heart leap for joy and sing)

Hast done the deed: and’t makes the heavens ring. (30)

Summary: The poet undertakes an interesting distance from himself throughout this poem. First, he has been operating from an interesting psychological point of view because he sees himself addicted helpless to sin and simultaneously sees himself from the outside as some sort of loathsome beast. He is an addict who cannot put down the needle and who in the same moment wretches for the vile creature he has become.

In this stanza the looks to find some relief, but knows it is impossible:

We e’re want [that is, whatever it is we lack] we cannot cry for.

There is something we need but there is no way to fulfill this need: we cannot even cry for it.

We cannot look to angels, because we need is from God, and angels cannot convey this to us. Only God himself can do so – and has done so. This unwarranted and unobtained benefit is a cause for joy.

Notes:

We cannot cry: Crying out in distress is the refrain of the book of Judges. The people of Israel repeatedly turn to idolatry. In response, God leaves them to their unfriendly neighbors. The Israelites then cry out to God, who in turn says them. In the beginning of chapter 2 (the book is not chronological), the Angel of the Lord “went up from Gilgal to Bochim.” Bochim is a Hebrew word which means “weeping.” The Angel tells the people that since they have refused to keep their covenant with God, God will no longer hear their cries and defend them.

Later in Judges 10:14, God again confronts the people who have turned from him. “God and cry out to the gods whom you have chosen; let them save you in the time of your distress.”

Taylor seems to have an illusion to these passages: I am so deeply embedded in sin that I cannot cry for help. In particular, the end of line 26 underscores this point: our cry – were able to make such a cry would be of no use, “we cannot have it thus.”

The Angels cannot convey: Even though angels are given as “ministering spirits set out to serve for the sake of those who are to inherit salvation” (Heb. 1:14) there are limits on the help they can convey.

The degree help needed by Taylor in his state of sin exceeds the assistance of angels. The lack of the human being in the state of sin exceeds some external aid. The language used to describe the condition of sin speaks to an irremediable condition.

The angels are said to have conveyed the law (Heb. 2:2, “the message declared by angels”). This seems to put something into human hands, but “by works of the law, no human being will be justified in his sight, since through the law comes knowledge of sin.”

The “golden pipes” of the angels in end only could convey knowledge of guilt.

But thou my Lord … hast done the deed: This speaks to the work of Jesus who destroyed sin and death, and him who had the power of death (Heb. 2:14).

Heart leap for joy and sing … “Rejoice in the Lord always and again I will say rejoice.” (Phil. 4:4)

And’t makes the heavens ring: “Let all God’s angels worship him.” Heb. 1:6.

Psalms 118:23-24

This is the Lord’s doing

It is marvelous in our eyes.

This is the day the Lord has made

Let us rejoice and be glad in it.

Musical

What e’re we want, we cannot cry for, nay

If that we could, we could not have it thus.

These lines have an interesting rhetorical structure: A conditional, followed by an unconditional rejection: Whatever it is we need, we cannot have it. And even if we could have it, we cannot. The structure of the clauses is held together by the repetition of the word “we”: we want, we cannot cry, we could, we could.

This is an example of anaphora: http://rhetoric.byu.edu/Figures/A/anaphora.htm

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.1

30 Saturday Jan 2021

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The motto for this mediation is

1 Corinthians 3:21–22 (AV)

²¹Therefore let no man glory in men. For all things are yours; ²²Whether 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.

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, 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

⁶Wherein ye greatly rejoice, though now for a season, if need be, ye are in heaviness through manifold temptations: ⁷That 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: ⁸Whom having not seen, ye love; in whom, though now ye see him not, yet believing, ye rejoice with joy unspeakable and full of glory:

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

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

But, Lord, as burnished sunbeams forth out fly,

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

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

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

Hebrews 2:10–13 (KJV 1900)

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

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

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

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

Edward Taylor, My Shattered Fancy.5

25 Wednesday Nov 2020

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

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

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

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

my LORD, WHAT is IT that THOU dost BEstow?

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

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

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

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

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

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

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

Hebrews 12:22–23 (KJV 1900)

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

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

Revelation 5:8–14 (KJV 1900)

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

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

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

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

He says:

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

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

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

Edward Taylor, My Shattered Fancy.4

22 Sunday Nov 2020

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christology, Literature, poem, Poetry, Puritan, Puritan Poetry, Union with Christ

These two stanzas go together. Each stanza begins with “I being graft in thee.” From that follows the nature of the relationship which now exists between the two. The first of these stanzas speaks of the particular relationships which have come into being. The poet primarily takes on the feminine role; the Lord the masculine. Hence he is sister, mother, spouse. Dove is neutral but in the allusion to Canticles, dove is feminine:

Song of Solomon 6:9 (KJV 1900)
9 My dove, my undefiled is but one;
She is the only one of her mother,
She is the choice one of her that bare her.
The daughters saw her, and blessed her;
Yea, the queens and the concubines, and they praised her.

The ESV translates “undefiled” here as “my perfect one.”

The one characteristic which is unambiguously male is “son”. But in this context, it is the diminutive position, because the Lord is “father.”

Sister is likewise from Canticles (or Song of Solomon). Before reading this it should be noted that “sister” carries the emphasis of the intense closeness of the relationship is not meant to suggest something untoward:

Song of Solomon 4:9–12 (KJV 1900)
9 Thou hast ravished my heart, my sister, my spouse;
Thou hast ravished my heart with one of thine eyes,
With one chain of thy neck.
10 How fair is thy love, my sister, my spouse!
How much better is thy love than wine!
And the smell of thine ointments than all spices!
11 Thy lips, O my spouse, drop as the honeycomb:
Honey and milk are under thy tongue;
And the smell of thy garments is like the smell of Lebanon.
12 A garden inclosed is my sister, my spouse;
A spring shut up, a fountain sealed.

As for “mother”, one may ask how the poet could be in the position of “mother” toward the Lord. The answer is from the Lord himself. When Jesus’ family heard he was in a house teaching, “his family heard of it, they went out to seize him, for they were saying, ‘He is out of his mind.’” Mark 2:20-21.

As the family pressed for admittance, the matter came to Jesus’ attention:

Mark 3:31–35 (KJV 1900)
31 There came then his brethren and his mother, and, standing without, sent unto him, calling him. 32 And the multitude sat about him, and they said unto him, Behold, thy mother and thy brethren without seek for thee. 33 And he answered them, saying, Who is my mother, or my brethren? 34 And he looked round about on them which sat about him, and said, Behold my mother and my brethren! 35 For whosoever shall do the will of God, the same is my brother, and my sister, and mother.

This also being another reference to “sister.”

As spouse:

Isaiah 54:5 (KJV 1900)
5 For thy Maker is thine husband;
The Lord of hosts is his name;
And thy Redeemer the Holy One of Israel;
The God of the whole earth shall he be called.

The most extensive discussion of marriage in the New Testament, Ephesians 5:21-33, speaks directly of human marriage and then applies the same to Christ and the church.

I being graft in Thee, there up do stand
In us relations all that mutual are.
I am Thy patient, pupil, servant, and
Thy sister, mother, dove, spouse, son, and heir.
Thou art my priest, physician, prophet, king,
Lord, brother, bridegroom, father, everything.

The relationship of prophet, priest, king are considered to be the formal offices of Christ, as set forth in the Westminster Confession.

It pleased God, in his eternal purpose, to choose and ordain the Lord Jesus, his only-begotten Son, to be the Mediator between God and man,1 the Prophet,2 Priest,3 and King;4 the Head and Saviour of his Church,5 the Heir of all things,6 and Judge of the world;7 unto whom he did, from all eternity, give a people to be his seed,8 and to be by him in time redeemed, called, justified, sanctified, and glorified.9
As for Father, there is the refrain made famous in Messiah:

Isaiah 9:6 (KJV 1900)
6 For unto us a child is born, unto us a son is given:
And the government shall be upon his shoulder:
And his name shall be called Wonderful, Counseller, The mighty God,
The everlasting Father, The Prince of Peace.

In the next stanza on relationship, Taylor says that by being brought into relationship with Christ, he is brought into all of Christ’s relationships. Being in Christ, the relationships an angel has toward Christ are now Taylor’s relationship:
“I thy relations my relations name.”

I being graft in Thee I am grafted here
Into Thy family, and kindred claim
To all in heaven, God, saints, and angels there.
I Thy relations my relations name.
Thy father’s mine, Thy God my God, and I
With saints and angels draw affinity.

The relating of my God-your God, my Father, your Father comes Jesus’s words as he takes leave of Mary Magdalene following the Resurrection:

John 20:17 (KJV 1900)
17 Jesus saith unto her, Touch me not; for I am not yet ascended to my Father: but go to my brethren, and say unto them, I ascend unto my Father, and your Father; and to my God, and your God.

And so these two stanzas work out the nature of the new relationships gained by the poet upon his union with Christ. First, there are the transformation of the relationships between himself and Christ; and then the transformation of his relationships to others, because he is in Christ.

It cannot be developed here, but at the Fall in Genesis 3, the totality of relationships between the humans and Creation have fundamentally changed for the worse. But here, in God’s Garden, by being brought into relationship in Christ, there is a complete restoration of relationship between God and human; human and all other creatures.

Edward Taylor, My Shattered Fancy.2

11 Wednesday Nov 2020

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Edward Taylor, Literature, poem, Poetry, Puritan Poetry, Tree of Life

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

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

THOU THOU my DEAR DEAR LORD art this RICH TREE

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

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

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

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

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

This rich tree

The tree of life.

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

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

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

John 15:1–8 (KJV 1900)

I am the true vine, and my Father is the husbandman. 2 Every branch in me that beareth not fruit he taketh away: and every branch that beareth fruit, he purgeth it, that it may bring forth more fruit. 3 Now ye are clean through the word which I have spoken unto you. 4 Abide in me, and I in you. As the branch cannot bear fruit of itself, except it abide in the vine; no more can ye, except ye abide in me. 5 I am the vine, ye are the branches: He that abideth in me, and I in him, the same bringeth forth much fruit: for without me ye can do nothing. 6 If a man abide not in me, he is cast forth as a branch, and is withered; and men gather them, and cast them into the fire, and they are burned. 7 If ye abide in me, and my words abide in you, ye shall ask what ye will, and it shall be done unto you. 8 Herein is my Father glorified, that ye bear much fruit; so shall ye be my disciples.

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

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

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

Romans 11:16–21 (KJV 1900)

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

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

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

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

The third line is well constructed:

I am a withered twig, dried fit to be

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

I and WITHERed TWIG, DRIED FIT to be

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

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

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

Make me what?

Edward Taylor, 28th Meditation.1

26 Saturday Sep 2020

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28th Meditation, Edward Taylor, Meditation, poem, Poetry, Puritan Poetry, When I Lord send some bits of glory home

The 28^th Meditation of Edward Taylor takes as its text John 1:16. In context, the passage (as it would have stood in Taylor’s Bible) reads as follows:

¹⁴And the Word was made flesh, and dwelt among us, (and we beheld his glory, the glory as of the only begotten of the Father,) full of grace and truth. ¹⁵John bare witness of him, and cried, saying, This was he of whom I spake, He that cometh after me is preferred before me: for he was before me. ¹⁶And of his fulness have all we received, and grace for grace. ¹⁷For the law was given by Moses, but grace and truth came by Jesus Christ. ¹⁸No man hath seen God at any time; the only begotten Son, which is in the bosom of the Father, he hath declared him.

John 1:14–18

The poem will center upon the receipt of the grace which is in the Word made Flesh. However, as is a consistent theme in Taylor, it begins with the distance from God and the disorder of mind. Although not discussed in this place, the noetic effect of sin – the disordering effect of sin upon the thoughts, affections and behavior – lies behind his description of his sense as “bewildered” and his “befogged dark fancy”.

It should be noted that the effects are not simply in a cause-and-effect relationship with some particular sinful action, but are inherent in any human being on this earth. The damage done by Adam’s fall is not completely removed prior to one’s death and personal resurrection.

The poem begins with a self-conscious discussion of the poem itself as a matter of praise, sending some “glory home”. But this glory is returned in small sums, “bits” rather than in “lumps.” (Incidentally, “lumps” does not have the negative connotations it does in contemporary vernacular.) The first stanza reads:

When I Lord, send some bits of glory home

(For lumps I lack) my messenger, I find,

Bewildered, lose his way being alone

In my befogged dark fancy, clouded mind.

Thy bits of glory packed in shreds of praise

My messenger doth lose, losing his ways.

The first line creates an interesting rhythmic effect by beginning with a Bacchic foot: “when I LORD” followed by a pause. The unusual English rhythm ending on a stress followed by a pause is difficult to read. The awkwardness creates an emphasis on the words. The vocative, Lord, would normally stand at the beginning of a clause, “Lord, when I send ….” Thus, the relationship between “I” and “Lord” is foregrounded.

The remainder of the first line and the second then flow along more easily. However, the poem introduces a puzzling reference, “my messenger”. The messenger is the means by which he is returning glory to the Lord. The precise identity of the messenger is not otherwise clarified. What is the means by which he is sending glory home: the messenger is the poem itself.

And so, as is common in Taylor, his poem is in part about the poem itself. His thinking which creates the poem is bewildered. His “befogged dark fancy” would be the weakness of his ability to conceive and create the poem.

And here comes the problem: he seeks to return some glory to the Lord within the praise which is the poem itself, but the glory falls out (is lost) from the poem:

Thy bits of glory packed in shreds of praise

My messenger doth lose, losing his ways.