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Edward Taylor: View All Ye Eyes Above.4

08 Thursday Sep 2016

Posted by memoirandremains in Ascension, Edward Taylor, Uncategorized

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Edward Taylor, poem, Poetry, View All Ye Eyes Above

the-ascension

The analysis of stanzas 1-3 can be found  here, here  and  here.

4.
Methinks I see Heaven’s sparkling courtiers fly
In flakes of glory down him to attend
And hear heart cramping notes of melody
Surround his chariot as it did ascend
Mixing their music making every string
More in in-ravish as they this tune sing.

5.
God is gone up with a triumphant shout
The Lord with sounding trumpets’ melodies
Sing praise, sing praise, sing praise, sing praises out
Unto our King sing praises seraphic-wise.
Lit up your heads ye lasting door they sing
And let the King of Glory enter in.

6.
Art thou ascended up on high, my Lord,
And must I be without thee here below?
Art thou the sweetest joy the heavens afford?
Oh! that I with thee was! What shall I do?
Should I pluck feather from an angel’s wing,
They could not waft me up to thee my King.

7.
Lend my thy wings, my Lord, I’st fly apace.
My soul’s arms stud with thy strong quills, true faith,
My quills then feather with thy saving grace,
My wings will take the wind thy Word displaith
Then I shall fly up to thy glorious throne
With my strong wings whose feathers are thine own.

Stanzas 4 & 5, shift from the ascent of the Lord into heaven to the reception he receives. As doors glory open, the Lord is met with the heavenly beings — the “sparking courtiers”, as fit for a king. It is an imagined scene of a triumphant king entering into his place.

Stanza 5 relies heavily upon the imagery of Isaiah 6 (as well as Psalm 24, discussed previously). In Isaiah 6, Isaiah sees a vision of the Lord surrounded by seraphim singing praise:

Isaiah 6:1–4 (ESV)

6 In the year that King Uzziah died I saw the Lord sitting upon a throne, high and lifted up; and the train of his robe filled the temple. 2 Above him stood the seraphim. Each had six wings: with two he covered his face, and with two he covered his feet, and with two he flew. 3 And one called to another and said:
“Holy, holy, holy is the Lord of hosts;
the whole earth is full of his glory!”
4 And the foundations of the thresholds shook at the voice of him who called, and the house was filled with smoke.

Taylor imagines the scene and calls upon the heavenly host to praise even more fully the King of Glory.

This scene of singing also recalls the Incarnation:

Luke 2:10–14 (ESV)

10 And the angel said to them, “Fear not, for behold, I bring you good news of great joy that will be for all the people. 11 For unto you is born this day in the city of David a Savior, who is Christ the Lord. 12 And this will be a sign for you: you will find a baby wrapped in swaddling cloths and lying in a manger.” 13 And suddenly there was with the angel a multitude of the heavenly host praising God and saying,
14  “Glory to God in the highest,
and on earth peace among those with whom he is pleased!”

And the scene of the heavenly court in Revelation 5:

Revelation 5:13–14 (ESV)

13 And I heard every creature in heaven and on earth and under the earth and in the sea, and all that is in them, saying,
“To him who sits on the throne and to the Lamb
be blessing and honor and glory and might forever and ever!”
14 And the four living creatures said, “Amen!” and the elders fell down and worshiped.

And interesting shift takes place in the final two stanzas. Taylor moves from imagining the scene to a plan as to how to enter into the scene. In age of “heaven tourism” plucking an angel’s feather seems most plausible. But Taylor knows that such thing is not to be.

In the final stanza, he says that such a space is open to him through the means of (1) true faith, (2) saving grace, (3) the Word of God. There is a present an anticipation, but to a present physical presence before the Lord. That is to come. He has an anticipation of eventual, future reception before the King

Lend my thy wings, my Lord, I’st fly apace.

Not an angel’s feather, but wings from the Lord will be needed.
My soul’s arms stud with thy strong quills, true faith,

It will be true faith that will raise him. It is faith alone that is the conduit of salvation.

My quills then feather with thy saving grace,

Faith obtains for us saving grace as a gift:
Ephesians 2:8–9 (ESV)
8 For by grace you have been saved through faith. And this is not your own doing; it is the gift of God, 9 not a result of works, so that no one may boast.

My wings will take the wind thy Word displaith

Contrary to a mysticism which goes beyond the written Word of God, Taylor says, I will take the means which you provide to us, the Word of God. Note also the future sense: “will take”.

Then I shall fly up to thy glorious throne
With my strong wings whose feathers are thine own.

Faith, grace, developed by the Word of God (and note how thoroughly Taylor’s poetic imagination is filled with allusions to the Word), will result in the future coming to the Lord “I shall fly”.
The purpose of the poem is then to sharpen his present hope.

Romans 8:23–25 (ESV)
23 And not only the creation, but we ourselves, who have the firstfruits of the Spirit, groan inwardly as we wait eagerly for adoption as sons, the redemption of our bodies. 24 For in this hope we were saved. Now hope that is seen is not hope. For who hopes for what he sees? 25 But if we hope for what we do not see, we wait for it with patience.

Edward Taylor: View all ye eyes above.3

04 Wednesday May 2016

Posted by memoirandremains in Ascension, Edward Taylor, Literature, Uncategorized

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ascension, Edward Taylor, poem, Poetry, View All Ye Eyes Above

elijah

View all ye eyes above, this sight which flings

Seraphic fancies in chill raptures high,

A turf of clay, yet bright Glory’s King

From dust to glory angel-like to fly.

A clod immortalized, behold,

Flies through the skies swifter than an angel could.

(The analysis of the first stanza may be found here)

 

Upon the wings he of the wind rode in

His bright sedan, through all the silver skies

And made the azure cloud his chariot bring

Him to the mountain of celestial joys.

The Prince of the Air durst not an arrow spend

While through his realm his chariot did ascend.

(The analysis of the second stanza may be found here)

 

He did not in a fiery chariot’s shine

And whirlwind like Elias upward go.

But th’golden ladders jaspers rounds did climb

Unto the heavens high from earth below.

Each step trod on a golden stepping stone

Of diety unto his very throne.

 

This stanza is interesting on a couple of grounds. First, it seemingly contradicts the previous stanza In stanza two, Taylor describes Christ’s Ascension as an ascent in a “chariot” (the azure clouds his chariot”).  This stanza states he did not ascend in a chariot.

The contrast is in part underscored by the emphatic placement of “He” which begins this stanza and line with an accent

HE did NOT in a FI-ery CHAR-iots-SHINE

There are three things to say about this conflict: two explanations for why the conflict is not as sharp as it may appear. And a third point: the source for Taylor’s shift in imagery.

Why the Conflict is not as Sharp as it may Seem

First, Taylor’s poetry constantly bursts the bounds of language: He is trying to describe things for which there are no good human analog, and thus odd inversions of language may be necessary. Taylor has a Scriptural basis for this: for example Hell is described as both a place of fire and darkness (Matt. 8:12; 2 Peter 2:17; Matt. 25:41). In attempting to describe the glory of the Ascension Taylor simply runs out of language.

Second, the contrast is not as sharp as it may seem. Having said that Jesus ascended in a chariot of the “azure clouds” (itself, an impossible image), Taylor dispels the image which comes to mind by saying, It was not a chariot like Elijah.

Elijah’s chariot is found in 2 Kings 2. Elijah, the aging prophet, takes along his disciple, Elisha. Elisha fears that Elijah will be taken away and thus watches Elijah closely:

11 And as they still went on and talked, behold, chariots of fire and horses of fire separated the two of them. And Elijah went up by a whirlwind into heaven.2 Kings 2:11 (ESV)

Unlike Elijah, Jesus did not need some assistance to enter heaven: Jesus walks into the Kingdom as King:

Each step trod on a golden stepping stone

Of diety unto his very throne.

Third, the Basis for Taylor’s Shifting Imagery

The rhythm here is stately:  EACH STEP TROD on a GOLD-en STEPing STONE

The three accented words at the beginning of the line require one to slow to speak the words. The addition of 6, rather than 5, accents also makes the line slow. Jesus was not hurried, he entered into his kingdom at a slow stately pace.

Another reason for the difference between the second and third stanza comes from two separate passages which describe the event. In Acts 1, Christ’s Ascension looks like one being charioted by the clouds (to be poetic):

9 And when he had said these things, as they were looking on, he was lifted up, and a cloud took him out of their sight.Acts 1:9 (ESV)

This visible description is to be read along with the descriptions of the Psalms and Hebrews:

Psalm 24:7–10 (ESV)

7           Lift up your heads, O gates!

And be lifted up, O ancient doors,

that the King of glory may come in.

8           Who is this King of glory?

The Lord, strong and mighty,

the Lord, mighty in battle!

9           Lift up your heads, O gates!

And lift them up, O ancient doors,

that the King of glory may come in.

10          Who is this King of glory?

The Lord of hosts,

he is the King of glory! Selah

 

And:

 

Hebrews 1:6–9 (ESV)

6 And again, when he brings the firstborn into the world, he says,

“Let all God’s angels worship him.”

7 Of the angels he says,

“He makes his angels winds,

and his ministers a flame of fire.”

8 But of the Son he says,

“Your throne, O God, is forever and ever,

the scepter of uprightness is the scepter of your kingdom.

9           You have loved righteousness and hated wickedness;

therefore God, your God, has anointed you

with the oil of gladness beyond your companions.”

Thus, when viewed from a human perspective, Jesus is being brought up into the clouds. But when viewed from the the heavenly perspective, he is the King marching into his Kingdom.

 

 

 

 

Edward Taylor: View All Ye Eyes Above.2

19 Saturday Mar 2016

Posted by memoirandremains in Ascension, Edward Taylor, Literature, Philippians, Psalms, Puritan, Uncategorized

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ascension, Edward Taylor, poem, Poetry, prosody, Spurgeon, Treasury of David, View All Ye Eyes Above

16815854588_e6021d93f1_o

The analysis of the previous stanza made be found here

Upon the wings he of the wind rode in
His bright sedan, through all the silver skies
And made the azure cloud his chariot bring
Him to the mountain of celestial joys.
The Prince of the Air durst not an arrow spend
While through his realm his chariot did ascend.

The entire poem concerns the Ascension of Jesus following the Resurrection. Jesus having been resurrected ascends to heaven as King of All.

The image is of Christ ascending through the air up to heaven in great power. Satan can see the ascent of Christ but cannot attack:

Romans 6:9 (AV)
9 Knowing that Christ being raised from the dead dieth no more; death hath no more dominion over him.

Biblical Allusions:

Upon the wings:

The allusion here is to metaphorical references to God coming in Judgment or great power.

Psalm 18:9–12 (AV)
9 He bowed the heavens also, and came down: and darkness was under his feet. 10 And he rode upon a cherub, and did fly: yea, he did fly upon the wings of the wind. 11 He made darkness his secret place; his pavilion round about him were dark waters and thick clouds of the skies. 12 At the brightness that was before him his thick clouds passed, hail stones and coals of fire.

The allusion is also to God unassailed power over all his creation:
Psalm 104:1–5 (AV)
1 Bless the LORD, O my soul. O LORD my God, thou art very great; thou art clothed with honour and majesty. 2 Who coverest thyself with light as with a garment: who stretchest out the heavens like a curtain: 3 Who layeth the beams of his chambers in the waters: who maketh the clouds his chariot: who walketh upon the wings of the wind: 4 Who maketh his angels spirits; his ministers a flaming fire: 5 Who laid the foundations of the earth, that it should not be removed for ever.

The mountain of celestial joys:

The place of God’s peculiar residing is sometimes referred to as “heaven” and sometimes as on a mountain. The allusion here seems in particular to be Psalm 24:

Psalm 24 (AV)
Psalm 24
A Psalm of David.
1 The earth is the LORD’S, and the fulness thereof; the world, and they that dwell therein. 2 For he hath founded it upon the seas, and established it upon the floods.
3 Who shall ascend into the hill of the LORD? or who shall stand in his holy place? 4 He that hath clean hands, and a pure heart; who hath not lifted up his soul unto vanity, nor sworn deceitfully. 5 He shall receive the blessing from the LORD, and righteousness from the God of his salvation. 6 This is the generation of them that seek him, that seek thy face, O Jacob. Selah.
7 Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in. 8 Who is this King of glory? The LORD strong and mighty, the LORD mighty in battle. 9 Lift up your heads, O ye gates; even lift them up, ye everlasting doors; and the King of glory shall come in. 10 Who is this King of glory? The LORD of hosts, he is the King of glory. Selah.

This psalm is particular appropriate to Taylor’s poem because it concerns the Ascension of Christ, beginning in verse 7: The King of Glory coming through the everlasting doors.

Then follows the apostrophe: the prophet foresees the ascension of Christ and his saints into the kingdom of heaven. He sees his Lord marching at the head of the redeemed world, and conducting them into regions of honour and joy. Suitably to such a view, and in a most beautiful strain of poetry, he addresses himself to the heavenly portals. “Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory,” with all the heirs of his grace and righteousness, shall make their triumphant entry; “shall enter in,” and go out no more.—James Hervey.

C. H. Spurgeon, The Treasury of David: Psalms 1-26, vol. 1 (London; Edinburgh; New York: Marshall Brothers, n.d.), 382–383.

The Prince of the Air: Satan

Ephesians 2:1–3 (AV)
1 And you hath he quickened, who were dead in trespasses and sins; 2 Wherein in time past ye walked according to the course of this world, according to the prince of the power of the air, the spirit that now worketh in the children of disobedience: 3 Among whom also we all had our conversation in times past in the lusts of our flesh, fulfilling the desires of the flesh and of the mind; and were by nature the children of wrath, even as others.

Mechanics

A-B-A-B-C-C

The first line is the most interesting metrically

– ‘ – ‘ ‘ – – ‘ ‘ –
Up on the wings he of the wind rode in

Two observations: the accent on “he” coming after the accented “wings” brings a jolt and lays the attention fully upon the main character in the scene. Second, the unaccented “in” hurries the attention along to “His bright sedan”. The same effect is rendered in the third line which ends with “bring”.

In the fourth line, the rhythm slows. There is a long pause after of “mountain” created by normal mid-line pause followed by two unaccented syllables. The effect is to slow the scene as the King arrives at the mountain — with the emphasis falling last of all upon “joys”.

Satan then comes along in the couplet as an impotent enemy gazing in rage at his loss:

Colossians 2:15 (AV)
15 And having spoiled principalities and powers, he made a shew of them openly, triumphing over them in it.

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