Holy Saturday is a strange, still day, hanging in an unresolved poise between the darkness of the day before and the light that is not yet with us. It has its own patterns and rituals that take up a little of that empty space of waiting. Children come into church to make an Easter Garden, exhausted clergy give themselves the space to venture a walk with their families and draw breath before tomorrow’s big declamations, those who have passed through the intense experience of a Good Friday three hours watch service feel strangely dislocated from the crowds of Easter Bank holiday shoppers that surge around the Saturday markets, and all the while for all the faithful who have made this journey through Holy Week together, there is a kind of emptiness and expectant stillness within.
I have tried to reflect a little of this in these two sonnets, which follow in sequence from the ones we had on Good Friday. I was conscious as I wrote them of how these great Christian festivals, especially Easter and Christmas, draw up and carry with them some of our deepest family memories. If we are going to remember and miss someone we have loved and lost, we will do it now. So in the second sonnet I have moved from a contemplation of the women bearing spices and wishing they could at least anoint the one they miss, to focus on the many people who will visit graves and memorial plaques over this weekend, ‘Renewing flowers, tending the bare earth’. All those ‘beautiful useless gestures’, all that ‘love poured out in silence’ is, I believe, somehow gathered together in these three days and sown deep in the ground of God’s love, ready for the day when he will make all things new again.
Please feel free to make use of these poems in anyway you like, and to reproduce them, but I would be grateful if you could include in any hand-outs a link back to this blog and also a note to say they are taken from ‘Sounding the Seasons; seventy Sonnets for the Christian Year, Canterbury Press 2012′ so that people who wish to can follow the rest of the sequence through the church year, or obtain the book, can do so. The book has an essay on poetry in liturgy with suggestions as to how these and the other sonnets can be used. The book is now back in stock on both Amazon UK and USA The book is now also out on Kindle.
The Images above are by Lancia Smith, those below are taken from a set of stations of the cross in St. Alban’s church Oxford. I have also read the sonnets onto audioboo, so you can click on the ‘play’ button or on the title of each poem to hear it.
His spirit and his life he breathes in all
Now on this cross his body breathes no more
Here at the centre everything is still
Spent, and emptied, opened to the core.
A quiet taking down, a prising loose
A cross-beam lowered like a weighing scale
Unmaking of each thing that had its use
A long withdrawing of each bloodied nail,
This is ground zero, emptiness and space
With nothing left to say or think or do
But look unflinching on the sacred face
That cannot move or change or look at you.
Yet in that prising loose and letting be
He has unfastened you and set you free.
Here at the centre everything is still
Before the stir and movement of our grief
Which bears it’s pain with rhythm, ritual,
Beautiful useless gestures of relief.
So they anoint the skin that cannot feel
Soothing his ruined flesh with tender care,
Kissing the wounds they know they cannot heal,
With incense scenting only empty air.
He blesses every love that weeps and grieves
And makes our grief the pangs of a new birth.
The love that’s poured in silence at old graves
Renewing flowers, tending the bare earth,
Is never lost. In him all love is found
And sown with him, a seed in the rich ground.
In my Anthology of poems for Leant and Holy Week The Word in the Wilderness, I set just one of my Stations of the cross sonnets for Good Friday, Station XII, but as this blog is not so constricted for space I thought I would share with you the first 12 stations. We will read the 13th and 14th tomorrow on Holy Saturday and then on Easter Morning we will have the 15th’ resurrection’ station and also a new villanelle that I have written for easter Morning.
The Stations of the Cross, which form the core of my book Sounding the Seasons and are intended to be read on Good Friday. If you are in Cambridge today do come and join us for the three hours service at St. Bene’t’s, where we will be using some of these sonnets. The service starts at 12.
Please feel free to make use of them in anyway you like, and to reproduce them, but I would be grateful if you could include in any hand-outs a link back to this blog and also a note to say they are taken from ‘Sounding the Seasons; seventy Sonnets for the Christian Year, Canterbury Press 2012′ so that people who wish to can follow the rest of the sequence through the church year, or obtain the book, can do so. The book has an essay on poetry in liturgy with suggestions as to how these and the other sonnets can be used. The book is now back in stock on both Amazon UK and USA and physical copies are also available in Canada via Steve Bell‘s Signpost Music. The book is now also out on Kindle.
The Image above is courtesy of Lancia Smith. The Images below are taken from a set of stations of the cross in St. Alban’s church Oxford. I have also read the sonnets onto audioboo, so you can click on the ‘play’ button or on the title of each poem to hear it.
These sonnets have been used by a number of churches in different ways and Dr. Holly Ordway has given a series of excellent podcast talks based on these sonnets.
This darker path into the heart of pain
Was also hers whose love enfolded him
In flesh and wove him in her womb. Again
The sword is piercing. She, who cradled him
And gentled and protected her young son
Must stand and watch the cruelty that mars
Her maiden making. Waves of pain that stun
And sicken pass across his face and hers
As their eyes meet. Now she enfolds the world
He loves in prayer; the mothers of the disappeared
Who know her pain, all bodies bowed and curled
In desperation on this road of tears,
All the grief-stricken in their last despair,
Are folded in the mantle of her prayer.
In desperation on this road of tears
Bystanders and bypassers turn away
In other’s pain we face our own worst fears
And turn our backs to keep those fears at bay
Unless we are compelled as this man was
By force of arms or force of circumstance
To face and feel and carry someone’s cross
In Love’s full glare and not his backward glance.
So Simon, no disciple, still fulfilled
The calling: ‘take the cross and follow me’.
By accident his life was stalled and stilled
Becoming all he was compelled to be.
Make me, like him, your pressed man and your priest,
Your alter Christus, burdened and released.
Bystanders and bypassers turn away
And wipe his image from their memory
She keeps her station. She is here to stay
And stem the flow. She is the reliquary
Of his last look on her. The bloody sweat
And salt tears of his love are soaking through
The folds of her devotion and the wet
folds of her handkerchief, like the dew
Of morning, like a softening rain of grace.
Because she wiped the grime from off his skin,
And glimpsed the godhead in his human face
Whose hidden image we all bear within,
Through all our veils and shrouds of daily pain
The face of god is shining once again.
Through all our veils and shrouds of daily pain,
Through our bruised bruises and re-opened scars,
He falls and stumbles with us, hurt again
When we are hurt again. With us he bears
The cruel repetitions of our cruelty;
The beatings of already beaten men,
The second rounds of torture, the futility
Of all unheeded pleading, every scream in vain.
And by this fall he finds the fallen souls
Who passed a first, but failed a second trial,
The souls who thought their faith would hold them whole
And found it only held them for a while.
Be with us when the road is twice as long
As we can bear. By weakness make us strong.
You can’t go on, you go on anyway
He goes with you, his cradle to your grave.
Now is the time to loosen, cast away
The useless weight of everything but love
For he began his letting go before,
Before the worlds for which he dies were made,
Emptied himself, became one of the poor,
To make you rich in him and unafraid.
See as they strip the robe from off his back
They strip away your own defences too
Now you could lose it all and never lack
Now you can see what naked Love can do
Let go these bonds beneath whose weight you bow
His stripping strips you both for action now
See, as they strip the robe from off his back
And spread his arms and nail them to the cross,
The dark nails pierce him and the sky turns black,
And love is firmly fastened onto loss.
But here a pure change happens. On this tree
Loss becomes gain, death opens into birth.
Here wounding heals and fastening makes free
Earth breathes in heaven, heaven roots in earth.
And here we see the length, the breadth, the height
Where love and hatred meet and love stays true
Where sin meets grace and darkness turns to light
We see what love can bear and be and do,
And here our saviour calls us to his side
His love is free, his arms are open wide.
The dark nails pierce him and the sky turns black
We watch him as he labours to draw breath
He takes our breath away to give it back,
Return it to it’s birth through his slow death.
We hear him struggle breathing through the pain
Who once breathed out his spirit on the deep,
Who formed us when he mixed the dust with rain
And drew us into consciousness from sleep.
His spirit and his life he breathes in all
Mantles his world in his one atmosphere
And now he comes to breathe beneath the pall
Of our pollutions, draw our injured air
To cleanse it and renew. His final breath
Breathes us, and bears us through the gates of death.
For January 2nd in my Anthology from Canterbury Press, Waiting on the Word, I have chosen to read The Bird in the Tree by Ruth Pitter. On New Year’s Eve we considered Hardy’s almost reluctant glimpse of transfiguration ‘when Frost was spectre-grey, and ‘shrunken hard and dry’, and Hardy’s heart, bleak as the world through which he moves, nevertheless hears for a moment the ‘ecstatic sound’ of his darkling thrush. And even though he wanted to end his poem with the word ‘unaware’, something of the transcended has ‘trembled through’ his poem. Today’s poem, also about hearing a bird in a tree, also addresses the question of how the transcendent might for ‘a moment of time’ ‘tremble through’ into the immanent.
You can hear me read this poem by clicking on the title or the play button. The image above was created by Linda Richardson and is one of my favourites from the beautiful book of responses she made to Waiting on the Word, it is so full of life, movement and energy. Linda Writes:
A few years ago I was walking up the hill behind our house. I had an extraordinary experience of feeling myself dissolve into the land around me, of being one with the trees, the insects below the earth and the sky above me. When I got home I attempted to paint the experience and reading Ruth Pitter’s poem brought it back to my mind.
Throughout this Advent, Malcolm has offered us poems that invite us to ‘see’. We believe we know what a bird is like, what a tree is like, we have heard the Christmas stories so often that we think we know them, but if we give ourselves time to ‘see’ anew, we will be able to glimpse eternity shining all around us and within us. We can find God manifest in the finite and the infinite, in time and eternity. In the Gospel of Thomas Jesus says, ‘split the wood, and I am there. Turn over the stone and there you will find me.’
You can find the words, and a short reflective essay on this poem in Waiting on the Word, which is now also available on Kindle
Our Lady of Guadalupe – given to me by the poet Grevel Lindop
For today’s poem in my Anthology from Canterbury PressWaiting on the Word we return to the poet Grevel Lindop with an honest meditation on a visit to Mexico entitled ‘For our Lady of Guadelupe. You can hear me read this poem by clicking on the title or the play button. After the Waiting on the Word anthology was published, for which Grevel had kindly given me permission to include this poem, we met up and he gave, as a gift the image he had bought on his visit and which is part of the subject of the poem and of my reflections on it. I was very moved by the gift and the little statue sits on my desk, so as Linda had not done an image for today I have included a photo of it here. As I wrote about that statue in the commentary:
We know too, from this first verse, that this mind-changing journey is one the poet himself has to make himself. Those lines,
where I will buy her plastic image later –
garish, I hope, and cheap,
are highly significant, implying that when he first arrived he might have disdained the stalls of plastic images. It is only after his actual encounter with Our Lady of Guadalupe that he understands their value and comes back to buy one….What we learn on the journey of this poem is that the devotion of the poor may transfigure cracked and broken, even poor and shoddy material more effectively than the finesse and fine taste of the sceptical rich
You can find the whole of my short reflective essay on this poem in Waiting on the Word, which is now also available on Kindle As always you can hear me read the poem by clicking on the title or the ‘play’ button
In my Advent Anthology from Canterbury PressWaiting on the Word,we come to the last of the Seven Great O Antiphons, which was sung on either side of the Magnificat on Christmas Eve, O Emmanuel, O God with us. This is the antiphon from which our lovely Advent hymn takes its name. It was also this final antiphon which revealed the secret message embedded subtly into the whole antiphon sequence. In each of these antiohons we have been calling on Him to come to us, to come as Light as Key, as King, as God-with-us. Now, standing on the brink of Christmas Eve, looking back at the illuminated capital letters for each of the seven titles of Christ we would see an answer to our pleas : ERO CRAS the latin words meaning ‘Tomorrow I will come!”
I have also tried in my final sonnet to look back across the other titles of Christ, but also to look forward, beyond Christmas, to the new birth for humanity and for the whole cosmos, which is promised in the birth of God in our midst.
You can hear me read this poem by clicking on the title or the play button. the image above was created by Linda Richardson. she Writes:
Within the ‘O’ I painted today there is a still point. Here the Virgin holds her Son Jesus, face to face. I imagine the sweet small breath of the newborn, the quickened little wick so tightly curled’, as he is held tenderly by his Mother, Mary.
The inspiration for this ink drawing came from a wood or lino cut. It is a simple image, quite different from the image of yesterday and reminds us to be simple when we come to God. How prepared are we to be emptied, to let go of our self stuffed fullness and cleverness? How radically are we willing to let God chisel off our pride so that we are open to the ‘Other’ who is God, who is our neighbour. Until we are emptied of our perceived ‘riches’ we will not be able to hear God or our neighbour who may be asking us for ‘spare change’, who may be from a different religious tradition, who may be our ‘enemy’. These are the thoughts I have as I look at this simple image. If we stubbornly cling to our own views and opinions, we can’t see a different perspective. Rumi, the Sufi poet says, ‘Out beyond ideas of right doing and wrong doing, there is a field. I will meet you there.’
You can find you can find the words, and a short reflective essay on this poem in Waiting on the Word, which is now also available on Kindle
Once More Jac Redford has kindly agreed to share the recording of his excellent setting of this sonnet, which you can find on his record Let beauty be our Memorial You can hear his setting here:
O Emmanuel, Rex et legifer noster,
exspectatio Gentium, et Salvator earum:
veni ad salvandum nos, Domine, Deus noster
O Emmanuel, our king and our lawgiver,
the hope of the nations and their Saviour:
Come and save us, O Lord our God
O come, O come, and be our God-with-us
O long-sought With-ness for a world without,
O secret seed, O hidden spring of light.
Come to us Wisdom, come unspoken Name
Come Root, and Key, and King, and holy Flame,
O quickened little wick so tightly curled,
Be folded with us into time and place,
Unfold for us the mystery of grace
And make a womb of all this wounded world.
O heart of heaven beating in the earth,
O tiny hope within our hopelessness
Come to be born, to bear us to our birth,
To touch a dying world with new-made hands
And make these rags of time our swaddling bands.
In my Advent Anthology from Canterbury PressWaiting on the Word,The sixth great ‘O’ antiphon, O Rex Gentium, calls on Christ as King, yet also calls him corner stone and pictures him getting his hands dirty and shaping us with clay, wonderfully incongruous combination! But he is the king who walks alongside us disguised in rags, the true Strider! In this Sonnet I also reflect on on how God shapes us through all that happens to us in our living clay. He hasn’t finished with us yet! You can hear me read this poem by clicking on the title or the play button. the image above was created by Linda Richardson for her book of responses to my book Waiting on the Word. Linda Writes:
The great ‘O’ of this poem spoke directly to me about prayer and meditation. We can only truly know God through love, and passion for God arises through prayer. When God takes hold of us we are expanded and broadened, and this expansion is always creative. It reveals the light beyond our darkness, the gold that gleams through our rags and the latent life within us. It is a burgeoning of praise and wonder from within us but this is all drawn out by God. Our part is to want God and to give to God whatever of our wills and time we can manage each day.
You can find you can find a short reflective essay on this poem in Waiting on the Word, which is now also available on Kindle. You can also hear Jac Redford‘s beautiful setting of his poem here:
O Rex Gentium, et desideratus earum,
lapisque angularis, qui facis utraque unum:
veni, et salva hominem,
quem de limo formasti.
O King of the nations, and their desire,
the cornerstone making both one
Come and save the human race,
which you fashioned from clay
Here is my reading of the poem: O Rex Gentium
O King of our desire whom we despise,
King of the nations never on the throne,
Unfound foundation, cast-off cornerstone,
Rejected joiner, making many one,
You have no form or beauty for our eyes,
A King who comes to give away his crown,
A King within our rags of flesh and bone.
We pierce the flesh that pierces our disguise,
For we ourselves are found in you alone.
Come to us now and find in us your throne,
O King within the child within the clay,
O hidden King who shapes us in the play
Of all creation. Shape us for the day
Your coming Kingdom comes into its own.
The fifth ‘great ‘O’ antiphon in my Advent Anthology from Canterbury PressWaiting on the Word calls on Christ as the ‘Oriens’, the Morning Star, the Dayspring, and it comes as an answer to the sense of darkness and captivity in the fourth antiphon, O Clavis‘ I find the idea of Christ as rising light in the East very moving, for he is Alpha, the ‘Beginning’. The Translation which gives ‘Dayspring’ for Oriens I especially love, both because ‘Dayspring’ suggests at one and the same time, both light and water, two primal goods in life which I love in combination, especially light reflected on water, and also because ‘Dayspring’ was the name of a ship my great grandfather built for Scottish missionaries and also the name of the little gaff cutter, from whose deck I saw the dawn rise after a long period of darkness. Many of these senses of ‘Dayspring’ are at play in the sonnet I have given below. I should also mention that the line from Dante means “I saw light in the form of a river’ another touchstone moment for me in the Paradiso You can hear me read this poem by clicking on the title or the play button. The image above was created by Linda Richardson. She writes:
How often do you hear the word ‘Dayspring’ used in common parlance? It is such a beautiful word meaning ‘dawn’. Here it is in Luke 1:76-79: ‘And thou, child, shalt be called the prophet of the Highest: for thou shalt go before the face of the Lord to prepare his ways… whereby thedayspringfrom on high hath visited us, To give light to them that sit in darkness and in the shadow of death, to guide our feet into the way of peace.’ (King James Version)
I laboured over this small painting using acrylic paint, ink and watercolour to try to get that ephemeral light that only a very few astronauts have ever seen with their own eyes. The great blue Earth turns away from the darkness of the void and is lit by the Sun, the archetype of God, and Malcolm’s poem is so full of expectant joy and peace – ‘the darkness was a dream’. Pierre Teilhard de Chardin says, ‘ We are not human beings having a spiritual experience; we are spiritual beings having a human experience’.
You can find you can find a short reflective essay on this poem in Waiting on the Word, which is now also available on Kindle
I am also glad that Jac Redford has given me permission to share his beautiful setting of this poem:
O Oriens, splendor lucis aeternae,
et sol justitiae:
veni, et illumina sedentes
in tenebris, et umbra mortis
splendour of light eternal and sun of righteousness:
Come and enlighten those who dwell in darkness and the shadow of death.