Conversion of Saint Paul Artist Unknown Niedersaechsisches Landesmuseum, Hannover, Germany
The 25th of January is the day the Church keeps the Feast of the Conversion of St. Paul. However often told or re-told, it is still an astonishing story. That Saul, the implacable enemy of Christianity, who came against the faith ‘breathing threats and slaughter’, should be chosen by God to be Christianity’s greatest proponant and apostle is just the first of a series of dazzling and life-changing paradoxes that flow from Paul’s writing. At the heart of these is the revelation of God’s sheer grace; finding the lost, loving the violent into light, and working everything through the very weakness of those who love him. Here’s a sonnet celebrating just a little of what I glimpse in the great Apostle.
Thrown to the ground and raised at the same moment,
A prisoner who set his captors free,
A naked man with love his only garment,
A blinded man who helped the world to see,
A Jew who had been perfect in the law,
Blesses the flesh of every other race
And helps them see what the apostles saw;
The glory of the lord in Jesus’ face.
Strong in his weakness, joyful in his pains,
And bound by love, he freed us from our chains.
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For January 6th (the feast of epiphany) in my Anthology from Canterbury Press, Waiting on the Word, I have chosen to read, as the final poem in the collection The Divine Image by William Blake. The Feast of the Epiphany celebrates the visit of the magi to the Christ-child, and so the inclusion of the Gentiles in the Gospel story: and not simply the Gentiles in some generic way, but all the distinct races, cultures and religions of ‘the nations’, which is why the tradition of depicting the three kings as representing three different races is so helpful. On this Feast Day, it might seem obvious to choose one of the well-known poems that recall or describe that familiar scene: Eliot’s ‘The Journey of the Magi’, or Yeats’ poem ‘The Magi’. But I wanted in this final poem to move from the outward and visible picture which already adorns so many of the Christmas cards we will be taking down today, and as those outward images fade away, to come through poetry to the inward and spiritual truth which they proclaim. And that spiritual truth is that in the Incarnation Christ, in taking on human nature, takes on, becomes involved in, visits, redeems the whole of humanity, not just the chosen people to whose race and culture he belonged. And what is more, when the fullness of God comes to dwell in the fullness of Christ’s humanity, then that mysterious ‘image of God’ in which all humanity was made (Genesis 1:27) is at last restored. And we can see that the Light who so uniquely and particularly became the Christ-child at Bethlehem is also, as John’s Gospel clearly proclaims, ‘The true light that enlightens every man was coming into the world’ (John 1:9). It seems to me that it is William Blake’s poem ‘The Divine Image’, rather than any specifically Christmas or Epiphany verse, that goes to the heart of these things.
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 the unique book of responses to Waiting on the Word last year, and again this is one of my favourites. As we finish this series of posts I would like to thank Linda for allowing me to share these beautiful images with you and for making such a rich and creative response to my book in the first instance. She will soon be establishing a website for more of her art and when she does so I will write about it on this blog. about this final image Linda writes:
Once again I return to Matisse and his dancers. The little figures are naked and in a trance of wild woodland worship. They are unselfconscious and free, not arguing a doctrinal point but holding tight to each others hands as they whirl around a Divine tree. Our minds and thinking can ensnare us like a flies on a spider’s web, but our bodies do not lie. If we are stressed, we can talk ourselves into believing we are relaxed, but our jaw may be tight and our brow heavy. In the same way we sometimes mistake ‘correct doctrine’ for love, and wonder why we feel so angry when our doctrines are attacked. In the image, the little figures are ‘every man’ and ‘every woman’. They are lost in the present moment, and the only government is the beauty of the silent tree around which, with all their hearts, they dance.
There exists only the present instant… a Now which always and without end is itself new. There is no yesterday nor any tomorrow, but only Now, as it was a thousand years ago and as it will be a thousand years hence. Meister Eckhart
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
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For January 5th in my Anthology from Canterbury Press, Waiting on the Word, I have chosen to read Rocky Mountain Railroad, Epiphany by Luci Shaw. this poem makes an interesting contrast and parallel with Coleridge’s psalm-like outpouring of yesterday. Both poems are a response to the beauty of nature, and specifically to the sight of snowy mountains, and the whole play of light on snow and ice. In both poems we have a sense of glory and of the sublime rising ‘reaches of peak above peak beyond peak’.
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:
Luci Shaw takes a subtly different approach to Coleridge as she describes, ‘in a net of words’, her transcendent experience. She uses herself as a mirror to describe the effect the experience has on her. ‘I imbed it in my brain so that it will flash and flash again…an alternate reality…my open window mind is too little,…I long for each sweep….’
In the image I made, the words open and condense in the lines, sometimes clear, sometimes hidden in the ink, indicating the fleeting glimpses we see as we hurtle along in a train. Life reflects the train journey. The Divine is always around us, sometimes clearly visible in love given and received, sometimes only glimpsed as we speed by. And often, if our focus is too close, all we see is our own reflection in the window.
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
The steel rails parallel the river as we penetrate
ranges of pleated slopes and crests—all too complicated
for capture in a net of words. In this showing, the train window
is a lens for an alternate reality—the sky lifts and the light forms
shadows of unstudied intricacy. The multiple colors of snow
in the dimpled fresh fall. Boulders like white breasts. Edges
blunted with snow. My open-window mind is too little for
this landscape. I long for each sweep of view to toss off
a sliver, imbed it in my brain so that it will flash
and flash again its unrepeatable views. Inches. Angles.
Niches. Two eagles. A black crow. Skeletal twigs’ notched
chalices for snow. Reaches of peak above peak beyond peak
Next to the track the low sun burns the silver birches into
brass candles. And always the flow of the companion river’s
cord of silk links the valleys together with the probability
of continuing revelation. I mind-freeze for the future
this day’s worth of disclosure. Through the glass
the epiphanies reel me in, absorbed, enlightened.
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For January 3rd in my Anthology from Canterbury Press, Waiting on the Word, I have chosen to read Courtesy by Hilaire Belloc. I have chosen it for this run-up towards Epiphany because it is essentially a series of little epiphanies, or ‘showings’; in each of the three pictures themselves pictures of moments of ‘epiphanies’ or ‘showings forth’ of the glory of God in scripture.
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:
The poem we consider today is about ‘courtesy’, not a word that we attribute easily these days except if we are complaining that someone lacks ‘common courtesy’. As I reflected on this poem I was taken back to my childhood when I was at a convent boarding school. I loved going to the convent chapel and kneeling to pray. I remember thinking how inadequate I was to do this, unlike the professional nuns whose prayers I considered far more powerful than my own mute and rather unhappy attempts.
I have since learned that God will inhabit the tiniest space we make for Him. Even our most feeble turning towards Him will make the angels of heaven hold their breath in excitement. Recently I read the words of a Rabbi who said, when the child of God walks down the road a thousand angels go before her crying, ‘Make way for the image of God!’
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
If you would like to encourage and support this blog, you might like, on occasion, (not every time of course!) to pop in and buy me a cup of coffee. Clicking on this banner will take you to a page where you can do so, if you wish. But please do not feel any obligation!
For New Year’s Day in my Anthology from Canterbury Press, Waiting on the Word, I have chosen to read another section of Tennyson’s In Memoriam, the famous and beautiful section about ringing out the old and ringing in the new which finishes with a vision of the true Advent, ‘the Christ that is to be’.
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:
I have to confess that I don’t remember ever enjoying New Years Day. I always have the feeling that I am an unprepared host for this important guest, who, instead of finding my house with the bed made up and a roaring fire, discovers me amid the accumulated dross of previous revelry. The image I made does not reflect the hope of the poem, probably because I don’t believe in the great ringing in of the new – I don’t see it happening in the world.
What I can believe in, is that Christ can ring in me and in you. Annie Dillard, the American author and poet says, ‘I had been my whole life a bell, and never knew it until at that moment I was lifted and struck.’ And so to the extent we ring for Christ, we also ring for the world.
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
You can also hear Alana Levandoski turning these verses into a lovely song on this youtube page:
f you would like to encourage and support this blog, you might like, on occasion, (not every time of course!) to pop in and buy me a cup of coffee. Clicking on this banner will take you to a page where you can do so, if you wish. But please do not feel any obligation!
In my Anthology from Canterbury PressWaiting on the Word.The poem I have chosen for December 30th, is Christmas (1) , a remarkable sonnet by George Herbert in which he imagines discovering Jesus in a local Inn. 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:
If you are feeling over indulged and replete with food and drink, this is the poem for you. Once again we return to the truth that even while we are far off, perhaps like the prodigal son, eating, drinking and over indulging, there is always a summons to examine our conscience, to look beyond the ‘fling and bling’, as Malcolm often describes this aspect of Christmas. The image for today is a very simple watercolour: a lone figure walks towards a simple shelter from which a radiant light emanates. The light comes from above and radiates out of the shelter where Christ is born, towards the figure. The figure walks towards the light, leaving behind a long dark shadow.
The history of the people of the Bible and of Christianity is stained by the corrupt idea that God is like us, full of disapproval and ready to punish. This idea keeps us away from God and we might even think that we are so bad, we might as well be a little more bad because truly, we have blown it with God. This is our ego talking, and if we listen to it we will find only self blame, self punishment and self loathing. The image tells us that we can turn at any moment and walk into the mystery of love and presence. It is not for us to perfect ourselves before we turn, God is the one who redeems. ‘You’ve got to jump off cliffs all the time and build your wings on the way down.” (Annie Dillard)
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 As always you can hear me read the poem by clicking on the title or the ‘play’ button
If you would like to encourage and support this blog, you might like, on occasion, (not every time of course!) to pop in and buy me a cup of coffee. Clicking on this banner will take you to a page where you can do so, if you wish. But please do not feel any obligation!
We return to Scott Cairns in my series of readings of the poems in my Anthology from Canterbury PressWaiting on the Word.The poem I have chosen for December 27th, is Nativity, a beautiful reflection on an icon of the Nativity and how it draws us in. You can hear me read this poem by clicking on the title or the play button. the image above was created by Linda Richardson. Linda writes:
As I read this poem I discerned a kind of radiance and inwardness that fascinated me. Again there are glimpses of the Divine that may be missed if we are not attentive or prayerful. We lean in and see a “tiny God.. slip briefly out of time.. miss the point or meet there”.
In the image, I created a fissure in the virgin blue, and beyond that there is a brightness that cannot be touched. It is a secret brightness, obscure and transcendent and cannot be possessed by us. All of life is potentially prayer that deepens us and makes our ‘ordinary’ time more loving and creative. But prayer is not an intellectual activity but an activity of love where we learn to be near God and learn too, never to leave the holiness of his nearness as we go about our daily duties.
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 As always you can hear me read the poem by clicking on the title or the ‘play’ button
If you would like to encourage and support this blog, you might like, on occasion, (not every time of course!) to pop in and buy me a cup of coffee. Clicking on this banner will take you to a page where you can do so, if you wish. But please do not feel any obligation!
Merry Christmas! In my Advent Anthology from Canterbury PressWaiting on the Word,The poem I have chosen for Christmas Day is a substantial extract from ‘Ode on the Moring of Christ’s Nativity by John Milton. You can hear me read this poem by clicking on the title or the play button. the image above was created byLinda Richardson.Linda writes:
It is Christmas day and the poem recalls to my mind, all the beautiful images we have of Christmas. One of my favourites is the Magi. Perhaps it is because, of all the Christmas characters, they are very aware of what they are doing. They have travelled a long way and a great distance to worship a King. These are the Christmas ‘professionals’, the seers and Wise Men who have come prepared with gifts and acts of worship. As they reach their goal their faces are lit up with the light of the Holy Family.
I wonder where you would place yourself among the Christmas characters? Are you a prepared, professional with a worshipping heart? Perhaps you are like the shepherds and Christmas rolls right over you leaving you rather baffled and scratching your head. Perhaps you are an angel…perhaps you are a sheep. Whatever you feel you are, there is a place for all of us at the manger.
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
And chose with us a darksome house of mortal clay.
Say, heavenly Muse, shall not thy sacred vein
Afford a present to the Infant God?
Hast thou no verse, no hymn, or solemn strain,
To welcome him to this his new abode,
Now while the heaven, by the sun’s team untrod,
Hath took no print of the approaching light,
And all the spangled host keep watch in squadrons bright?
See, how from far, upon the eastern road,
The star-led wisards haste with odours sweet:
O run, prevent them with thy humble ode,
And lay it lowly at his blessed feet;
Have thou the honour first thy Lord to greet,
And join thy voice unto the Angel quire,
From out his secret altar touch’d with hallow’d fire.
THE HYMN.
It was the winter wild,
While the heaven-born child
All meanly wrapt in the rude manger lies;
Nature, in awe to him,
Had doff’d her gaudy trim,
With her great Master so to sympathize:
It was no season then for her
To wanton with the sun, her lusty paramour.
Only with speeches fair
She wooes the gentle air
To hide her guilty front with innocent snow;
And on her naked shame,
Pollute with sinful blame,
The saintly veil of maiden white to throw;
Confounded, that her Maker’s eyes
Should look so near upon her foul deformities.
But he, her fears to cease,
Sent down the meek-ey’d Peace;
She, crown’d with olives green, came softly sliding
Down through the turning sphere,
His ready harbinger,
With turtle wing the amorous clouds dividing;
And, waving wide her myrtle wand,
She strikes an universal peace through sea and land.
Nor war, or battle’s sound,
Was heard the world around:
The idle spear and shield were high up hung;
The hooked chariot stood
Unstain’d with hostile blood;
The trumpet spake not to the armed throng;
And kings sat still with awful eye,
As if they surely knew their sovran Lord was by.
But peaceful was the night,
Wherein the Prince of light
His reign of Peace upon the earth began:
The winds, with wonder whist,
Smoothly the waters kiss,
Whispering new joys to the mild ocean,
Who now hath quite forgot to rave,
While birds of calm sit brooding on the charmed wave.
The stars, with deep amaze,
Stand fix’d in steadfast gaze,
Bending one way their precious influence;
And will not take their flight,
For all the morning light,
Or Lucifer, that often warn’d them thence;
But in their glimmering orbs did glow,
Until their Lord himself bespake, and bid them go.
And, though the shady gloom
Had given day her room,
The sun himself withheld his wonted speed,
And hid his head for shame,
As his inferiour flame
The new-enlighten’d world no more should need;
He saw a greater sun appear
Than his bright throne, or burning axletree, could bear.
The shepherds on the lawn,
Or e’er the point of dawn,
Sat simply chatting in a rustick row;
Full little thought they then,
That the mighty Pan
Was kindly come to live with them below;
Perhaps their loves, or else their sheep,
Was all that did their silly thoughts so busy keep.
When such musick sweet
Their hearts and ears did greet,
As never was by mortal finger strook;
Divinely-warbled voice
Answering the stringed noise,
As all their souls in blissful rapture took:
The air, such pleasure loth to lose,
With thousand echoes still prolongs each heavenly close.
Nature that heard such sound,
Beneath the hollow round
Of Cynthia’s seat, the aery region thrilling,
Now was almost won
To think her part was done,
And that her reign had here its last fulfilling;
She knew such harmony alone
Could hold all Heaven and Earth in happier union.
At last surrounds their sight
A globe of circular light,
That with long beams the shamefac’d night array’d;
The helmed Cherubim,
And sworded Seraphim,
Are seen in glittering ranks with wings display’d,
Harping in loud and solemn quire,
With unexpressive notes, to Heaven’s new-born Heir.
Such musick (as ‘tis said)
Before was never made,
But when of old the sons of morning sung,
While the Creator Great
His constellations set,
And the well-balanc’d world on hinges hung;
And cast the dark foundations deep,
And bid the weltering waves their oozy channel keep.
Ring out, ye crystal spheres,
Once bless our human ears,
If ye have power to touch our senses so;
And let your silver chime Move in melodious time;
And let the base of Heaven’s deep organ blow;
And, with your ninefold harmony,
Make up full consort to the angelick symphony.
For, if such holy song
Enwrap our fancy long,
Time will run back, and fetch the age of gold;
And speckled Vanity
Will sicken soon and die,
And leprous Sin will melt from earthly mould;
And Hell itself will pass away,
And leave her dolorous mansions to the peering day.
Yea, Truth and Justice then
Will down return to men,
Orb’d in a rainbow; and, like glories wearing,
Mercy will sit between,
Thron’d in celestial sheen,
With radiant feet the tissued clouds down steering;
And Heaven, as at some festival,
Will open wide the gates of her high palace hall …
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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. So the first of the ‘play’ buttons below gives you JAC’s choral setting and the second gives you the plainsong antiphon, and me reading the poem.
O Oriens:
O Oriens, splendor lucis aeternae,
et sol justitiae:
veni, et illumina sedentes
in tenebris, et umbra mortis
O Dayspring,
splendour of light eternal and sun of righteousness:
Come and enlighten those who dwell in darkness and the shadow of death.
First light and then first lines along the east
To touch and brush a sheen of light on water
As though behind the sky itself they traced
The shift and shimmer of another river
Flowing unbidden from its hidden source;
The Day-Spring, the eternal Prima Vera.
Blake saw it too. Dante and Beatrice
Are bathing in it now, away upstream…
So every trace of light begins a grace
In me, a beckoning. The smallest gleam
Is somehow a beginning and a calling;
“Sleeper awake, the darkness was a dream
For you will see the Dayspring at your waking,
Beyond your long last line the dawn is breaking”.
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Of all the mystic titles of Christ, this is the one that connects most closely with our ‘secular’ psychology. We speak of the need on the one hand for ‘closure’ and on the other for ‘unlocking’, for ‘opening’, for ‘liberation’. The same ideas are also there in the lines from O Come O Come Emmanuel that are drawn from this antiphon, which could easily be part of anybody’s work in good therapy:
“Make safe the way that leads on high,
and close the path to misery.”
I see this antiphon, and the sonnet I wrote in response to it, as the ‘before’ picture that precdes the beautiful fifth antiphon O Oriens about Christ as the Dayspring and when l wrote this sonnet I found that I had at last written something clear about my own experience of depression. I hope that others who have been in that darkness will find it helpful.
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:
As I made this drawing, the words ‘huddled in misery’, were my starting point. The figure sits in something like a cave, but if the figure would only turn towards us, it would be able to rise, step through the doorway of the ‘O’ and walk free. Instead the poor naked figure hides its face and covers its head in shame. We can spend years ‘huddled in misery’ forbidding ourselves the freedom we crave, literally being miserly because we are captive to a way of thinking that has imprisoned us. We believe we can only be loved if we are perfect, or at least a lot better than we are, but a key only opens. It takes our action to walk out.
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 delighted to say that the composer Jac Redford, who set all these antiphon sonnets to music on his excellent CD ‘Let Beauty be our Memorial’ has kindly given permission for me to share those recordings with you. Here are the first four including today’s:
O Sapientia:
O Adonai:
O Radix:
O Clavis:
O Key of David and sceptre of the House of Israel;
you open and no one can shut;
you shut and no one can open:
Come and lead the prisoners from the prison house,
those who dwell in darkness and the shadow of death
O Clavis David, et sceptrum domus Israel;
qui aperis, et nemo claudit;
claudis, et nemo aperit:
veni, et educ vinctum de domo carceris,
sedentem in tenebris, et umbra mortis.
Even in the darkness where I sit
And huddle in the midst of misery
I can remember freedom, but forget
That every lock must answer to a key,
That each dark clasp, sharp and intricate,
Must find a counter-clasp to meet its guard,
Particular, exact and intimate,
The clutch and catch that meshes with its ward.
I cry out for the key I threw away
That turned and over turned with certain touch
And with the lovely lifting of a latch
Opened my darkness to the light of day.
O come again, come quickly, set me free
Cut to the quick to fit, the master key.
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For Candlemas still keeps His kindled light,
Against the dark our Saviour’s face is bright.
A Sonnet for Candlemas… twitter.com/i/web/status/1…2 days ago