The great poet, philosopher, and Christian sage, Samuel Taylor Coleridge was born on the 21st of October in 1772, so I am reposting this sonnet for his birthday!
I should also mention that in 2017 I published Mariner: A Voyage with Samuel Taylor Coleridge which has been well and widely reviewed and examines Coleridge’s life and faith in fresh ways, through the lens of the rime of the Ancient Mariner, his most famous poem.
I could not begin to reckon the personal debt I owe to Coleridge; for his poetry, for his personal and Christian wisdom, above all for his brilliant exploration and defence of the poetic imagination as a truth-bearing faculty which participates in, and is redeemed by the Logos, the living Word, himself the Divine Imagination. We are only now coming to appreciate the depth and range of what he achieved, his contemporaries scarcely understood him, and his Victorian successors looked down in judgement at what they saw as the shipwreck of his life. Something of that experience of rejection, twinned with deep Christian conviction, can be seen in the epitaph he wrote for himself:
Stop, Christian passer-by!—Stop, child of God,
And read with gentle breast. Beneath this sod
A poet lies, or that which once seemed he.
O, lift one thought in prayer for S. T. C.;
That he who many a year with toil of breath
Found death in life, may here find life in death!
Mercy for praise—to be forgiven for fame
He asked, and hoped, through Christ. Do thou the same!
From my teenage raptures when I was first enchanted by Kubla Khan and the Ancient Mariner, to my own struggles and adventures in the middle of life STC has been my companion and guide.In the chapter on Coleridge in my book Faith Hope and Poetry I have set out an account of his thinking and made the case for his central importance in our own age, but what I offer here is a sonnet celebrating his legacy, drawing on that epitaph I mentioned above, one of a sequence of sonnets on my fellow christians in my book The Singing Bowl, published last year by the Canterbury Press.
As Always you can hear the poem by clicking on the title or clicking the ‘play’ button.
I am happy to announce that the official launch of my new poetry collection After Prayer will take place in the church of St. Edward King and Martyr, Peas Hill in central Cambridge on the 8th of November from 8-9:30pm. There will be wine and other refreshments, a reading of some poems from the new book and the chance to buy a copy at a discount and have it signed. All the readers of this blog are warmly invited. I know that for many of you there are oceans and various other impediments between you and Cambridge, but if you are anywhere near do come along if you can. If you are coming could you let me know at firstname.lastname@example.org so I can make sure there’s enough wine!
If you want a feel for the book itself and for what moved me to write it there is a full interview Here, conducted by Lancia Smith for her excellent ‘Cultivating’ website.
Mean while here is another ‘sampler’ poem from the collection. As you know the opening sequence is a series of meditations on the phrases in George Herbert’s poem Prayer, so here is the sonnet I wrote in response to the most famous phrase in that poem: ‘Heaven in Ordinary. As always you can hear me read it by clicking on the ‘play’ button or the title.
Here is a poem called Spell, which I re-post for National Poetry Day, as it celebrates the magic powers of language itself. I have written in a previous post about the ‘daily miracle’ of our language and literacy, the magical way that words can summon up images, images that bring with them whole worlds, all the hidden correspondences between Word and World, a magic witnessed by the way a word like spell means both to spell a word and to make magic, the way chant is embedded in enchantment, the way even the dry word Grammar turns out to be cognate with Glamour in its oldest magical sense. But if all language is a kind of spell, it is a Good Spell (or Gospel as we later shortened that term). For Christian Faith points to a single source, in the Word, the Logos of God, for both the mystery of language and the mystery of being. Christ is the Word within all words, the Word behind all worlds.
Certainly many Christian writers have reflected on the paralells between the Genesis narrative in which God says “Let there be..” and each thing he summons springs into being, and the way, the uttering of words, the combination and recombination of a finite set of letters, can call into being the imaginary worlds, the sub-creations, as Tolkien calls them, that God in his Love has empowered us to create. It seems that being made as ‘Makers’ (the old word for poets) is one of the ways in which we are all made in God’s image.
Of course, because we are fallen we can abuse this gift of sub-creation, we can abuse language itself, making the very medium of creation a means of destruction. I have explored that shadow side of language in my poem “What IF…” But now I want to celebrate the God-given power and mystery of language, the magic of naming, the summoning powers entrusted to us in the twenty-six letters of our alphabet., in a sonnet I have simply called “Spell”. As always you can hear it by clicking on the title or pressing the ‘play’ button.
Here is another week’s worth of recordings in which I read the poems I selected in my anthology for Lent The Word in the Wilderness. I hope you enjoy these recordings, just click on the title of the poem or the ‘play’ button if it appears. Once again I am grateful to Lancia Smith for providing the two lovely images to go with this week’s readings.
This is the first of the weekly series I am posting throughout this Lent in which you can hear me read aloud the poems I have chosen for my Lent Anthology The Word in the Wilderness. In the book itself you can read my commentary on each poem but I thought that, as with my advent anthology, you might like to hear the poems read. Where copyright allows I will also post the texts of the poems themselves here. Once more I am grateful to Lancia Smith who will be providing specially made images for these weekly posts. Lancia has told me that today’s image of the shell suggests a sense of our being ‘cleansed and emptied of what we once carried now waiting for a new day of our own’. But there is also of course the other sense in which the scallop shell is a symbol of pilgrimage, and pilgrimage is very much the central theme of this book.
Speaking of images that arise from this poetry you might like to know that there is now a Facebook Group Sounding the Sonnets which has some lovely galleries of art they have made in response to the poems in this and my other books.
Receive this cross of ash upon your brow,
Brought from the burning of Palm Sunday’s cross.
The forests of the world are burning now
And you make late repentance for the loss.
But all the trees of God would clap their hands
The very stones themselves would shout and sing
If you could covenant to love these lands
And recognise in Christ their Lord and king.
He sees the slow destruction of those trees,
He weeps to see the ancient places burn,
And still you make what purchases you please,
And still to dust and ashes you return.
But Hope could rise from ashes even now
Beginning with this sign upon your brow.
From Thursday to Saturday I have chosen each of my sonnets on the three temptations of Christ in the wilderness. You can read my commentary on these in the book.
A number of years ago I was given an interesting poetic commission.
I had come to know the composer Marty O’Donnell, who is famous, amongst other things, for having composed the music for Halo, and for Destiny, two major games for the computer game company Bungie. When he was working on the music which would help to frame the game Destiny, a game whose narrative and architecture draws on the classical and mediaeval idea of the heavenly spheres, each with its own character and distinct music, he composed a beautiful new suite of music called ‘The Music of the Spheres’, and as we had talked together about the ‘seven heavens’ of the mediaeval world-view he asked me if I would compose a suite of poems to go with the music.
I came up with a sequence called ‘Seven Heavens, Seven Hells’. It consists of fourteen poems, arranged in seven pairs, which I composed in direct response to Marty’s music but also drawing inspiration, as we both did, from the mediaeval ‘seven heavens’, the crystalline spheres of the planets with their different characteristics and influences.
The whole approach, both to the poetry and the music, which Marty and I discussed early was a response to the idea, based in mediaeval astrology of ‘opposing pairs’. Each of the seven spheres has a certain cluster of associations and influences, Venus with Love, Mars with war and martial valour, the Sun with gold, but also poetry and inspiration etc. But equally it is possible for each of these celestial influences to become corrupted and malign, for, as St. Augustine says, good is primal and evil is always a corruption of some original good. Astrologically this is expressed in the idea that there is a diurnal, or good and light-filled aspect of each sphere, but also a nocturnal or dark aspect. Michael Ward, whose work Marty and I both admire, draws this out brilliantly in Planet Narnia, his account of the Seven Heavens in the thought and writing of CS Lewis.
A group of enthusiasts for Marty’s music, have, with his and Bungie’s blessing made a series of videos incorporating both the music and my poems. a while ago I posted a link to the first of these for the moon
I’m happy to say that the complete suite has now been posted. These poems will also appear in print in October as part of my next collection with Canterbury Press which will be called ‘After Prayer’. You can click on This Link, to go straight to a page which has links to all eight videos in what they are calling the Golden Age Anthology. Or you can scroll down and enjoy each of the videos embedded here:
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