What’s greater, Pebble or Pond?
What can be known? The Unknown.
My true self runs toward a Hill
More! O More! visible.
Now I adore my life
With the Bird, the abiding Leaf,
With the Fish, the questing Snail,
And the Eye altering All;
And I dance with William Blake
For love, for Love’s sake;
And everything comes to One,
As we dance on, dance on, dance on.
— Theodore Roethke
Like Walt Whitman, Hopkins makes a fascinating play of language — where his word picks stack and accrue into an incantational pressure. A genius gesture, because after a spell you aren’t quite sure what you’re reading and translating, but you don’t care. It just feels good.
And so you read his poem again (and again).
And then, in the end, the lid of your head comes off and all the grandeur and the beauty and the space and the mystery comes tumbling in.
Glory be to God for dappled things –
For skies of couple-colour as a brinded cow;
For rose-moles all in stipple upon trout that swim;
Fresh-firecoal chestnut-falls; finches’ wings;
Landscape plotted and pieced – fold, fallow, and plough;
And áll trádes, their gear and tackle and trim.
All things counter, original, spare, strange;
Whatever is fickle, freckled (who knows how?)
With swift, slow; sweet, sour; adazzle, dim;
He fathers-forth whose beauty is past change:
Painting: Monk by the Sea by David Friedrich
“No poet ever wrote a poem to dishonor life, to compromise high ideals, to scorn religious views, to demean hope or gratitude, to argue against tenderness, to place rancor before love, or to praise littleness of soul. Not one. Not ever.
“On the contrary, poets have, in freedom and in prison, in health and in misery, with listeners and without listeners, spent their lives examining and glorifying life, meditation, thoughtfulness, devoutness, and human love. They have done this wildly, serenely, rhetorically, lyrically, without hope of answer or reward. They have done this grudgingly, willingly, patiently, and in the steams of impatience.
“They have done it for all and any of the gods of life, and their record of so doing belongs to each one of us.
I have a feeling that my boat
has struck, down there in the depths,
against a great thing.
happens! Nothing … Silence …Waves…
— Nothing happens? Or has everything happened,
and we are standing now, quietly, in the new life?
–Juan Ramón Jiménez
Rumi composed a small eruption of a poem about love’s most beguiling and dangerous qualities. This gem of verse marks out, like a Morse code, the action, the alchemy of love. I’ve revisited this poem many times, and with each close reading new facets are revealed, sharper insights gleaned. It’s the gift that keeps on giving.
Love comes sailing through and I scream.
Love sits beside me like a private supply of itself.
Love puts away the instruments
and takes off the silk robes. Our nakedness
together changes me completely.
The opening conveys abrupt immediacy. Things are one way one minute and then — a surge: “Love comes sailing through…” Sailing evokes being on an ocean, perhaps the Sargasso Sea where we often drift in the humdrum trance of our day-to-day life. But then the majesty of love glides in. Also, the word ‘sailing’ connotes a particular sound, the movement of Cupid’s arrow perhaps?
Love’s entrance — and then: a scream. Not a yell or a shout. A scream. A kind of fright or terror. The shock of love. Rumi is writing about the ego’s perception and reaction to love. Unnerving, startling — a harbinger for what exactly?
P.D. Ouspensky wrote in Tertium Organum: “Love is the potent force that tears off all masks, and men who run away from love do so in order that they may preserve their masks.” I guess that would explain the screaming.
Should we endure, there’s the promise of an intimate alignment, a regulation that calms the initial shock: “Love sits beside me like a private supply of itself.” This line enchants me, the image it calls forth. “…like a private supply of itself.” This speaks to the notion that we are each a localized, unique expression of love — and when we experience love we’re given the opportunity, through the mirror of the Beloved, to remember, to see this condition. We relax, perhaps unaware of the disarming that will follow.
“Love puts away the instruments and takes off the silk robes.” Now Rumi’s describing another love action — the revealing, the stripping — making naked. The initial reading is a prelude to sex, and this can work in the poem too. But there’s something more; the instruments, the clothing — the ways the ego displays its talents, or how it hides behind a facade — all of that’s got to go in the presence of love. Nakedness implies as much. Read more