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

This poem? I’m stunned, in the same way that you want to follow and retain a shooting star’s trajectory (but can’t), with the way Levertov forces silence into place, between the words, merging both sides of your brain while you absorb the essence of her secret code — honestly, a transcendental incantation.

Once Only

All which, because it was
flame and song and granted us
joy, we thought we’d do, be, revisit,
turns out to have been what it was
that once, only; every initiation
did not begin
a series, a build-up: the marvelous
did happen in our lives, our stories
are not drab with its absence: but don’t
expect now to return for more. Whatever more
there will be will be
unique as those were unique. Try
to acknowledge the next
song in its body-halo of flames as utterly
present, as now or never.
 

Everything is far
and long gone by.
I think that the star
glittering above me
has been dead for a million years.
I think there were tears
in the car I heard pass
and something terrible was said.
A clock has stopped striking in the house
across the road…
When did it start?…
I would like to step out of my heart
an go walking beneath the enormous sky.
I would like to pray.
And surely of all the stars that perished
long ago,
one still exists.
I think that I know
which one it is–
which one, at the end of its beam in the sky,
stands like a white city…

–Rainer Maria Rilke
 
Photograph by Carl Wooley

When you notice a cat in profound meditation,
The reason, I tell you, is always the same:
His mind is engaged in a rapt contemplation
Of the thought, of the thought, of the thought of his name:
His ineffable effable
Effanineffable
Deep and inscrutable singular
Name

T.S. Elliot

How
Did the rose
Ever open its heart

Frightened.

— Hafiz
 

Photograph of the zodiacal light by Y. Beletsky.

Sometimes things don’t go at all,
from bad to worse. Some years muscadel
faces down frost; green thrives; the crops don’t fail,
sometimes a man aims high, and all goes well.

Sometimes our best efforts do not go
amiss; sometimes we do as we meant to.
The sun will sometimes melt a field of sorrow
that seemed hard frozen: may it happen for you.

Sheenagh Pugh

Painting by Paul Klee. Ad Parnassum 1932.