Mary’s month

This poem is a tad unseasonal, but the Magnificat is after all a Christmas song, and Christmas in Australia is much more like an English May than an English December. Canberra in summer, with our dams full of rain, makes the phrase ‘grass and greenworld’ toll in my head whenever I go outside. So here's Gerard Manly Hopkins' “May Magnificat.” 

May is Mary's month, and I
Muse at that and wonder why:
Her feasts follow reason,
Dated due to season—

Candlemas, Lady Day;
But the Lady Month, May,
Why fasten that upon her,
With a feasting in her honour?

Is it only its being brighter
Than the most are must delight her?
Is it opportunest
And flowers finds soonest?

Ask of her, the mighty mother:
Her reply puts this other
Question: What is Spring?—
Growth in every thing—

Flesh and fleece, fur and feather,
Grass and greenworld all together;
Star-eyed strawberry-breasted
Throstle above her nested

Cluster of bugle blue eggs thin
Forms and warms the life within;
And bird and blossom swell
In sod or sheath or shell.

All things rising, all things sizing
Mary sees, sympathising
With that world of good,
Nature's motherhood.

Their magnifying of each its kind
With delight calls to mind
How she did in her stored
Magnify the Lord.

Well but there was more than this:
Spring's universal bliss
Much, had much to say
To offering Mary May.

When drop-of-blood-and-foam-dapple
Bloom lights the orchard-apple
And thicket and thorp are merry
With silver-surfed cherry

And azuring-over greybell makes
Wood banks and brakes wash wet like lakes
And magic cuckoocall
Caps, clears, and clinches all—

This ecstasy all through mothering earth
Tells Mary her mirth till Christ's birth
To remember and exultation
In God who was her salvation.

A cold coming

I love TS Eliot's “Journey of the Magi.” I still remember a fantastic recital of this poem by English actor Richard Griffiths at the Proms many years ago. He got the pitch just right -  dry, stoical, reflective, myth submerged in realism. I think Eliot's jangle of gospel symbols - three trees, vine leaves, dice, silver pieces, wineskins - has the same naivete as the gospel accounts themselves; the same depth couched in the parable of ordinary human life.

A cold coming we had of it,
Just the worst time of the year
For a journey, and such a long journey:
The ways deep and the weather sharp,
The very dead of winter.
And the camels galled, sore-footed, refractory,
Lying down in the melting snow.
There were times we regretted
The summer palaces on slopes, the terraces,
And the silken girls bringing sherbet.
Then the camel men cursing and grumbling
And running away, and wanting their liquor and women,
And the night-fires going out, and the lack of shelters,
And the cities hostile and the towns unfriendly
And the villages dirty, and charging high prices:
A hard time we had of it.
At the end we preferred to travel all night,
Sleeping in snatches,
With the voices singing in our ears, saying
That this was all folly.

Then at dawn we came down to a temperate valley,
Wet, below the snow line, smelling of vegetation;
With a running stream and a water-mill beating the darkness,
And three trees on the low sky,
And an old white horse galloped away in the meadow.
Then we came to a tavern with vine-leaves over the lintel,
Six hands at an open door dicing for pieces of silver,
And feet kicking the empty wine-skins.
But there was no information, and so we continued
And arrived at evening, not a moment too soon
Finding the place; it was (you may say) satisfactory.

All this was a long time ago, I remember,
And I would do it again, but set down
This set down
This: were we lead all that way for
Birth or Death?
There was a Birth, certainly,
We had evidence and no doubt.

I have seen birth and death,
But had thought they were different; this Birth was
Hard and bitter agony for us, like Death, our death.
We returned to our places, these Kingdoms,
But no longer at ease here, in the old dispensation,
With an alien people clutching their gods.
I should be glad of another death.

Contracted light, wrapt in night's mantle

Today a sonnet from George Herbert, who was dubbed “Holy Mr Herbert” in the seventeenth century, and whose work was used as a devotional aid well into the eighteenth. The nice thing about Herbert is how many readers he has outside the church. People who would never dream of ‘using’ his poems still find them lovely. Indeed Aldous Huxley praised his “lyrics unexcelled for flawless purity of diction and appositeness of imagery” and conceded that “within his limits he achieves a real perfection.” (I would argue that limitation is almost the definition of art, but I won't quibble with Huxley since he's been so charming about Herbert.) Anyway, here's “Christmas”:

After all pleasures as I rid one day,
My horse and I, both tired, body and mind,
With full cry of affections, quite astray;
I took up the next inn I could find.
There when I came, whom found I but my dear,
My dearest Lord, expecting till the grief
Of pleasures brought me to Him, ready there
To be all passengers' most sweet relief?
Oh Thou, whose glorious, yet contracted light,
Wrapt in night's mantle, stole into a manger;
Since my dark soul and brutish is Thy right,
To man of all beasts be not Thou a stranger:
Furnish and deck my soul, that Thou mayst have
A better lodging, than a rack, or grave.

Immensity cloistered

Today's poem is from John Donne's sonnet sequence La Corona (“the crown”). This sequence works like a set of Ignatian meditations: sharp visualisations of scenes from the life of Christ are supposed to enhance devotion. The more vividly one can imagine the scents, sounds, colours, textures of the scene, the more one is involved and inspired to worship. With Donne, however, the conceptual enormities and ambiguities always seem to get in the way of pure sensuality. He can't help but wander into paradox and obscurity while trying to keep his mind on the physical events of Jesus' birth. I can't help but like him the more for it.

Immensity cloistered in thy dear womb,
Now leaves His well-belov'd imprisonment,
There He hath made Himself to His intent
Weak enough, now into the world to come;
But O, for thee, for Him, hath the inn no room?
Yet lay Him in this stall, and from the Orient,
Stars and wise men will travel to prevent
The effect of Herod's jealous general doom.
Seest thou, my soul, with thy faith's eyes, how He
Which fills all place, yet none holds Him, doth lie?
Was not His pity towards thee wondrous high,
That would have need to be pitied by thee?
Kiss Him, and with Him into Egypt go,
With His kind mother, who partakes thy woe.

Now he is new

Blue homespun and the bend of my breast
keep warm this small hot naked star
fallen to my arms. (Rest . . .
you who have had so far
to come.) Now nearness satisfies
the body of God sweetly. Quiet he lies
whose vigor hurled
a universe. He sleeps
whose eyelids have not closed before.
His breath (so slight it seems
no breath at all) once ruffled the dark deeps
to sprout a world.
Charmed by doves’ voices, the whisper of straw,
he dreams,
hearing no music from his other spheres.
Breath, mouth, ears, eyes
he is curtailed
who overflowed all skies,
all years.
Older than eternity, now he
is new. Now native to earth as I am, nailed
to my poor planet, caught that I might be free,
blind in my womb to know my darkness ended,
brought to this birth
for me to be new-born,
and for him to see me mended
I must see him torn.

“Mary's Song” Luci Shaw, 1971.