Christian Art | George Herbert | Sepulchre | The Church | Sinne (2)
George Herbert | The Temple | The Church | Sinne (2)
O that I could a sinne once see!
We paint the devil foul, yet he
Hath some good in him, all agree.
Sinne is flat opposite to th’ Almighty, seeing
It wants the good of vertue, and of being.
But God more care of us hath had:
If apparitions make us sad,
By sight of sinne we should grow mad.
Yet as in sleep we see foul death, and live:
So devils are our sinnes in perspective.
George Herbert | The Temple | The Church | Sinne (2)
The poem explores the nature of sin, the opposition to God of sin, and the paradoxical ways in which humans perceive evil. Herbert reflects on sin as a force that contrasts with the divine, but also acknowledges that sin has a presence in the world that may hold some form of goodness, suggesting a complexity in its nature. The first stanza raises the idea that while sin is in opposition to God, it may still contain elements that are, at least partially, good, challenging simplistic moral dichotomies.
The second stanza offers a reflection on human perception. Herbert points out that apparitions, which might normally cause fear or sorrow, become less frightening when viewed through the lens of faith or divine care. This mirrors the way humans view sin: although sin is inherently harmful, by seeing it in perspective, through the understanding of God’s greater care and presence, one may avoid the despair it might otherwise inspire.
In the final stanza, the poem introduces a paradox: though sin is destructive, it can be viewed as a necessary part of the human experience, just as death in dreams does not prevent waking life. Herbert suggests that devils are simply manifestations of human sins, much as dreams of death do not bring about actual death. This implies that sin, while present, is not as overpowering or final as it might appear at first glance, and it can be understood as a distortion of a deeper truth or divine order.
The poem examines how humans perceive sin as both a force of destruction and a potential source of moral insight. The poem invites readers to reconsider the simplicity of viewing sin as wholly evil, instead suggesting a more nuanced approach that acknowledges complexity. Reference to sin as a perspective suggests that it is, in part, a construct shaped by human perception, and that through divine intervention or understanding, one can better navigate or reinterpret presence of sin in the world. The poem expresses divine care and the idea that God’s presence transforms how humans experience and understand suffering, sin, and death.
The poet reflects on the idea that what seems to be evil or destructive might, in a larger divine framework, serve a purpose or be rendered less fearsome. The poem is a meditation on the way humans live with the presence of sin, our capacity to perceive sin, and hope that with a proper perspective, we can live with sin without being overwhelmed by its force. This thematic exploration makes the poem a reflection on faith, perception, and divine providence.
We learn so much about our true relationship with God and with other people in these Gospel verses. Perhaps we might say rather, we are reminded of so much, because these are Christian truths we have long been taught and have long known, but which often are neglected and forgotten. We are recalled in these Gospel verses to Christian truth [ … ]
YouTube: Ash Wednesday | T.S. Eliot | Audio Christian Poetry | Word Aloud Ash Wednesday, one of T.S. Eliot’s most profound and enigmatic poems, marks a significant transition in his life and work. Written in 1930, it is the first long poem Eliot composed after his conversion to Anglicanism in 1927. The poem, often considered one of Eliot’s masterpieces, delves into themes of faith, redemption, and spiritual struggle. It reflects the poet’s personal journey towards spiritual enlightenment and serves as a testament to his newfound religious beliefs. A reading of Ash Wednesday is an exploration of the poem’s religious, literary, and personal contexts, as of the poem’s complex structure and themes. Religious Context And Symbolism Ash Wednesday is deeply embedded in Christian symbolism and tradition. The title refers to the first day of Lent in the Christian liturgical calendar, a day marked by penance, fasting, and prayer. Ash Wednesday is a time for reflection on mortality and repentance, themes that are intricately woven throughout the poem. Eliot’s conversion to Anglicanism profoundly influenced his writing; ‘Ash Wednesday’ is an expression of spiritual awakening and quest for redemption. The poem is replete with religious imagery and references, drawing on Christian doctrine and scripture. The use of liturgical language, biblical allusions, and references to saints and spiritual figures creates a tapestry of faith that invites readers to contemplate deep spiritual truths with which Eliot is grappling. The repetitive and prayer-like quality of the verses echoes meditative practices of the faithful, in part enabling the contemplative nature of the poem. Literary Influences And Techniques T.S. Eliot was a master of literary allusion and technique, and Ash Wednesday expresses Eliot’s ability to blend various influences into a cohesive whole. The poem reflects the influence of Dante, particularly The Divine Comedy, which Eliot admired for its exploration of spiritual ascent and redemption. Dante’s journey through Hell, Purgatory and Heaven parallels Eliot’s own spiritual journey, and the structure of Ash Wednesday can be seen as a reflection of this pilgrimage. Eliot’s use of fragmented narrative, a hallmark of his earlier work such as The Waste Land, is also present in Ash Wednesday. However, in this poem, the fragmentation serves a different purpose. Instead of depicting the disintegration of modern society, it mirrors the fragmented and often painful process of spiritual rebirth. The disjointed structure reflects the internal struggle of the speaker, who is torn between the pull of worldly desires and the aspiration for divine grace. The poem’s language is rich and varied, combining the lyrical and the obscure, the personal and the universal. Eliot employs a range of poetic forms and devices, including free verse, rhyme and meter, to convey the tumultuous journey of faith. The shifting tone and style reflect the complexities and contradictions inherent in the spiritual quest, capturing moments of doubt, despair, hope, and transcendence. Personal Significance Ash Wednesday is a deeply personal work. Eliot’s conversion to Anglicanism marked a profound shift in his life, providing a sense of purpose and direction that had been missing. The poem can be read as a reflection of Eliot’s own struggles with faith and his efforts to reconcile his intellectual skepticism with his desire for spiritual certainty. Eliot’s personal experiences, including his troubled marriage and professional pressures, also inform the poem. Themes of renunciation and acceptance, sin and redemption, are not merely abstract concepts but lived realities for the poet. This personal dimension adds a layer of intimacy and urgency to the poem, which thereby resonates with readers who have faced their own spiritual crises. Thematic Exploration At its core, Ash Wednesday is a meditation on the possibility of spiritual renewal in a world that often seems devoid of meaning. The poem grapples with the tension between faith and doubt, reflecting the existential struggles of modernity. The poem acknowledges the difficulties of maintaining belief in an age of skepticism but ultimately affirms the possibility of redemption and grace. The central theme of renunciation is explored through imagery of ascension and purification. The speaker’s journey is marked by a series of renunciations, symbolizing the shedding of earthly attachments in pursuit of spiritual truth. This process is neither straightforward nor easy; it involves moments of intense struggle and introspection. Yet, through this arduous journey, the speaker moves closer to a state of spiritual clarity and acceptance. Ash Wednesday | T. S. Eliot Because I do not hope to turn again Because I do not hope Because I do not hope to turn Desiring this man’s gift and that man’s scope I no longer strive to strive towards such things (Why should the agèd eagle stretch its wings?) Why should I mourn The vanished power of the usual reign? Because I do not hope to know The infirm glory of the positive hour Because I do not think Because I know I shall not know The one veritable transitory power Because I cannot drink There, where trees flower, and springs flow, for there is nothing again Because I know that time is always time And place is always and only place And what is actual is actual only for one time And only for one place I rejoice that things are as they are and I renounce the blessèd face And renounce the voice Because I cannot hope to turn again Consequently I rejoice, having to construct something Upon which to rejoice And pray to God to have mercy upon us And pray that I may forget These matters that with myself I too much discuss Too much explain Because I do not hope to turn again Let these words answer For what is done, not to be done again May the judgement not be too heavy upon us Because these wings are no longer wings to fly But merely vans to beat the air The air which is now thoroughly small and dry Smaller and dryer than the will Teach us to care and not to care Teach us to sit still. Pray for us sinners now […]
In today’s Bible reading, we see clearly that many of those to whom Mark addresses his Gospel would not be familiar with Jewish customs. Mark, therefore, explains that the Jews wash as a ritual of purification prior to eating. This was initially a prescription for how priests should wash before offering sacrifice – see Exodus 30: 17ff – and was extended by tradition to all Jews before every meal. It may be helpful for us to remember that this was not a matter of hygiene; rather ritual purification was a symbol of the moral purity a person should have when approaching God. We may also consider our own practice of washing our hands and saying grace before meals, such that our participating in a meal becomes an act of thanksgiving to God, the meal a sacred space [ … ]
