Poetry

New Things and Old

The dark is shattered
With wild, new fear;
An ass’s feet stumbling
Is the sound that I hear.

The night is brighter
Then day should be;
A strange star’s splendor
Is the light that I see.

And above the terror
Of earth and sky
I can hear,if I listen,
A young child’s cry;

I can see, if I look,
Legions of wings,
And a woman who ponders
Of all these things.

a poem by Sister M. Madeleva

People who knew her, knew her as a teacher, a dutiful sister of the Holy Cross who taught at Sacred Heart Academy in Ogden and Saint Mary of the Wasatch near Salt Lake City. She shopped at O.P. Skaggs, walked the foothills with her various walking canes and shyly kept to herself.

But as far as nuns can be said to have a secret life, Sister M. Madeleva Wolff C.S.C. had one. She wrote poetry. Not the way you and I write poetry, but the way Emily Dickinson wrote poetry. She was a graduate of Berkeley and studied at Oxford. Her circle of personal friends and admirers ran from Edith Wharton (“The Age of Innocence”) to C.S. Lewis (“The Narnia Chronicles”). Joyce Kilmer (who wrote the poem “Trees”) visited her several times in Utah, and Bernard DeVoto – perhaps Utah’s most distinguished man of letters – poured his soul out to her in long, lush private letters.In the world of world literature, Sister Madeleva was a player.  –The Deseret News  the first news organization and the longest continuously-operating business in the state of Utah.

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Renunciation

I blinded my eyes,
And I closed my ears,
I hardened my heart,
And I smothered my desire

I turned my back
On the vision I had shaped,
And to this road before me
I turned my face.

P.H. Pearce

Taken from the book: ‘Upon God’s Holy Hills: I, the Guides St Anthony of Egypt, St Bruno of Cologne, St John of the Cross’ by C.C. Martindale published by Forgotten Books.

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Expurgation

Purification
Of the image
Of GOD.
Cleansing the Divine within.
Interior refraction,
Stripping, erasing, removing,
Abolishing presumption.
May HE who is able,
Provide the remedy.
Faithful receiving,
Passive and prayerful.
Obedient.
Doing nothing,
Waiting quietly.

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A poet’s limited vision

Wandering between two worlds, one dead,
The powerless to be born,
With nowhere yet to rest my head,
Like these, on earth I wait forlorn,
Their faith, my tears, the world derides—
I come to shed them at their side.

To keep himself (the poet Matthew Arnold) in countenance, he has to regard the Carthusians too as ghosts, unmanned men, half realities flitting between sheer nothingness and full-bodied life; they are, like himself, survivors—he, “last of the race of them who grieve”; they, last “of the people who believe.”

He has to set them besides himself, looking regretfully out at the life of action—he, spoilt for it by his corroding agnosticism, which is yet to find any satisfaction in any hard and gay materialism; they, because they can’t help themselves either: their “bent was taken long ago”; action and pleasure call them “too late”; they beg not to be disturbed, but to be left in reverie, shade, and desert peace.

Well, we must allow Matthew Arnold had to be melancholy, but really we can’t have him suggesting Carthusians are. It is perfectly true that ex-soldiers, ex-judges, ex-courtiers, ex-roues (a debauched man, especially an elderly one), are to be found in plenty within these cloisters; it is true, too, that they would say, looking back upon their old lives, it was, in a sense, “the vanity” which the ancient writer called it; but they wouldn’t allow that they had, by old experience or new self-oblation, lost anything. The gaiety of novitiates is proverbial, and the stricter the gayer,,,a weight has indeed been removed, it leaves a man freer and stronger to march, and gives him reasonable hopes of attaining. Really it is time that the old myth of cloisters filled with disillusioned men and jilted girls be given up. Postulants don’t go there out of pique, or to hide, or to pine, or to look backwards generally; but in the certainty of finding the positive, the substantial and the stimulating. Nor are they packed with cheated boys, “cooked vocations,” anemia and ignorant lads destined afterwards to look wistfully across the grilles at banners and bugles, pomp and pleasures, too little appreciated to cause more than the mildest stirring of their atrophied instincts. Carthusians do not, I dare say, laugh much, but I know they can smile, and very humoursly; and I fear they would be outright tempted to chaff the plaintive poet who came to beg permission to mingle his tears with theirs; the poet, lamenting that he had been forced to abandon much, and had got nothing in return; deploring even the high sacrifice and sorrows of others—a Byron’s, a Shelly’s, a Senancour’s, since no one was a bit the better for their effort and their pains….Sacrifice and sorrow are indeed, the Carthusians’ motto would confess, a world-abiding law, but they are quite sure they possess a life, so expansive and transcendent and unitive that there is no room for repining. The Cross stretches arms wide to embrace the universe; the agnostic frets and dwindles within the circle of himself. Stevenson, temperamentally very different than Matthew Arnold, yet sees the monks from somewhat the same angle. Frankly they are skulkers. He, with all the spirit of life pulsating in his brain, passes too “out of the sun,” out of reach of lute and fife, rumor of the world at large, and holier realm of “confidences low and dear.” There, at “Our Lady of the Sorrows,” he finds the “unfraternal brothers,” “aloof, unhelpful and unkind, the prisoners of the iron mind”—

Poor passionate men, still clothed afresh
With agonizing folds of flesh;
Whom the clear eyes solicit still
To some bold output of the will.

Fancy and Memory conspire to call them, and him, “to heroic death,” or to “uncertain fresh delight.” To the “uproar and the press,” to “human business,” to laughter, honor, fight and failure and new flight, he summons them from their “prudent turret and redoubt.” God, spying from Heaven’s a top “the noble wars“ of mankind, shall like enough “pass their corner by”—

For still the Lord is Lord of might,
In deeds, in deeds, He takes delight.

The plough, spear, ship, city; the streets, the fields; the climber, the songster; the unfrowning “Caryatides” (a stone carving of a draped female figure, used as a pillar to support the entablature of a Greek or Greek-style building) who by their “daily virtues,” weaken enough, no doubt, yet “under-prop” high Heaven; trade, marriage, motherhood; the sowers of gladness—these He will approve.

But ye! O ye who linger still
Here in your fortress on the hill
With placid face, with tranquil breath,
The unsought volunteers of death,
Our cheerful General on high
With careless looks may pass you by.

–C.C. Martindale ‘Upon God’s Holy Hills: The Guides St. Anthony Of Egypt, St. Bruno of Cologne, St. John Of The Cross’

 

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The Storm

a poem by Henry Vaughan

I SEE the use : and know my blood
Is not a sea,
But a shallow, bounded flood,
Though red as he ;
Yet have I flows, as strong as his,
And boiling streams that rave
With the same curling force, and hiss,
As doth the mountain’d wave.

But when his waters billow thus,
Dark storms, and wind
Incite them to that fierce discuss,
Else not inclin’d,
Thus the enlarg’d, enragèd air
Uncalms these to a flood ;
But still the weather that’s most fair
Breeds tempests in my blood.

Lord, then round me with weeping clouds,
And let my mind
In quick blasts sigh beneath those shrouds,
A spirit-wind ;
So shall that storm purge this recluse
Which sinful ease made foul,
And wind and water to Thy use
Both wash and wing my soul.

The period shortly preceding the publication of Henry Vaughan’s Silex Scintillans marked an important period of his life. Certain indications in the first volume and explicit statements made in the preface to the second volume of Silex Scintillans suggest that Vaughan suffered a prolonged sickness that inflicted much pain. Vaughan interprets this experience to be an encounter with death and a wake-up call to his “misspent youth”. Vaughan believes he is spared to make amends and start a new course not only in his life but in the literature he would produce. Vaughan himself describes his previous work as foul and a contribution to “corrupt literature”. Perhaps the most notable mark of Vaughan’s conversion is how much it is credited to George Herbert. Vaughan claims that he is the least of Herbert’s many “pious converts”. It is during this period of Vaughan’s life, around 1650, that he adopts the saying “moriendo, revixi”, meaning “by dying, I gain new life”. 

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I Felt My Life With Both My Hands

a poem by Emily Dickinson turned into a song by Carla Bruni

https://www.youtube.com/watch?v=huAWoIrPr6A

I felt my life with both my hands
To see if it was there—
I held my spirit to the Glass,
To prove it possibler—

I turned my Being round and round
And paused at every pound
To ask the Owner’s name—
For doubt, that I should know the Sound—

I judged my features—jarred my hair—
I pushed my dimples by, and waited—
If they—twinkled back—
Conviction might, of me—

I told myself, “Take Courage, Friend—
That—was a former time—
But we might learn to like the Heaven,
As well as our Old Home!”

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Clare, the Saint

A poem by Mark Decarteret

Since a child I have been drawn
to the Sun, the pleasure it gleans

from Its senseless abandonment, Its furious mane
like a caravan camped in the desert, born

from the betrayal of body, each dawn
into eternity. What I have seen

and endured, I will imitate, wean,
myself of this world, be done

with sensation, the smoke from smoldering husks
rearing up sickly sweet with its promise

of flame and in turn dismember
my wardrobe, stack up this hair as if brush,

bend my bones as if kindling, so the Sun’s kiss
reduces my resistance into embers.

The poem taken from a wonderful collection of poetry: ‘Place of Passage: Contemporary Catholic Poetry’.  Researching the poet, I came across an insightful quote, revealing his methods of operation.  The quote is taken from the above linked website.

Boy, the episodes that provoked “Pink Eye” are a bit foggy, unlogged.  An idea arising as much from an advertisement for sties, this study for an experimental treatment, (poetry as protuberance, swelling, even somewhat of an affliction or curse?) as Thoreau’s excursions to the outer reaches of Massachusetts where he was subjected to the wreckage of many a ship (as well as on Fire Island where Emerson was “to charge” him in the retrieval of the remains of their friend Margaret Fuller, a passenger on the sunken Elizabeth), thus poetry as recovery, salvage, or in a remedial sense, potential cure-all or salve.  And maybe some modest and misguided version of what Harold Bloom refers to as a “shore-ode,” verse that “identifies night, death, the mother, and the sea.”  But basically I was struck by this strange juxtaposition–the bereft hermit resigned to his calling, this mission, and those odd maladies, which not only impair or hamper the seeing of anything through, but in some miraculous way, let it be recast, transfigured.    

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