Poems I Journey With 16

Elizabeth Barrett Browning

Elizabeth Barrett Browning (1806 – 1861) was one of the most prominent English poets of the Victorian era, popular in Britain and the United States during her lifetime. She was vehemently anti-slavery even though her father had earned much of his wealth from that much maligned, exploitative and cruel industry. She had married her husband Robert Browning in secret and went with him to live in Florence, having been disinherited by her father. Emily Dickinson was an avid fan of Barrett Browning and the latter’s work greatly influenced the American poet who admired her as a woman of achievement. Her popularity in the United States and Britain was further advanced by her stands against social injustice, including slavery in the United States, injustice toward Italian citizens by foreign rulers, and child labour.

Here, let me offer the reader of this blog two poems from Barrett Browning’s pen, “A Musical Instrument” published posthumously and her most frequently anthologized poem “How do I Love Thee?” Both poems speak eloquently for themselves and are rather ethereal and mystical in tone and sentiment. Barrett Browning was extremely spiritual and religious and a gifted linguist and scholar, all self-taught.  She knew Greek, Latin and Hebrew and translated many pieces from the early Fathers of the Church into English and read the Hebrew Bible. All her life she was sickly, but her delicate physical condition did not prevent either her intellectual or spiritual insights and visions.

A Musical Instrument

I.

WHAT was he doing, the great god Pan,

Down in the reeds by the river?

Spreading ruin and scattering ban,

Splashing and paddling with hoofs of a goat,

And breaking the golden lilies afloat

With the dragon-fly on the river.

II.

He tore out a reed, the great god Pan,

From the deep cool bed of the river:

The limpid water turbidly ran,

And the broken lilies a-dying lay,

And the dragon-fly had fled away,

Ere he brought it out of the river.

III.

High on the shore sate the great god Pan,

While turbidly flowed the river;

And hacked and hewed as a great god can,

With his hard bleak steel at the patient reed,

Till there was not a sign of a leaf indeed

To prove it fresh from the river.

IV.

He cut it short, did the great god Pan,

(How tall it stood in the river!)

Then drew the pith, like the heart of a man,

Steadily from the outside ring,

And notched the poor dry empty thing

In holes, as he sate by the river.

V.

This is the way,' laughed the great god Pan,

Laughed while he sate by the river,)

The only way, since gods began

To make sweet music, they could succeed.'

Then, dropping his mouth to a hole in the reed,

He blew in power by the river.

VI.

Sweet, sweet, sweet, O Pan!

Piercing sweet by the river!

Blinding sweet, O great god Pan!

The sun on the hill forgot to die,

And the lilies revived, and the dragon-fly

Came back to dream on the river.

VII.

Yet half a beast is the great god Pan,

To laugh as he sits by the river,

Making a poet out of a man:

The true gods sigh for the cost and pain, —

For the reed which grows nevermore again

As a reed with the reeds in the river.

Elizabeth's husband Robert Browning and their son Robert Junior, called Pen

How Do I Love Thee?
How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of being and ideal grace.
I love thee to the level of every day's
Most quiet need, by sun and candle-light.
I love thee freely, as men strive for right.
I love thee purely, as they turn from praise.
I love thee with the passion put to use
In my old griefs, and with my childhood's faith.
I love thee with a love I seemed to lose
With my lost saints. I love thee with the breath,
Smiles, tears, of all my life; and, if God choose,
I shall but love thee better after death.

Sonnet XLIII
from Sonnets from the Portuguese, 1845 (published 1850)

Poems I Journey With 4

W.B.Yeats, surely one of the greatest poets of all time who wrote in the English language, offers me so much artistic, literary, and dare I say it, spiritual sustenance, that my volumes of his poems are always well thumbed.  Therefore, let me offer the reader another of my favourites from his pen, here.  It is called, aptly enough, "The Long-Legged Fly."  There is something at once beautiful and somewhat gauche about the title as "long-legged" applied to any species suggests a certain ungainliness and a definite awkwardness in the first place. And yet the poem suggests a certain transcendent grace that builds its myth upon lowly nature; a certain extraordinary beauty that transcends the ordinary quotidian experience of life.

Long-Legged Fly

That civilization may not sink,

Its great battle lost,

Quiet the dog, tether the pony

To a distant post;

Our master Caesar is in the tent

Where the maps are spread,

His eyes fixed upon nothing,

A hand upon his head.

Like a long-legged fly upon the stream

His mind moves upon silence. 

That the topless towers be burnt

And men recall that face,

Move most gently if move you must

In this lonely place.

She thinks, part woman, three parts child,

That nobody looks:

Her feet practise a tinker shuffle,

Picked up upon a street.

Like a long-legged fly upon the stream

Her mind moves upon silence. 

That girls at puberty may find

The first Adam in their thought,

Shut the door of the Pope's chapel,

Keep those children out.

There on the scaffolding resides

Michael Angelo.

With no more sound than the mice make

His hand moves to and fro.

Like a long-legged fly upon the stream

His mind moves upon silence. 

Commentary

Something as beautiful as this poem simple defies commentary, and in so doing I am, in a sense being somewhat sacrilegious in attempting, as it were, to nail down the "sacred" experience of these well-crafted lines in more mundane words.  Despite that caveat, I shall try to express here, at least what this poem means to me, one solitary reader.  I love the scientific, very unpoetical term, a word, naturally enough, avoided by Yeats, namely "dolichopodidae" that describes that most cosmopolitan of fly families, namely that of the "two-legged flies." Apparently there are about 7,000 species of these flies at a conservative count.

When I read a poem I don't necessarily go in search for an exact meaning, for such an intention, to my mind, is sacrilegious.  In other words, I search for connotations more than denotations.  I have learnt to let a poem suggest meanings, obviously not outlandish and impossible ones, but rather more possible ones and as many of them as is reasonable.  In a sense, obviously, we will never know exactly what was in  the poet's mind when he wrote the poem, but we can make an educated guess anyway.

The refrain which marks the ending of each stanza is an amazingly powerful chorus that suggests the power of human reflection, awareness, concentration, meditation or contemplation from whose seeds all of civilization emerged.  It suggests that through this self-reflective power civilization emerges and is greater than the individual parts that go to make it up. Civilization and all its cultures transcend the individual.

Western monasticism and Eastern practices of Buddhism have always rated silence highly because silence is, as it were, the seedbed of creativity and wisdom.  Silence is also the seedbed of genius.  In the first stanza we meet the great Julius Caesar sitting in his tent looking into the distance, obviously pondering, with his eyes "fixed upon nothing."  In silence, he is obviously contemplating what he and his troops have as a goal.  The Romans were great conquerors, great men of action and one of the great builders of Western civilization.  Caesar needs to enter the realm of silence to garner inspiration for his conquests, to tap into his vision of future possibilities:

Like a long-legged fly upon the stream

His mind moves upon silence. 

In the second stanza we encounter the great Helen of Troy. Obviously, her beauty is directly conjured up in our minds by the lines:

That the topless towers be burnt

And men recall that face,

Move most gently if move you must

In this lonely place.

These lines remind us of the lines from Christopher Marlowe's play, Doctor Faustus, especially these lines put in Faustus's mouth by the playwright:

Was this the face that launch'd a thousand ships,

And burnt the topless towers of Ilium -

Sweet Helen, make me immortal with a kiss.

Helen is the very essence of beauty, a beauty so natural and so rhythmic that she captures its quintessence in the gorgeous peasant girl that dances so lithely in the streets. Through her, Yeats seems to be arguing that all beauty is made possible as she is its symbol or emblem in Greek civilization.  The Greeks, obviously, with the Romans were the two great builders of Western civilization. In this sense, we may say that the first stanza is essentially about politics/military affairs, which lie at the physical foundations of civilization, while the second stanza is about aesthetics and the innocence of pure alluring beauty which is also another source of the creative spark that set civilization alight.  One could also maintain that this second stanza highlights or underscores the power of creativity in the realm of mythology.  

In the last stanza, Yeats contemplates the spark of genius that inspired one of the greatest artists of the Renaissance period, one Michel Angelo, whom he calls Michael Angelo here in this poem.  It is, as it were, the "Arts" stanza as it describes the painting of the Sistine Chapel.   To put it rather bluntly the poet's wish "That girls at puberty may find the first Adam in their thoughts" suggests that the power of Michel Angelo's depiction of the naked male form may entice them to have children.

Once again, genius thrives in silence and peace:

With no more sound than the mice make

His hand moves to and fro.

Each of the three characters, one in each stanza, viz., Julius Caesar, Helen of Troy and Michel Angelo achieve transcendence, or an elevation to a higher plane, or a going beyond this physical world just as the long-legged fly defies gravity as it walks across the water.  Let us note here that the imagery in the last two lines, which function like a chorus from a song, is simply beautiful and so gently put because the long-legged fly can move across the surface of the water effortlessly, without disturbing it in the same way, as it were, that the genius of Caesar, Helen or Michel Angelo can move creatively from one idea to the next.

Michel Angelo, like Helen and Caesar, is inspired by a vision beyond him, some transcendent pull, as it were.  Aristotle called such a pull, a "telos."*

*A telos (from the Greek τέλος for "end", "purpose", or "goal") is an end or purpose, in a fairly constrained sense used by philosophers such as Aristotle. It is the root of the term "teleology," roughly the study of purposiveness, or the study of objects with a view to their aims, purposes, or intentions.  See WIKI here.

Thoughts on the Tao Te Ching 54

Poem 54

Whoever is planted in the Tao

will not be rooted up.

Whoever embraces the Tao

will not slip away.

Her name will be held in honor

from generation to generation.

Let the Tao be present in your life

and you will become genuine.

Let it be present in your family

and your family will flourish.

Let it be present in your country

and your country will be an example

to all countries in the world.

Let it be present in the universe

and the universe will sing.

How do I know this is true?

By looking inside myself.

Commentary

Random stones on a random street, Prague, February, 2016

One of the abiding questions that has always intrigued me is how progress is measured.  As a teacher I am well used to setting examinations and correcting them.  As a student myself of one thing or another for the most of my life I have obviously subjected myself to such assessments, too.  Further, most workplaces insist on certain levels of self-assessment these days.  It can be quite easy to measure specific things without a doubt, like temperature, air pressure, blood pressure, water pressure, traffic speed, acceleration and so on.  Likewise, our measurements of such forces have become more refined and more precise as society progresses.  We can ask many questions with respect to progress and measuring it.  One such question, among many, we can ask is whether we can accurately measure intelligence? The answer is in the affirmative, but first we have to agree on what we mean by intelligence. With the ground-breaking psychologist, Daniel Goleman, most educationists and psychologists agree that traditional IQ tests are pretty restrictive and restricting and are only measuring a very narrow range of native intelliegence.  Goleman and others now recognise some nine forms of intelligence, and indeed there may be more.  Furthermore, there have also been many geniuses who failed miserably at school, not because they were unintelligent or stupid, but essentially because they did not learn in the restricting ways most school systems require.

That leads us on to whether we can measure our emotions and feelings.  How can we measure compassion and loving kindness, or even our love for one another or for a particular friend or sweetheart or our attraction to this, that or the other piece of art or sculpture or architecture or music?  There are so many immeasurable things - indeed, we often call them priceless as we cannot fix any monetary value to these works of art, to these cultural entities - that we humans are caught up in by the sheer accident of our birth. 

Girl with here dog, Prague, February, 2016

The further question, a big existential question for this writer here, is how do I measure my spiritual progress at all?  I have read many philosophy, theology and spiritual books in my time - certainly since I was 18 and went to college - and am still reading them, and yet at a certain level I feel as far away from my goal as I ever did at the age of 58.  Progress along the spiritual path is often very hard for me to measure at all.  Sometimes I wonder if I have really made progress at all? One day I feel that I have comprehended this or that deep truth, experienced this or that spiritual delight, and then, to my utter disappointment, these small comprehensions and minute illuminations seemed to have slipped away overnight into the ether upon waking the following day.  It's as if I was back at the beginning again and had to struggle on and find new and more compelling experiences and insights. (I am, of course, here reminded of T.S. Eliot's great spiritual insight that "We shall not cease from exploration//And the end of our exploring//Will be to arrive where we started//And know the place for the first time." In other words, I often take a little encouragement from these profound words, and realise that my knowledge has deepened rather than increased! "Little Gidding")

Classical Musician, Prague, Feb, 2016

As I sit here now I remember all the people who impressed me in my life with their spiritual commitment or  insights.  I think of my mother for her spiritual strength, a woman who never let life get here down, who quite simply was willing to begin again and again everyday, literally to start the struggle to survive and to provide for her family over and over on a daily basis.  Further, I think of the kindness of the old people I knew as a child who lovingly gave us a few coins for doing this or that message for them and I recall their kind words. I remember the older boy, Lar Cranny, who brought me to the children's hospital when I was badly bitten by a dog when I was a boy of 6 or 7 years.  Poor Lar, who became a teacher like myself, is now dead, R.I.P., having been tragically killed in a motor accident some years ago. I remember how my father refused to be victimised by the illness of polio through which he lost the use of his right arm and how he kept going for us his children.  I recall the wisdom of our teachers at school and college.  Those who influenced me spiritually I can list here as Rev Dr. Paddy Wallace, a wonderful visionary and prophet, and Rev Dr. Michael-Paul Gallagher S.J. who taught me how to meditate, Rev. Dr. Brian McNamara, S.J. who taught me how to wrestle with even the most complicated of theologies and Rev Dr John Macken who taught me to appreciate the way of "wise ignorance" or what St Augustine called the "docta ignorantia."  John had that gift in abundance and his gentle scholarly soul led me through many intricacies is post-graduate theology.  I tried to internalise all the lessons these wonderful people have taught me in my life, and yet as I go on, I find life is still somewhat of a struggle, that the journey continues.  I recall here, Robert Frost's famous answer to the question as to what he had learnt from life as being simply, "It goes on!"  Yes, life goes on, and that is surely both its beauty and its challenge at one and the same time.  All we hold dear would be so much superficial dressing were it not for suffering and death, two realities which raise the value of human life in its fragility to the nth power as it were.

Love is.... Prague, Feb, 2016

What keeps the heart going?  What keeps us from giving up? Each of us must, of necessity have some aim or a goal in life; have some reason to get out of bed in the morning; have some courage to keep going no matter what the cost; have some hope in the face of despair - maybe that's what Jean-Paul Sartre meant when he said that life begins on the far side of despair?; have some reason to live and some reason to die. We have to put down roots somewhere, otherwise we will wither and die all too quickly.  That's why commitment to values, to religions, to deeply held beliefs even outside the religious fold, to goals and visions to give us courage to keep going are so important in the human prject of making sense of our little brittlr lives.  That's why our Taoist poet above calls upon us "to be rooted in the Tao," to work at getting a spiritual centre, a Still Point of being to give us focus in our lives so that we can carry on.

It often seems to me that spiritual progress can be somewhat cyclic and that it can lead us further down (depth psychology or depth spirituality) into the profundity of mystery or further up (height psychlogy or height spirituality) into the sublimity or heights of mystery. In that cyclic journey it can seem that one is returning to the same place. (See quotation from T.S. Eliot above)  I think here of the analogy of the spiral staircase - as one is either going up or down, it can often seem as it one is going around and around in the same space and yet that is the deception.  One is in fact moving - either up or down - while all the time on the journey, it may seem as if no progress is being made.

Here, I would like to finish with a very siritual poem - one of my all time favourites by a contemporary Irish poet, whom it has been my privilege to meet many times in my life, namely Brendan Kennelly - which sums up for me the heart of all great spiritualities and in our particular sense what our Taoist poet has been expressing so well in the above stanzas.  

Once again, I invite the reader to read the above Taoist poem as reflectively as possible and then do the same for this equally beautiful and equally spiritual modern poem:

Begin

Begin again to the summoning birds
to the sight of the light at the window,

begin to the roar of morning traffic

all along Pembroke Road.

Every beginning is a promise

born in light and dying in dark

determination and exaltation of springtime

flowering the way to work.

Begin to the pageant of queuing girls

the arrogant loneliness of swans in the canal

bridges linking the past and future

old friends passing though with us still.

Begin to the loneliness that cannot end

since it perhaps is what makes us begin,

begin to wonder at unknown faces

at crying birds in the sudden rain

at branches stark in the willing sunlight

at seagulls foraging for bread

at couples sharing a sunny secret

alone together while making good.

Though we live in a world that dreams of ending

that always seems about to give in

something that will not acknowledge conclusion

insists that we forever begin.

— From The Essential Brendan Kennelly

Swans, Prague, February, 2016