If you have not yet read or bought your copy of Les Feuilles Mortes, you can get a taster of the collection in this free ebook, featuring some poems from Les Feuilles Mortes as well as some old poems and some brand new ones.
You can also check out the short film I made to accompany the book, a collage of poem readings from the booklaunch set to music from Asher Graieg-Morrison and Dustin Ragland’s Young Weather. Thanks to Ashlea Ephraums, Oliver Coleman and Kris Guilford for the poem readings. You can find each of these poems and a handful of others in the ebook.
And if you like what you find here, you can get a digital copy of Les Feuilles Morteshere for just $10, and a physical (hardback) copy here for $40. Paperback copies available soon, and all proceeds from any format going directly to TEAR Australia’s work with COVID-19.
I shame at mine unworthiness, yet fain would be at one with Thee: Thou art a joy in heaviness, a succour in necessity.
(Sir William Leighton, 1614)
Shame and joy move in polyphonic sway:
the vision delights, augments, and yet
diminishes the confidence.
How can I, with unclean lips,
hymn praises without minor chords?
Must burning lips be always scorched
for worthiness to drive the heavy soul?
The quavering voice, the riddling Me?,
the scroll that makes the sinner frown.
Seraph brings the cleansing coal,
while heaviness lags and leaves.
“What can I give him,
Poor as I am?”
Today is one of the most important days in the old church calendar, but also one of the most widely forgotten: the feast of Epiphany. Today we remember the wise men visiting Jesus, but we also remember what this represents, that the Gospel has been made known to the nations. Epiphany is an older celebration than Christmas, and in some early church documents it appears to have been the date when the Eastern church at least celebrated Jesus’ birthday. It’s a wonderful day, full of rich significance for believers to celebrate. Today we’re going to enlist one of my favourites, Bach, to see us through, with the help of his first Epiphany cantata. You can read the text and translation here.
I will arise with the stars.
In dappled light, the ground illuminates to show
the king made low,
the way made known.
I will arise with the stars to see
the glory that shines from east to west,
though wearing humble clothes.
I will arise with the night.
With nothing in my hand to give, I will receive
for years enclosed.
I will arise in the night to see
the light that day has not received
and now is bright to see.
I will travel with the kings
though I am no king, nor have ever been wise.
I will arise
with the stars in my eyes
and give a broken heart, for all
the better your treasure to store.
On this night in Shakespeare’s day, there would have been wild revelry to celebrate the twelfth night of Christmas. He even named one of his plays this, a sign perhaps that it was to be performed on the twelfth night, but also a possible nod to the ways that Christmas switches around our ideas of wisdom and foolishness, poverty and wealth. This same inversion is captured for me in the wondrously celebratory first movement of Bach’s Brandenburg Concerto No. 4, a piece which surprises listeners by placing the recorder, not usually a solo instrument, alongside the violin. It isn’t a Christmas carol in any sense, but I think it’s still a fitting conclusion to our early music Christmas season. It also works well as a soundtrack to one of our texts for today, Proverbs 22:2, which says, “The rich and poor meet together: the LORD is the maker of them.”
“The rich and poor meet together”
Hear this: it’s singing,
Nothing is as you have thought it to be.
Listen: the king is
enthroned, he is ruling.
Yet see how he rules, how he lays down his crown.
Watch this: the minstrels
sit at the king’s table.
See how the courtiers have no place to lounge.
are trilling in triumph.
Come to the feast! (Leave your privilege behind.)
One of the more curious lost phenomena of Christmas was the late Medieval custom of appointing a so-called “Lord of Misrule” (or, as called in Scotland, the “Abbot of Unreason”). This involved either a peasant or an unimportant figure in the church being appointed to oversee the Christmas revelries. A related or parallel custom involved appointing a “boy bishop”, a child who would be bishop for the duration of the Christmas season. The “misrule” over which the Lord of Misrule ruled was sufficiently baudy that the Protestant Tudor rulers, as part of their cleaning up of the English church, saw fit to abolish the custom (although the Catholic Tudor, Mary I, saw fit to reinstate it). Yet there’s an unexpected biblical truth contained in the custom: that human rule is turned upside down by the coming of a baby king into the world who, though born a peasant, was God Himself.
As we approach Epiphany (this Saturday), the daily readings remind us of the ways that the wisdom of the world is different to the wisdom of God (expressed by the wise men finding the heavenly king not with Herod but in peasant Bethlehem). Today’s poem takes as its inspiration the rollicking Medieval song, “Lux Hodie, Orientus Partibus”, a joyful song about a powerful donkey carrying a king. It’s in these kinds of moments that I think the Medieval church remembered something about the truth of Christmas that we would do well to remember today.
You who would be wise, take heed:
the king lies in a peasant’s bed.
You who would be great, take heed:
He takes a donkey as His steed.
You who would follow Him, take heed:
His throne’s a cross, a cursed tree.
You who would find life, take heed:
true life must die first, as a seed.
You who would be wise, take heed:
most blessed is this bruised reed.
“The LORD says to my Lord…” (Psalm 110:1). These are surely some of the more mysterious words to appear in the Bible. Who is the second Lord to whom the writer, King David, is referring? Who could even be understood to be David’s Lord apart from God, the LORD? David, after all, was king of all Israel; no-one beside God was higher than him. And yet he looks to another Lord who will be made king over everything and who, mysteriously, will also be a priest forever too. In Jesus, the mystery is, if not resolved, at least given flesh so we can behold it.
Today’s piece is Vivaldi’s powerful setting of Psalm 110, entitled “Dixit Dominus” (“The LORD says”) after the first two Latin words in the psalm. I’ve chosen Caravaggio’s strange Nativity scene, which anachronistically features Saints Francis and Lawrence, to help us to reflect on the wonder that this mighty king chose to come as a tiny baby. Caravaggio’s famous chiaroscuro lighting manages to hihglight Jesus’ face without resorting to the artistic cliches of his day. The presence of two saints known for their love of the poor seems fitting for this simple, peasant scene into which the king of all creation chose to come to earth.
Sit at my right hand
All earth is your footstool;
soon so will your enemies be too.
Yet You sit at our feet, minuscule, helpless,
Creator on the floor of creation,
infinite made finite,
the dew of your youth around you on the hay.
Judge of the nations: the nations come
to see your defenseless form, to catch
the future glory in your minute moment.
Where is your sceptre? You drink
from your mother’s breast; cannot
yet lift your head, nor fight.
Await the voice: “Sit at my right hand.”
But first you will cry, “I thirst”,
and, “It is finished,” and, “My God,
my God, why?” Heaven surrounds you,
but first the sword and the nails.
First the manger, this moment in eternity’s grasp.
On the ninth day of Christmas, apparently, someone’s true love once gave them nine ladies dancing. Impractical though this is as a Christmas present (not to mention hard to wrap), it suits today’s carol well: the majestic “In dulci jubilo”, set by the seventeenth-century German Lutheran composer Michael Praetorius. The story of the text, originally written by 13th-century German mystic Heinrich Suso, is a story of dancing being brought into the midst of grief. According to the (auto?)biography of Suso, The Life of the Servant, Suso was told by an angel to stop the intense mortifications that he was practising and instead to join the angels in their dance: “Now this same angel came up to the Servant [Suso] brightly, and said that God had sent him down to him, to bring him heavenly joys amid his sufferings; adding that he must cast off all his sorrows from his mind and bear them company, and that he must also dance with them in heavenly fashion. Then they drew the Servant by the hand into the dance, and the youth [angel] began a joyous song about the infant Jesus, which runs thus: ‘In dulci jubilo’, etc.” It may or may not be a true story (more about the fascinating life of Suso can be read here), but the f
act remains that a man known for his austere ascetic practices also gave the medieval church one of its most joyful hymns. Today’s poem is inspired by Suso and the angel’s words.
Join the dancing
Angels dance around the stall.
Sing! Sing! One and all.
Come to earth, enthroned in hay,
sleeps the shining, living Day.
Leave your grieving songs, your weeping.
Dance, dance, with angels leaping.
Though the darkness now may linger,
Heaven dwells within a manger.
Cast off your ashes and your sackcloth.
The king is resting in a food trough.
Nothing now can snuff his light.
Sing, dance, with all your might.
Another year begins, and today we have a special piece of music to see in the new year: Bach’s Cantata for New Year’s Day, Part IV of his spectacular Christmas Oratorio. This cantata takes as its theme the presentation of Jesus at the Temple, but as often happens with Bach the story is explored through a number of voices who apply the story as aptly to our hearts today as for Bach’s hearers in his day. You can read the text and its translation here.
Order my beginning: For New Year’s Day
When they took him, on the eighth day,
as required by law,
with their offering of pigeons
(an allowance for the poor),
there was nothing about them
to startle the eye,
the custom being usual,
his name ordinary.
Yet the many other Yeshuas
in Bethlehem alone
were named looking backwards,
to a hero long gone.
This child looked forward.
His saving acts stood
in the imminent future,
with an immanent God.
No wonder the marvel,
the gathering throng,
the prophecies spoken,
the singing of songs,
and me on the sidelines,
praising and yet
reluctant to settle,
still hedging my bets.
Does salvation start here?
No, it’s as ancient as Him,
but it reignites dulled hearts
and lights growing dim.
O order my days here,
my thoughts and my sight.
My years will be nothing
save He sets them right.
2017 is almost over, and today we have two choral pieces to conclude our year with, one early, one modern, both settings of one of the readings for the first Sunday after Christmas, Isaiah 61:10-62:4. The first is the delightfully joyous “Gaudens Gaudebo in Domino” by the 16th century German composer Philip Dulchius. The text comes from the opening to the song, “I will rejoice greatly in the Lord”, which Mary echoes in her Magnificat in Luke’s Gospel. A modern reimagining of this text is the late Norwegian composer Knut Nystedt’s beautiful “I will greatly rejoice”, similarly jubilant but with simpler harmony. Both settings, looking not only to our own salvation but the saving of all nations, are wonderful calls to praise and prayer at the end of 2017.
Rejoice in your new clothes,
for the old is done.
The saving one has clothed you with joy
and in the bright raiment of His saving day.
Look to the east, to the west, where the sun
is rising and setting and setting the way,
where the hope of the new is calling, and calling,
where the world is enwrapping in light.
Rejoice in your new clothes;
rejoice greatly now in renewing delight.
For the old is done, the new bright as son,
bright as bridegroom and bride,
bright as the new spring in their eyes,
bright as wedding dance of old foes,
bright as the diadem in your thinning hair,
bright though the year be dimming.
The story of Simeon has given the church one of its oldest hymns, called the “Nunc Dimittis”, after the first two Latin words of the song: “Now dismiss…” There have been many musical versions of Simeon’s song, but today’s poem takes as its inspiration a modern setting by the living Swiss composer Carl Rütti. Rütti’s setting, full of dissonance and peace at the same time, perfectly captures the tension of the story, a moment of jubilation, fulfilment of age-old longing and pure relief and release. The same mood is captured for me in the painting by Rembrandt, who tackled the story of Simeon at the start and end of his career. This is the second of his versions, left unfinished at his death. Is it fitting that he never finished it? Rembrandt caught many of the most poignant moments of Scripture in a manner both raw and sublime. I personally love the second version much more than the first, though the latter is polished where the former is rough. Yet the roughness fits the theme perfectly: Simeon’s praying hands stretched out with the infant Jesus balanced over them, his eyes barely open, his mouth open just enough to say this final prayer. I’ve tried to capture some of this in today’s poem.
After the silence, a cascade
of wonder, of sound, of light.
Before the darkness, a sight
of promise, of presence, of peace.
And in this aching and drooping of arms,
an answer, a dimming, an eternal day.
Now dismiss. I hold the day;
I hold the way that holds me into night.