“It was a stark surprise of loss,” she wrote, and then she stopped, her hand stilled on the backlit keys her eyes glued to the screen
where suddenly the lines misted, metamorphosed in rain, the world becoming watery, a deluge full of pain.
She wiped her cheeks, she rose, she paced, she spun about the room, though memories of a dream-like shore outran her pleas for peace.
Into her words she’d poured her heart, into the poems she wrote but from them she no longer found the comfort that she sought.
None came but one, a fiery flare that lit the distant sky as if it came in search of her, a foundling lost to claim.
“What joy is this, what Guest on high has chosen this black night, to show His love, to set alight my dark and stormy heart?”
She cried, and in her joy she found a new theme to set down by psalm-borne winds she softly sang of things divine, unseen.
Christina Rossetti, painting by John Brett, 1857 (Oil on canvas Private Collection)
Old and New Year Ditties by Christina Rossetti(1830-1894)
1.
New Year met me somewhat sad: Old Year leaves me tired, Stripped of favourite things I had, Baulked of much desired: Yet farther on my road today God willing, farther on my way.
New Year coming on apace What have you to give me? Bring you scathe, or bring you grace, Face me with an honest face; You shall not deceive me: Be it good or ill, be it what you will, It needs shall help me on my road, My rugged way to heaven, please God.
2.
Watch with me, men, women, and children dear, You whom I love, for whom I hope and fear, Watch with me this last vigil of the year. Some hug their business, some their pleasure scheme; Some seize the vacant hour to sleep or dream; Heart locked in heart some kneel and watch apart.
Watch with me, blessed spirits, who delight All thro’ the holy night to walk in white, Or take your ease after the long-drawn fight. I know not if they watch with me: I know They count this eve of resurrection slow, And cry, “How long?” with urgent utterance strong.
Watch with me, Jesus, in my loneliness: Tho’ others say me nay, yet say Thou yes; Tho’ others pass me by, stop Thou to bless. Yea, Thou dost stop with me this vigil night; Tonight of pain, tomorrow of delight: I, Love, am Thine; Thou, Lord my God, art mine.
3.
Passing away, saith the World, passing away: Chances, beauty and youth sapped day by day: Thy life never continueth in one stay. Is the eye waxen dim, is the dark hair changing to grey That hath won neither laurel nor bay? I shall clothe myself in Spring and bud in May: Thou, root-stricken, shalt not rebuild thy decay On my bosom for aye. Then I answered: Yea.
Passing away, saith my Soul, passing away: With its burden of fear and hope, of labour and play; Hearken what the past doth witness and say: Rust in thy gold, a moth is in thine array, A canker is in thy bud, thy leaf must decay. At midnight, at cockcrow, at morning, one certain day Lo the bridegroom shall come and shall not delay: Watch thou and pray. Then I answered: Yea.
Passing away, saith my God, passing away: Winter passeth after the long delay: New grapes on the vine, new figs on the tender spray, Turtle calleth turtle in Heaven’s May. Tho’ I tarry, wait for Me, trust Me, watch and pray. Arise, come away, night is past and lo it is day, My love, My sister, My spouse, thou shalt hear Me say. Then I answered: Yea.
This poem was originally published in Goblin Market and Other Poems (Macmillan, 1862) and appears in The Complete Poems by Christina Rossetti (Penguin, 2001). It is in the public domain.
I wrote the top poem in honor of Christina Rossetti whose poetry stirs readers and poets alike with their psalm-like appeal, as “Old and New Year Ditties,” on the cusp of a new year. Join us at Denise’sSix Sentence Story (using prompt word “surprise”). To my blog visitors, have a Happy New Year, one full of love and peace.
A short story of 100 words (for Rochelle’s Friday Fictioneers using photo prompt) and in six sentences (for GirlieonEdge’s Six Sentence Story, “knot”).
Remember the bell-ringer, Sundar! Mummy, just now I’m trying to find . . . !
There once was a bell-ringer whose job it was to . . . ring the bell at dawn announcing Christmas.
He was born without . . . no, born with a heart of gold that shone . . . and stomach in knots he’d walk remembering Christ Jesus, all alone, in the dark town past sleeping people.
Look up, Sundar, you’re almost there and . . . I can see you, Mummy, I can see you!
——— NEWS ALERT: Elderly man found dead in church bell-tower.
O LORD, sheer joy with you, Israel, in exile Homeward bound From among a people of strange tongue Gone forth in sheer joy
Shouting Hallelujah! Out of Egypt have I gone forth with you, True and Faithful by name In sheer Joy!
How heavy the moment Is with eternity, Lord Jesus, Yet each flows after the other Like water escaping The hand that captures The eyes that see The thoughts that would knot Them into a jeweled chain To be adorned not as memory But as presence
Cradled birth, my life in your hands: Tenderly kept as shepherd with lamb Hurrying at angelic proclamations of peace Heavens ringing hallelujahs Your delight brooding over the waters Breaking over this new life, moments Spirit-born
When come the magi bearing each — On a camel fresh out of the box Of ornaments and sweet scents Frankincense and myrrh unpacked — Mystery like knots unraveling sheer
Joy, O Lord! You give each new Moment flowing rapidly bringing you Nearer, sheer joy as I await the Long-awaited coming in sheer joy!
“When’d he stop talking?” asks the new inmate, staring at the gargantuan man working his mouth on a wad of gum and carting the cell block’s laundry, a mountain of a man encased in glacier-like silence.
“Hasn’t opened his mouth from when they brung him in back in ‘73,” Sully answers, shaking his head, “but he sure as heck works that jaw of his on that gum, never without it, like he’s gotta be chewing on something or somebody he’s got it in for.”
“They got him locked up like a vault, I heard ‘em say, murdered too many for comfort ….”
“More like spliced,” Sully interrupts softly, “cutting up their body parts, reworking ‘em into something unnatural so as you wouldn’t know what they were made to be in the first place.”
“But the cat got his tongue?!”
They laugh, until suddenly he turns to face them, and in the chilling clarity of revelation, they look away, stiff with terror, speechless.
The power of language is no small thing in Dante’s writings. Language is a gift of God, a blessing unique to man. When abused it becomes a curse, as with the Tower of Babel when in his pride man misused his speech to defy rather than honor God. In The Divine Comedy Nimrod and his fellow giants of that time are condemned in Hell to not only chains but to speak gibberish, incomprehensible even to themselves. I’ve mentioned in other posts how honey-tongued Ulysses speaks with Dante, as do many others in the Inferno, showing by their speech alone the manner of their thought while on earth. Both the ambiguity and precision of rhetoric as art is on display here.
Yet there are times when language gives way, as when in Canto 32, Dante is met with the sight of the lowest circle of hell where there is no burning fire, only cold, hard ice.
Had I the crude and scrannel rhymes to suit the melancholy hole upon which all the other circling crags converge and rest,
the juice of my conception would be pressed more fully; but because I feel their lack, I bring myself to speak, yet speak in fear;
for it is not a task to take in jest, to show the base of all the universe- nor for a tongue that cries out, “mama,” “papa.”
Inferno, Canto 32, ll. 1-9, tr. Mandelbaum
The language that utters familiar words of love falls short of this landscape, a vast frozen lake, at the center of which stands Satan, each of his three heads (in an unholy parody of the Trinity) chewing on a traitor, Judas, Casius, and Brutus. The only sounds are the cries of the treacherous who are damned here, planted variously about in the ice.
Twice in his Commedia Dante experiences the utter failure of language to convey the sublime: first, the horror of this frozen landscape with Satan at its center, and then in Paradiso when he receives the beatific vision.
What he sees in the icy core of hell makes him cry out,
O reader, do not ask of me how I grew faint and frozen then-I cannot write it: all words would fall far short of what it was.
I did not die, and I was not alive; think for yourself, if you have any wit, what I became, deprived of life and death.
The emperor of the despondent kingdom so towered from the ice, up from midchest, that I match better with a giant’s breadth
than giants match the measure of his arms; now you can gauge the size of all of him if it is in proportion to such parts.
If he was once as handsome as he now is ugly and, despite that, raised his brows against his Maker, one can understand
Unlike Milton’s Satan, Dante’s Satan is silent, dumb with fury, powerful but imprisoned and, worst of all from his perspective, a means of the pilgrim’s ascent, as following his guide Virgil, Dante makes use of Satan’s hairy legs as the only way to climb downward in order to re-emerge upwards in the opposite hemisphere and into the light of the stars above once more.
See Denise's Six Sentence Story Prompt for more stories using the word "vault" or click here.
Join us at Rochelle's Friday Fictioneers (100 words, photo prompt)
and Denise's Six Sentence Story ("meter"). Click and to join the fun.
Journeying on Geryon
Dante’s Inferno lies open as I sleep.
On winged Geryon we descend into the infernal sublime of fraudsters, flatterers, the treacherous, their earth-borne bullshit stench exceeded here by that of countless privies.
Geryon’s human face seems kindly, despite his serpentine body and scorpion tail, and I ask: “Geryon, will I recognize anyone in the Malebolge, this place of stone?”
He, answering sweetly in steady meter: “Nay, why, for art thou not too clever for such?”
I relax, then gasp, as he drops me in the mire.
Alas, it’s not as one living but as one damned to her final destination.
Illustration by Gustave Doré 1867, The Flight of Geryon.
In Canto XVII of Dante’s Inferno, the pilgrim Danteand the poet Virgil, his guide, ride on the back of the monster Geryon to descend from the seventh to the eighth circle of hell in the third ring of hell, the Malebolge. It is described in this way in the next canto:
There is a place in Hell called Malebolge, made all of stone the color of crude iron, as is the wall that makes its way around it.
Right in the middle of this evil field is an abyss, a broad and yawning pit, whose structure I shall tell in its due place.
The belt, then, that extends between the pit and that hard, steep wall’s base is circular; its bottom has been split into ten valleys.
Just as, where moat on surrounds a castle in order to keep guard upon the walls, the ground they occupy will form a pattern,
so did the valleys here form a design; and as such fortresses have bridges running right from their thresholds toward the outer bank,
so here, across the banks and ditches, ridges ran from the base of that rock wall until the pit that cuts them short and joins them all.
This was the place in which we found ourselves when Geryon had put us down; the poet held to the left, and I walked at his back.
The Divine Comedy – tr. Mandelbaum – Cantica I – Canto XVIII
Clothed in the armor of Your light We walk by faith throughout the night As darkness fades, so all earthly fear With the long-awaited dawn, when You appear.
All the prophets spoke was true All that they prophesied of You We knew it then, we know it now That every knee before You one day will bow.
In the fullness of time You came As babe in manger, Jesus by name Now ascended King, when You departed You left us not alone, but the Holy Spirit imparted.
Yet out of our sight You reign on high Until that day when You again come nigh The dawn of that day we will shout and cheer Not an eye will be dry when You, O Lord, draw near!
Now, Father, keep us faithful and strong Singing ever onwards the Gospel song Knowing it is the power of God to save By believing in His Son whom to us You gave.
Romans 1:16 (NIV) For I am not ashamed of the gospel, because it is the power of God that brings salvation to everyone who believes: first to the Jew, then to the Gentile.
Galatians 4:4-6 (NASB) But when the fullness of the time came, God sent forth His Son, born of a woman, born under the Law, so that He might redeem those who were under the Law, that we might receive the adoption as sons. Because you are sons, God has sent forth the Spirit of His Son into our hearts, crying, “Abba! Father!”
Lyrics: Psalm 121 (sung in Arabic) I lift up my eyes to the mountains— where my help comes from My help comes from the Lord, the Maker of heaven and earth. He will not let your foot slip— he who watches over you will not slumber; The Lord watches over you— the Lord is your shade at your right hand; the sun will not harm you by day, nor the moon by night. The Lord will keep you from all harm— he will watch over your life; the Lord will watch over your coming and going from now until the end of time
I hear the call, Eternal, sound in my heart and in the stars. Is it timeless or infinity itself? Is its Voice a song? I do not question, so much yet to understand and I am not able.
I only respond in gratitude, though one-legged in faith still hobbling, letting go finger by finger my pride, and taking up, hand after hand, my cross of self-denial.
For this Eternal is Love.
By Purgatorio, Canto 11 of the Commedia, Dante the pilgrim has exited Hell and entered purgatory by permission of the angel at the gate who uses two keys, one silver (remorse) and one gold (reconciliation). As he and his guide, the poet Virgil, enter they are warned not to look back at any point in the journey up through the terraces of purgatory to the Garden of Eden. In Purgatorio, Canto 10, Dante had seen examples of humility. Now on the first and lowest terrace he sees souls of the proud bent over by large stones they carry on their backs, due penance for their sin of Pride, of which there are three kinds: pride of family, pride of art, and pride of power.
Federigo da Montefeltro, Divina Commedia, ca. 1478. Purgatorio, Canto XI: The Prideful. – Source
Purgatorio is filled with the prayers of souls as they ascend the terraces. And Canto 11 opens with the only complete prayer which is really an expanded version or gloss of The Lord’s Prayer (Matt. 6: 9-13; Luke 11: 2-4).
“Our Father, You who dwell within the heavens
but are not circumscribed by them out of
Your greater love for Your first works above,
Praised be Your name and Your omnipotence,
by every creature, just as it is seemly
to offer thanks to Your sweet effluence.
Your kingdom’s peace come unto us, for if
it does not come, then though we summon all
our force, we cannot reach it of our selves.
Just as Your angels, as they sing Hosanna,
offer their wills to You as sacrifice,
so may men offer up their wills to You.
Give unto us this day the daily manna
without which he who labors most to move
ahead through this harsh wilderness falls back.
Even as we forgive all who have done
us injury, may You, benevolent,
forgive, and do not judge us by our worth.
Try not our strength, so easily subdued,
against the ancient foe, but set it free
from him who goads it to perversity.”
Dante Alighieri, Purgatorio, Canto X1, lines 1-21, transl. Alan Mandelbaum
Gustave Doré, Dante Alighieri’s Commedia, The Beatific Vision (1880)
The Commedia ends with Paradiso where Dante receives the beatific vision: “The Love that moves the other stars” (l’amor che move il sole e l’altre stelle). As Giuseppe Mazzotta notes, Inferno and Purgatorio also end with stelle. “So when Dante says that love moves the sun and other stars, what he’s really doing is placing himself immediately right back on earth, back at the beginning of his quest. He’s here with us looking up at the stars.”
In 1794 the poet William Blake published his “Songs of Experience,” a collection of poems (complete with his own hand-colored illustrations and illuminated borders) of which one is “The Sick Rose.”
“Adoration of the Magi” tapestry (1890) designed by Edward Burne Jones, woven by William Morris et. al.
This is not a show Don’t let it fool you This baby escaped a tyrant’s slaughter Not a carpet of flowers
Jesus knew hummus before kosher At Egyptian tables to eat (Rimbaud yawns!) These wise visitors bore gifts for an exile Oh glorious! for the King of kings
We beg/steal/borrow tv Santa’s wigs Play jolly, play Marley’s ghost Turn engines of Christmas to erupt Merry, when Jesus was born for sorrow.
Count His bones on the tree, no beauty This mother will see, only a sword piercing From cross to myrrh-anointed shroud
An ocean, an ocean of darkness to bear A birthday for a Man whose death will be the death of Death Erupt in hallelujah! Turn nuns into acrobats!
This is not a show Don’t let it fool you This baby escaped a tyrant’s slaughter Not spring weather on a tapestry
Now after Jesus was born in Bethlehem of Judea in the days of Herod the king, behold, wise men from the east came to Jerusalem, saying, “Where is he who has been born king of the Jews? For we saw his star when it rose and have come to worship him.” When Herod the king heard this, he was troubled, and all Jerusalem with him; and assembling all the chief priests and scribes of the people, he inquired of them where the Christ was to be born. They told him, “In Bethlehem of Judea, for so it is written by the prophet: “‘And you, O Bethlehem, in the land of Judah, are by no means least among the rulers of Judah; for from you shall come a ruler who will shepherd my people Israel.'” Then Herod summoned the wise men secretly and ascertained from them what time the star had appeared. And he sent them to Bethlehem, saying, “Go and search diligently for the child, and when you have found him, bring me word, that I too may come and worship him.” After listening to the king, they went on their way. And behold, the star that they had seen when it rose went before them until it came to rest over the place where the child was. When they saw the star, they rejoiced exceedingly with great joy. And going into the house, they saw the child with Mary his mother, and they fell down and worshiped him. Then, opening their treasures, they offered him gifts, gold and frankincense and myrrh. And being warned in a dream not to return to Herod, they departed to their own country by another way. Now when they had departed, behold, an angel of the Lord appeared to Joseph in a dream and said, “Rise, take the child and his mother, and flee to Egypt, and remain there until I tell you, for Herod is about to search for the child, to destroy him.” And he rose and took the child and his mother by night and departed to Egypt and remained there until the death of Herod. This was to fulfill what the Lord had spoken by the prophet, “Out of Egypt I called my son.” Then Herod, when he saw that he had been tricked by the wise men, became furious, and he sent and killed all the male children in Bethlehem and in all that region who were two years old or under, according to the time that he had ascertained from the wise men. Then was fulfilled what was spoken by the prophet Jeremiah: “A voice was heard in Ramah, weeping and loud lamentation, Rachel weeping for her children; she refused to be comforted, because they are no more.”
Matthew 2:1-18
Who has believed what he has heard from us? And to whom has the arm of the LORD been revealed? For he grew up before him like a young plant, and like a root out of dry ground; he had no form or majesty that we should look at him, and no beauty that we should desire him. He was despised and rejected by men, a man of sorrows and acquainted with grief; and as one from whom men hide their faces he was despised, and we esteemed him not. Surely he has borne our griefs and carried our sorrows; yet we esteemed him stricken, smitten by God, and afflicted. But he was pierced for our transgressions; he was crushed for our iniquities; upon him was the chastisement that brought us peace, and with his wounds we are healed. All we like sheep have gone astray; we have turned–every one–to his own way; and the LORD has laid on him the iniquity of us all. He was oppressed, and he was afflicted, yet he opened not his mouth; like a lamb that is led to the slaughter, and like a sheep that before its shearers is silent, so he opened not his mouth. By oppression and judgment he was taken away; and as for his generation, who considered that he was cut off out of the land of the living, stricken for the transgression of my people? And they made his grave with the wicked and with a rich man in his death, although he had done no violence, and there was no deceit in his mouth. Yet it was the will of the LORD to crush him; he has put him to grief; when his soul makes an offering for guilt, he shall see his offspring; he shall prolong his days; the will of the LORD shall prosper in his hand.
Isaiah 53:1-10
Shay/Fireblossom's "Word Garden Word List #5 (Gregory Corso)"
"What we do here is this: write a poem using at least 3 of the twenty words on the following list. Your poem need not have anything to do with Corso except for the three (or more) words. The list is a springboard."
I want to give thanks today for all those who inspire us daily to live in faith, hope, and love.
Heavenly Father,
Thank you for those who inspire us, as do Lewis and Madden, from very different generations, cultures, classes, life experiences, and yet, one faith.
Amen.
Two artists.
Two communicators in two different mediums.
C. S. Lewis (“Jack”) through his words on a broad canvas of scholarship, Christian apologetics, and science fiction and fantasy works. Tamara Natalie Madden through the portraits she lovingly brushed on a painter’s canvas, where people emerged from their ordinary guises to reveal the immortal souls they bore.
Jack died on this day in November 1963 at the age of 64 in Oxford. Tamara died on November 4, 2017 at the age of 42 in Atlanta, succumbing to cancer after suffering from illness much of her life.
Jack lost his mother at the age of nine and, having married late in life, his wife Joy after only four years of marriage. Tamara received a kidney transplant by “the grace of God”1 that enabled her to live another seventeen years painting and writing, counting “survival from illness, and my willingness to listen to God and pursue my art”2 her greatest achievement.
Both artists remind us not to take ourselves too seriously, or others too lightly. Tamara clothed her subjects in the colorful African and Indian fabrics of royalty. Jack read every one of the hundreds of letters he received from the Christian and non-Christian readers of his books, and replied to each one by his own hand with unfailing kindness and courtesy.
What a blazing legacy they have left us, to live brightly, however briefly, whatever our challenges, heightening our vision to see we are all royalty, bearing the image of God. We are all immortal and destined for immortal ends.
In his acclaimed novel, The Remains of the Day, Kazuo Ishiguro immerses us in the first-person narrator’s severely circumscribed life and worldview. His is a life of self-imposed limitations, aided and abetted by a strict adherence to the British class system, indeed his overweening pride in his “Englishness.” You might think he’s a member of the upper-crust. You would be wrong. Mr. Stevens is a butler who has bought into the quasi-heroic and mythical dimensions of his role as a dignified appendage to the high and mighty.
He takes pride in his clockwork management, attaining renown among butlers and employers alike. He spends a good bit of time telling us his definition of dignity and its value. He’s most careful regarding the proprieties of conversation, the attire of distinction, the observance of the caste system, and he unwittingly reveals the fictions necessary to support such a system.
The casual negligence of these mores shocks him. He lives and dies by the clock and the way things are. The future escapes him.
Stevens is also very conscious that his dignity is a borrowed dignity, a dignity conferred by his relationship to a peer of the realm, his employer Lord Darlington.
In this novel of manners, Ishiguro gives us something more than mere voyeurism. His butler, Stevens, is on an unwitting voyage of self-discovery. He’s shocked into it by the revelation that his erstwhile employer, Lord Darlington, like many of the aristocrats of his day, had been a Nazi sympathizer.
Stevens predictably retreats into self-deception; as Salman Rushdie points out in a review:
At least Lord Darlington chose his own path. “I cannot even claim that,” Stevens mourns. “You see, I trusted … I can’t even say I made my own mistakes. Really, one has to ask oneself, what dignity is there in that?” His whole life has been a foolish mistake, and his only defense against the horror of this knowledge is the same capacity for self-deception which proved his undoing. It’s a cruel and beautiful conclusion to a story both beautiful and cruel.
— “Salman Rushdie: Rereading The Remains of the Day by Kazuo Ishiguro,” The Guardian, 2012
Ishiguro’s more recent novel, The Buried Giant (2015) has more of the same pathos, blindness, self-deception, in the face of life’s extremities. If there’s any consolation in life for Ishiguro or Rushdie, it must be that it has its cruelties, but it has beauty as well, inviting a sanguine resignation that is far from satisfying. Beauty. Cruelty. They are more than mere aesthetics. They are a part of life, occupying categorical spaces in our hearts and minds. It’s what one puts into those categories that makes all the difference. Especially with regard to suffering.
Inspired by the Georges de La Tour painting below, the following poem attempts to give an added voice to the eloquence of Tour’s work by “unmuting” Job’s wife. As a character in the Book of Job, a Gentile living during the time of the patriarchs, Job’s wife is not prominent. But, perhaps, she delivers the most bitter blow to Job. Through her, we hear the voice of Satan speaking most directly to Job when she asks, “Do you still hold fast your integrity? Curse God and die” (Job 2:9). In the midst of his sufferings, I believe Job’s greatest challenge was to withstand this voice and choose to trust God.
“Job Mocked by his Wife,” Georges de La Tour (17th c.)
No, Job, I didn’t sign up for this. The ships lost at sea, drowning spices Camels marauded, flocks lit into carrion husks Children buried by an ill-wind where they danced And my jewels? Bartered for funeral meats
Shall I proclaim it for posterity, inscribe in stone Your endless complaints, the hollow sounds Of jagged grief and friends’ scorn? Look at me! Washing our rags, hiding my shame From the maids that I once kicked out of doors
Job, I didn’t sign up for this, my darling. Your boils how they stink where they fester Open wounds that run dry and break open again The prayers that you whisper late into the night While in the city they dance and they dine
Gentiles we are, not of Abraham’s tribe! The God you both serve has given you hell So leave it, I tell you; curse Him and die! Don’t live like a fool trusting Him with your life When a stillborn child has much better luck
I heard you this morning sing like a lark, Of your God who will come to intercede and save Who with your own eyes you will see at last So you’ll wait, diseased, though you’re slain. You’re mad!
The sacrifices you offered once smoked to the sky Yet you speak of a Redeemer as if he were a man But, husband, what broken body, what blood can make clean Hearts bitter with hate, tongues wicked with deceit? This God that you worship is too holy, too proud Do what I say! Curse Him and die!
I didn’t sign up for this! Do you hear? I didn’t sign up for this.
Job 19:19-27 All my intimate friends abhor me, and those whom I loved have turned against me. My bones stick to my skin and to my flesh, and I have escaped by the skin of my teeth. Have mercy on me, have mercy on me, O you my friends, for the hand of God has touched me! Why do you, like God, pursue me? Why are you not satisfied with my flesh? Oh that my words were written! Oh that they were inscribed in a book! Oh that with an iron pen and lead they were engraved in the rock forever! For I know that my Redeemer lives, and at the last he will stand upon the earth. And after my skin has been thus destroyed, yet in my flesh I shall see God, whom I shall see for myself, and my eyes shall behold, and not another. My heart faints within me!
Roughly reworked from an earlier version for dVerse "Poetics: "Exploring the Narrative Voice," guest hosted by Ingrid. Thank you, Ingrid for a superb prompt.More dVerse poems, at Mr. Linky's.
Martin Luther characterized it as one of the most obscure recorded: an amazing account, the mysterious struggle between two combatants, one human, one divine, written of in Genesis 32: 22-31.
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Dreams from a Pilgrimage 