Winter in the Wilderness: Poems to Light the Way

It has been difficult recently to find our way through the days in this strange elongated time of not much happening or changing, even while the world keeps on spinning and making demands of us. I think that is what has brought the idea of the wilderness to mind. But of course 2020 is not the only time we have been there, and in putting this little collection of poems together I have been thinking about what I might myself have needed when I have got lost or stuck in other ways. I am hoping this is a collection I can return to in future, not because it enables me finally to make sense of everything, but because it might give me some thoughts I can work with when I’m not sure where to look next.

I am aware, too, that this month is the season of Advent. This is something I have never fully celebrated in the traditional way, though I often find myself at this time of year wanting to be able to dip into its attitude of waiting and hoping, or wondering and inwardly preparing. As a concept it can feel closer to where I am at than what we get at Christmas, which is the glorious fulfilment of a story that you either have to enter into as a complete vision of the world reborn, or somewhat ignore as a narrative that in its very completeness might feel like just too much to take in. A few of the poems below, then, do speak to the place that such a season can bring me to, although I have steered away from making this a collection about Advent and tried to widen it out further, beyond the themes of faith and belief. 

In the rest of this post I have made a start on thinking about each of the poems, but I will also be sharing some readings of them over the next twelve days, so do follow along with me either on Twitter (@sanityandgrace) or Facebook if you’d like to hear them read aloud. 

1) Among All Lovely Things My Love Had Been, William Wordsworth 

There is excitement to be had at this time of year, as we play the game of spotting the best Christmas lights that we can see as we travel around town at night. But I love how in this poem our attention is drawn to the more humble glow-worm, though Wordsworth’s joy in discovering it does not seem to be any less. The scene, too, is not picture-perfect; it is a stormy night that brings out the earth-bound creature, and yet the storm does not hold any real power to dampen spirits here. 

2) Let my first Knowing, Emily Dickinson

This feels like another love poem, though I am not certain what kind of being is being referred to as ‘thee’. I like the poem better for this openness.

3) Abide with me, Henry Francis Lyte

Henry Francis Lyte wrote both hymns and poems, and though for us these lines now come coupled with the tune by which we know it, the words do hold a particular resonance when taken more slowly or allowed to stand on the page. I like the combination in the five different verses of a deep sense of need, along with a confidence in the one who can meet that need. There is also proportion and an idea of scale: everyday realities are exchanged here for a larger reality in which the threat of darkness, temptation, ills and death can only by met by trusting in someone who is more constant and who survives beyond all of these things.

4) In Memoriam A. H. H., 67 – Alfred Tennyson

Though Tennyson is here addressing the friend he has lost, it is as if the poem finds a way for him to still feel connected in the present to one who in more than one sense now resides far away. What I find hopeful here is that Tennyson is able to experience at least for one night a settled peace, allowing him to sleep, and that this keeps him in time for once with the natural order of things, which in itself is a mercy: as the night precedes the dawn.

5) To my small Hearth, Emily Dickinson

Light here is in itself a kind of salvation, and it seems to arrive unbidden, bringing with it a change that could almost be permanent. 

6) The Old Woman, Joseph Campbell

This is a poem in which stillness has its value. Instead of winter being a time when things are simply dead, here it becomes instead a time to shine. What has been done in the past is sufficient, and there is now no need to “do” any more. 

7) Shadows, D.H. Lawrence

In this poem God is both known and unknown, and the way in which he is known and experienced is continually in flux. But unusually, here, God is in the shadow as opposed to the light: it is as if he participates in the same seasons of shadow that Lawrence goes through, and to which the earth itself is subject. While life itself moves through phases of pain and trouble, the shadowy element brings a kind of cushioning that is able to preserve body, soul and spirit until ‘new morning’ comes. 

8) In Memoriam A. H. H., 124 – Alfred Tennyson

These lines tell a story that can feel almost impossible to tell or to identify for oneself: of what it can feel like to come up against the threat of losing one’s faith, or whatever it is that gives a person that sense of the world holding together. But the lines also give ear to something that only poetry seems to have the right kind of space for. The voice of the heart speaks up, and for a time, within these little stanzas, what the heart says is enough.

9) The Birds begun at Four o’clock, Emily Dickinson

This is not strictly a winter poem, since dawn begins much later at this time of year, but I have included it nonetheless because of what it has to tell us about things of wonder and beauty going on without our awareness, even when many of us may still be ‘asleep’. It is a poem that carries a reminder that there are tremendous forces of life at play, even within the spaces that we physically occupy in the world, and that human life is not the sum total of all that there is. 

10) Light Shining Out of Darkness, William Cowper

These lines might risk feeling too easy, and it could be tempting to gloss over them. But I do, personally, want to retain the possibility that there might be a natural law or pattern at play that is higher than my own understanding can reach. ‘God is his own interpreter, / And he will make it plain.’ 

11) Winter Rain, Christina Rossetti 

I can often associate the rain with dreariness, especially when it is so frequently cold and dark at the same time. But there is none of that here, and as the lines of Rossetti’s poem run on, they compel me to feel that in fact, the more rain the better.

12) The Oxen, Thomas Hardy

This is a poem to come to when the old traditions feel worn out and spent. It revolves around an ‘if’, allowing that the hopeful bit may never be realised, and yet in that ‘if’ there is still always the chance that as the year rolls round again, old feelings might once more be revived. 

Image by S. Hermann & F. Richter from Pixabay 

To believe or not, Part 1

‘Wit’ is a word that tends, now, to have rather light connotations: a person can be witty and impressive, or lose their wits and be foggy-headed. But its origins offer a reminder of the hold that ‘wit’ has on every individual, because of what it attempts to do. The word comes from the Old English wit(t), denoting the mind as the seat of consciousness. This is what keeps us awake and alert to the world around us. It strives to know and understand; to use the mind to sort out the things that it observes.

The poem below takes on one of wit’s investigations, as though this is a kind of mathematical problem. But I find it charmingly beautiful that the poem manages to present this with such simplicity:

Wit Wonders

A God and yet a man,
A maid and yet a mother;
Wit wonders what wit can
Conceive, this or the other

A God, and can he die?
A dead man, can he live?
What wit can well reply?
What reason reason give?

God, Truth itself, doth teach it;
Man’s wit sinks too far under
By reason’s power to reach it.
Believe and leave to wonder.

Anonymous (fifteenth century)

I am struck by the effect of that indefinite article, ‘a’, in the first two lines. These are unnamed characters in a story that had not yet become overly familiar. It reminds me of those fairy stories in which we are asked to visualise figures who populate our own earth, but who do not fit our ordinary conceptions of human beings. In a fairy story, strange things become possible, and it is the characters who are most like us who realise this, since they themselves encounter such happenings and are transformed in the process. In Sleeping Beauty, the young prince stumbles across a palace harbouring a woman whom he finds to be the perfect fit – ideally primed to evoke his desire. He hadn’t been looking for it – he had been out hunting when he saw the towers of the palace rising above the wood – but when he hears the tale of the sleeping princess he cannot help but investigate. The girl who looks as if she had just fallen asleep wakes up, unchanged, after a hundred years.

‘A God and yet a man, / A maid and yet a mother.’ You and I know to extrapolate from this the label ‘Christianity’, but the poem asks us to suspend this knowledge of the framework and simply to consider the possibility of the thing, as if it didn’t matter what we were finally to make of it. The proposition is that the law of either/or has been put to one side, in this single instance: big is married with small (God / man), and suddenly there is no difference between before (maid) and after (mother). Together, these two lines challenge the criteria with which we are able to discriminate ‘man’ and ‘woman’.

But my favourite part of the poem is the line that follows, which feels to me the most complex: ‘Wit wonders what wit can / Conceive’. The alliteration simply underscores the sense of the mental gymnastics here. ‘Wit’ doesn’t wonder first and foremost about the problem itself; wit wonders whether it is up to the job of thinking about it. I think maybe ‘wit’ is even a bit unaccustomed to wondering. Certainly wit is more used to conceiving than wondering. Wonder is open-ended. It allows for things other than itself: for the ‘what’ that is yet to be defined. 

Yet for wit this is a struggle; it is difficult to see beyond the categories upon which we rely to organise existence – ‘this or the other’. Hence the questions of the middle verse – all four of them – form the centre of this poem, and are allowed to stand without any immediate answer being given. What I like is the tone of these questions. They seem to say: is the impossible possible? Can it be? (And surely not?) ‘A God, and can he die? / A dead man, can he live?’

What I would like to think is that the questions can feed the wonder. The third verse feels a little too easy; attempting a resolution where there cannot really be one, and yet the poem does end for me on the right note. It is as if wonder is the only place to go.

Image by Peggy und Marco Lachmann-Anke from Pixabay