Alexander Kimel died Jan.
Introduction To The Poem The stanzas sing of an elevated union within the intimate depths of the spirit.
1. Before class blow up ten balloons and draw sheep faces on half and goat faces on the other half. Draw horns and beards on the goats. Best poems and quotes from famous poets. Read romantic love poems, love quotes, classic poems and best poems. All famous quotes. Every Wednesday, poets have the ability to get inspiration from Robert Lee Brewer's Poetic Asides blog. This week's prompt is to write a repair poem.
The subject matter is exalted, so much so that John dares speak of it only with a deeply recollected soul. The image of flame, working on the wood, dispelling the moisture, turning it black, then giving it the qualities of fire, appeared first in the Dark Night.
In the Canticle it turns up again in the serene night toward the end of the poem, a flame that is painless, comforting, and conformed to God. This flame, John told us there, is the love of the Holy Spirit. Now, having grown hotter and sometimes flaring up, it impels the Carmelite friar to write more verses about the sublime communion taking place in his deepest center.
At this depth he lives in both stable serenity and exalted activity; the tone is prolonged admiration and holy ardor.
The six-line length of each stanza, the sounds, the rhythm, convey these characteristics. All the verses of the poem point to the same profundity; there is no progressive movement from stage to stage.
The focus is on the present, on what is taking place now. Only a few times is there a glance toward what went before, and then merely for the sake of stating that the past has unfolded into the peace and plenitude of the present. It is the only instance we know of in which he composed a poem for another, although we do not know whether he did so in answer to a request from her.
What is certain is that he composed these stanzas burning in love's flame, with the intimate and delicate sweetness of love. The Commentary As John composed his commentary on the stanzas of the Spiritual Canticle, those close to him made copies and circulated them.
If we consider the mentality of the times, when many frowned on the practice of mental prayer among women as we know from St.
Teresa's experience and thought of sanctity as a pursuit more suited to monks and friars, it is surprising that John wrote this loftiest of his works for a laywoman. The only thing that made him hesitate to respond to her pleadings was his difficulty in speaking of what pertained to the intimate depths of one's being.
He waited for a spirit of recollection and fervor to descend on him, as seems to have been the case with his poems.
Then he wrote the work, immersed in the flame, in the shortest space of time, within a span of two weeks according to Fray Juan Evangelistaand at a time, inwhen he had many other duties as vicar provincial of Andalusia.
The profound recollection he required of himself referred to the interior quality of his life, not to a freedom from business matters and concerns. He waited for an opportunity in which he could almost relive the moment of the poem, and thus the commentary bears much of the poetry's light and heat, its symbolism and lyric tone.
As with the Dark Night and the Spiritual Canticle, he follows his customary procedure: The commentary of the Flame is more prolonged than that of the Canticle, but not as extended as in the Night. At times, rather than adhere to a simple interpretation of these expressions of his own experience, he heeds the call to be a spiritual teacher and enters into digressions that enlarge the commentary.
The paramount one occurs in the third stanza, njmbers There he explains how souls must watch what they are doing and into whose hands they commit themselves so as not to impede God's work and thereby stumble and slip back on their journey.
John also teaches about some other topics that lie outside the immediate scope of the poem: On the whole, as with the poem itself, John's concentration is on the present, the high goal from which he may glance fleetingly at the past or look to a future glory intuited rather than fully known from his present horizon.
He begins where he left off in the Spiritual Canticle, with the highest degree of perfection attainable in this life, transformation in God, called also spiritual marriage.
Within this state love can become more ardent, and the wood more incandescent and inflamed.
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The activity of the Holy Spirit is now more powerful, the experiences are on the borderline between faith and eternal glory. In different modes the stanzas concentrate on the same realities.
Thus as he interprets his poem for us, John explains how there are two different aspects of union with God and the total union experienced in the substance and faculties of the soul may be either habitual or actual.
The actual union, always a passing phenomenon, never becomes permanent on this earth. The habitual union of love is compatible with everyday life, less intense in form. Here John is speaking of those moments in which God's special self-communication is more alive and intense.
He refers to these symbolically as living flames, delightful wounds, splendors from the lamps of fire, and awakenings of the Beloved. The dominant theme is the wonderful work of God in his Trinitarian Being, illumining and delighting and absorbing the soul in the embrace of love. And John here describes and gives witness to this mystical experience taking place in his deepest center, in the profound caverns of his being.This is a short poem created from an accrostic.
I In love there is fulfillment and desire N Nothing is constant, ever changing. Noahwriting is the top writing website for both readers and writers. Publish your work, receive free editing services, and win the award valued up to $!
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