Pastoral Poet Quotes

Benedicto: May your trails be crooked, winding, lonesome, dangerous, leading to the most amazing view. May your mountains rise into and above the clouds. May your rivers flow without end, meandering through pastoral valleys tinkling with bells, past temples and castles and poets towers into a dark primeval forest where tigers belch and monkeys howl, through miasmal and mysterious swamps and down into a desert of red rock, blue mesas, domes and pinnacles and grottos of endless stone, and down again into a deep vast ancient unknown chasm where bars of sunlight blaze on profiled cliffs, where deer walk across the white sand beaches, where storms come and go as lightning clangs upon the high crags, where something strange and more beautiful and more full of wonder than your deepest dreams waits for you -- beyond that next turning of the canyon walls.

If you take a trait that by all appearances is a merit—a trait that is praised by pastors and poets, a trait that we have come to admire in our friends and hope to foster in our children—and you give it to some poor soul in abundance, it will almost certainly prove an obstacle to their happiness. Just as someone can be too smart for their own good, there are those who are too patient for their own good, or too hardworking.

Isn't it interesting that all of the biblical prophets and psalmists were poets?

I’d forgotten how enlivening it could feel, seeing clearly and far. Aridity frees light. It also unleashes grandeur. The earth here wasn’t cloaked in forest, nor draped in green. Green was pastoral, peaceful, mild. Desert beauty was “sublime” in the way that the romantic poets had used the word- not peaceful dales but rugged mountain faces, not reassuring but daunting nature, the earth’s skin and haunches, its spines and angles arching prehistorically in sunlight.

The Christian gospel is rooted in langauge: God spoke a creation into being; our Savrior was the Word made flesh. The poet is the person who uses words not primarily to convey information but to make a relationship, shape beauty, form truth… Isn’t it odd that pastors, who are responsible for interpreting the Scriptures, so much of which come in the form of poetry, have so little interest in poetry? … Words create. God’s word creates; our words can participate in creation.”

I am that poet who in times past made the light melody of pastoral poetry. In my next poem I left the woods for the adjacent farmlands, teaching them to obey even the most exacting tillers of the soil; and the farmers liked my work. But now I turn to the terrible strife of Mars.

Ramadan isn't fulfilled by feasting on some tasty beef, the greatest of feast is haram if others go hungry.

These pastoral-poet guys with their bleating goats and oaten pipes can stuff their phalaecean hendecasyllabics where the sun don't shine.

Love is not something that merely enhances existence - love is existence.

Just as the body is shaped for movement, the mind is shaped for poetry. Rhythm and rhyme aid recall. Poems are always rhythmic but not always rhyming. In the same way that melody became rather suspect in twentieth-century classical music – atonal fractures being the mark of seriousness – so Modernism re-branded rhyme as pastoral, lovesick, feminine, superficial. Fine for kids and tea-towels, not fine for the muscular combative voice of the urban poet. It has taken a long time for rhyme to return to favour. Rap, and the rise of performance poetry, has been part of that return.

A concrete embodiment of the jubilee commandment was evidenced in a rural church in Iowa during the "farm crisis." The banker in the town held mortgages on many farms. The banker and the farmers belonged to the same church. The banker could have foreclosed. He did not because, he said, "These are my neighbors and I want to live here a long time." He extended the loans and did not collect the interest that was rightly his. The pastor concluded, "He was practicing the law of the Jubilee year, and he did not even know it." The pastor might also have noted that the reason the banker could take such action is that his bank was a rare exception. It was locally and independently owned, not controlled by a larger Chicago banking system.

Anything Bunny wrote was bound to be alarmingly original, since he began with such odd working materials and managed to alter them further by his befuddled scrutiny, but the John Donne paper must have been the worst of all the bad papers he ever wrote (ironic, given that it was the only thing he ever wrote that saw print. After he disappeared, a journalist asked for an excerpt from the missing young scholar's work and Marion gave him a copy of it, a laboriously edited paragraph of which eventually found its way into People magazine). Somewhere, Bunny had heard that John Donne had been acquainted with Izaak Walton, and in some dim corridor of his mind this friendship grew larger and larger, until in his mind the two men were practically interchangeable. We never understood how this fatal connection had established itself: Henry blamed it on Men of Thought and Deed, but no one knew for sure. A week or two before the paper was due, he had started showing up in my room about two or three in the morning, looking as if he had just narrowly escaped some natural disaster, his tie askew and his eyes wild and rolling. 'Hello, hello,' he would say, stepping in, running both hands through his disordered hair. 'Hope I didn't wake you, don't mind if I cut on the lights, do you, ah, here we go, yes, yes…' He would turn on the lights and then pace back and forth for a while without taking off his coat, hands clasped behind his back, shaking his head. Finally he would stop dead in his tracks and say, with a desperate look in his eye: 'Metahemeralism. Tell me about it. Everything you know. I gotta know something about metahemeralism.' 'I'm sorry. I don't know what that is.' 'I don't either,' Bunny would say brokenly. 'Got to do with art or pastoralism or something. That's how I gotta tie together John Donne and Izaak Walton, see.' He would resume pacing. 'Donne. Walton. Metahemeralism. That's the problem as I see it.' 'Bunny, I don't think "metahemeralism" is even a word.' 'Sure it is. Comes from the Latin. Has to do with irony and the pastoral. Yeah. That's it. Painting or sculpture or something, maybe.' 'Is it in the dictionary?' 'Dunno. Don't know how to spell it. I mean' – he made a picture frame with his hands – 'the poet and the fisherman. Parfait. Boon companions. Out in the open spaces. Living the good life. Metahemeralism's gotta be the glue here, see?' And so it would go, for sometimes half an hour or more, with Bunny raving about fishing, and sonnets, and heaven knew what, until in the middle of his monologue he would be struck by a brilliant thought and bluster off as suddenly as he had descended. He finished the paper four days before the deadline and ran around showing it to everyone before he turned it in. 'This is a nice paper, Bun -,' Charles said cautiously. 'Thanks, thanks.' 'But don't you think you ought to mention John Donne more often? Wasn't that your assignment?' 'Oh, Donne,' Bunny had said scoffingly. 'I don't want to drag him into this.' Henry refused to read it. 'I'm sure it's over my head, Bunny, really,' he said, glancing over the first page. 'Say, what's wrong with this type?' 'Triple-spaced it,' said Bunny proudly. 'These lines are about an inch apart.' 'Looks kind of like free verse, doesn't it?' Henry made a funny little snorting noise through his nose. 'Looks kind of like a menu,' he said. All I remember about the paper was that it ended with the sentence 'And as we leave Donne and Walton on the shores of Metahemeralism, we wave a fond farewell to those famous chums of yore.' We wondered if he would fail.

On Thanksgiving Day, 2011, my pastor Peter Jonker preached a marvelous sermon on Psalm 65 with an introduction from the life of Seth MacFarlane, who had been on NPR’s Fresh Air program with Terry Gross. MacFarlane is a cartoonist and comedian. He’s the creator of the animated comedy show “The Family Guy,” which my pastor called “arguably the most cynical show on television.” Terry Gross asked MacFarlane about 9/11. It seems that on that day of national tragedy MacFarlane had been booked on American Airlines Flight 11, Boston to LA, but he had arrived late at Logan airport and missed it. As we know, hijackers flew Flight 11 into the North Tower of the World Trade Center. My preacher said, “MacFarlane should have been on that plane. He should have been dead at 29 years of age. But somehow, at the end of that terrible day, he found himself healthy and alive, still able to turn his face toward the sun.” Terry Gross asked the inevitable question: “After that narrow escape, do you think of the rest of your life as a gift?” “No,” said MacFarlane. “That experience didn’t change me at all. It made no difference in the way I live my life. It made no difference in the way I look at things. It was just a coincidence.” And my preacher commented that MacFarlane had created “a missile defense system” against the threat of incoming gratitude — which might have lodged in his soul and changed him forever. MacFarlane, “the Grinch who stole gratitude,” perfectly set up what Peter Jonker had to say to us about how it is right and proper for us to give thanks to God at all times and in all places, and especially when our life has been spared.

One of the reasons that people need pastors is precisely because God is always present but usually not apparent. It takes a poet to find that presence beneath the layers of strategy for coping with the feeling of its absence. Thus, the parish minister's soul becomes a crucible in which sacred visions are ground together with the common and at times profane experiences of human life. Out of this sacred mix, pastors find their deep poetry, not only for the pulpit, but also for making eternal sense out of the ordinary routines of the congregation.

Frequently I will end a service of worship in our congregation by saying something like, "Every day this week you have to decide if you want to achieve your life or receive it. If you make achieving your goal, your constant companion will be complaint, because you will never achieve enough. If you make receiving the goal, your constant companion will be gratitude for all that God is achieving in your life." I'm not certain that there are such things as measures of our spirituality, but if there are, then gratitude is probably the best one. It indicates that we are paying attention.

Then I had the good of my reading,” he explained presently. “I had no books; the pastor spoke but little English, and all his books were foreign; but I used to say over all I could remember. The old poets little knew what comfort they could be to a man. I was well acquainted with the works of Milton, but up there it did seem to me as if Shakespeare was the king; he has his sea terms very accurate, and some beautiful passages were calming to the mind. I could say them over until I shed tears; there was nothing beautiful to me in that place but the stars above and those passages of verse.

Sand burns outside their windows in every direction. Compass needles spin in their twinned minds: everywhere they look, they are greeted by horizon, deep gulps of blue. People think of the green pastoral when they think of lovers in nature. Those English poets used the vales and streams to douse their lusts into verse. But the desert offers something that no forest brook or valley ever can: distance. A cloudless rooming house for couples. Skies that will host any visitors’ dreams with the bald hospitality of pure space. In terms of an ecology that can support two lovers in hot pursuit of each other, this is the place; everywhere you look, you’ll find monuments to fevered longing. Craters beg for rain all year long. Moths haunt the succulents, winging sticky pollen from flower to flower.

While it is popular to ask, "What would Jesus do?" the better question was always "What is Jesus doing?" The first question assumes that the Savior is on the sidelines and that the burden of life and work is on our shoulders. But in that case the Savior is not really saving but is setting impossibly high standards that we attempt to imitate by doing what we assume he would do if he were in our situation. On the other hand, the question "What is Jesus doing?" is built on the conviction that he is alive, reigning, and at work in our lives. In other words, he is in our situation, and that changes everything about our mission. Rather than believing that the work of Christ is completed and that now it is our turn to try to imitate his life and work, we take on the identity of being witnesses who watch and testify to his continued work of salvation that is unfolding before our eyes.

As I see the bad religion situation, the answer isn't a matter of stepping out and starting new traditions so much as it's a matter of approaching the currents we're already in from a different angle, one person, one relationship at a time. And even putting it this way brings to mind the poet-pastor Eugene Peterson, who once observed that the besetting sin of the American people is probably impatience. This sounds so right to me, especially when I consider the possibility that there's hardly a sin I can think of that isn't somehow born of misperceived need, of haste and its accompanying inattentiveness, of some feverish variation once more of Hurry up and matter! Being true - ringing true - will have to involve a slow work of recognition and resistance to that mad and nervy, deluding spirit. To begin to be true is to try to choose - or risk choosing - presence over progress, really showing up and taking the time to wonder what we're really up to, what we're doing and why.

Metahemeralism. Tell me about it. Everything you know. I gotta know something about metahemeralism." "I'm sorry. I don't know what that is." "I don't either," Bunny would say brokenly. "Got to do with art or pastoralism or something. That's how I gotta tie together John Donne and Izaak Walton, see." He would resume pacing. "Donne. Walton. Metahemeralism. That's the problem as I see it." "Bunny, I don't think "metahemeralism" is even a word." "Sure it is. Comes from the Latin. Has to do with irony and the pastoral. Yeah. That's it. Painting or sculpture or something, maybe." "Is it in the dictionary?" "Dunno. Don't know how to spell it. I mean" — he made a picture frame with his hands — "the poet and the fisherman. Parfait. Boon companions. Out in the open spaces. Living the good life. Metahemeralism's gotta be the glue here, see?" And so it would go on, for sometimes half an hour or more, with Bunny raving about fishing, and sonnets, and heaven knew what, until in the middle of his monologue he would be struck by a brilliant thought and bluster off as suddenly as he had descended. He finished the paper four days before the deadline and ran around showing it to everyone before he turned it in. "This is a nice paper, Bun — ," Charles said cautiously. "Thanks, thanks." "But don't you think you ought to mention John Donne more often? Wasn't that your assignment?" "Oh, Donne," Bunny had said scoffingly. "I don't want to drag him into this." Henry had refused to read it. "I'm sure it's over my head, Bunny, really," he said, glancing over the first page. "Say, what's wrong with this type?" "Tripled spaced it," said Bunny proudly. "These lines are about an inch apart." "Looks kind of like free verse, doesn't it?" Henry made a funny little snorting noise through his nose. "Looks kind of like a menu," he said. All I remember about the paper was that it ended with the sentence "And as we leave Donne and Walton on the shores of Metahemeralism, we wave a fond farewell to those famous chums of yore.

Tagore claims that the first time he experienced the thrill of poetry was when he encountered the children’s rhyme ‘Jal pare/pata nare’ (‘Rain falls / The leaf trembles) n Iswrchandra Vidyasagar’s Bengali primer Barna Parichay (Introducing the Alphabet). There are at least two revealing things about this citation. The first is that, as Bengali scholars have remarked, Tagore’s memory, and predilection, lead him to misquote and rewrite the lines. The actual rhyme is in sadhu bhasha, or ‘high’ Bengali: ‘Jal paritechhe / pata naritechhe’ (‘Rain falleth / the leaf trembleth’). This is precisely the sort of diction that Tagore chose for the English Gitanjali, which, with its these and thous, has so tried our patience. Yet, as a Bengali poet, Tagore’s instinct was to simplify, and to draw language closer to speech. The other reason the lines of the rhyme are noteworthy, especially with regard to Tagore, is – despite their deceptively logical progression – their non-consecutive character. ‘Rain falls’ and ‘the leaf trembles’ are two independent, stand-alone observations: they don’t necessarily have to follow each other. It’s a feature of poetry commented upon by William Empson in Some Versions of Pastoral: that it’s a genre that can get away with seamlessly joining two lines which are linked, otherwise, tenuously.

The poet’s point is obvious. Trying to access the power of a vocation by mere memory and incantation will shortly make a mess of things.

Story affirms that not everything in the universe can or must be explained propositionally; the loose ends of story aren’t always neatly tied together, because neither are the loose ends of our lives. “Life can bear only so much reality,” says poet and pastor Calvin Miller.

The Thursday Circle covered a multitude of topics, including religion, ethics, politics, and culture. Part of the requirement for the group entailed attending cultural events. One week Bonhoeffer gave a talk on Wagner’s Parsifal and then took the group to see the opera itself. There were questions of Christian apologetics: “Did God create the world? . . . What is the purpose of prayer? . . . Who is Jesus Christ?” There were ethical questions: “Is there such a thing as a necessary lie?” They discussed the Christian perspective on Jews, on rich and poor, and on political parties. One week the topic was “the gods of the ancient Germans,” and another week it was “the gods of the Negro tribes.” One week the topic was “famous poets and their God (Goethe, Schiller),” and another it was “famous painters and their God (Grünewald, Dürer, Rembrandt).” They discussed mystery cults, the Muslim faith, music, Luther, and the Catholic church.*

When we’re young, so much time is spent teaching us the importance of keeping our vices in check. Our anger, our envy, our pride. But when I look around, it seems to me that so many of our lives end up being hampered by a virtue instead. If you take a trait that by all appearances is a merit—a trait that is praised by pastors and poets, a trait that we have come to admire in our friends and hope to foster in our children—and you give it to some poor soul in abundance, it will almost certainly prove an obstacle to their happiness.

Which kind of P's do you wish to be; Professor Physician Poet Prophet Pastor Priest Publisher Painter Photographer It is all possible. Choose carefully your profession.

I became a pastor. But I didn’t know how to be one. The Serpent saw this. He seized his opportunity. “You can be like God,” he said. And I, the fool, believed him. Looking back over these twenty years of pastoral work, the words of a poet come to mind. They set the stage for conversation I’d like to have with you.

p. 371 – 372 Living in a paradise of magnificent meadows and forests abundant with wild game, berries, and nuts, the Utes were self-supporting and could have existed entirely without the provisions doled out to them by their agents at Los Pinos and White River. In 1875 agent F. F. Bond at Los Pinos replied to a request for a census of his Utes: “A count is quite impossible. You might as well try to count a swarm of bees when on the wing. They travel all over the country like the deer which they hunt.” Agent E. H. Danforth at White River estimated that about nine hundred Utes used his agency as a headquarters, but he admitted that he had no luck in inducing them to settle down in the valley around the agency. At both places, the Utes humoured their agents by keeping small beef herds and planting a few rows of corn, potatoes, and turnips, but there was no real need for any of these pursuits. The beginning of the end of freedom upon their own reservation came in the spring of 1878, when a new agent reported for duty at White River. The agent’s name was Nathan C. Meeker, former poet, novelist, newspaper correspondent, and organizer of cooperative agrarian colonies. Most of Meeker’s ventures failed, and although he sought the agency position because he needed the money, he was possessed of a missionary fervor and sincerely believed that it was his duty as a member of a superior race to “elevate and enlighten” the Utes. As he phrased it, he was determined to bring them out of savagery through the pastoral stage to the barbaric, and finally to “the enlightened, scientific, and religious stage.” Meeker was confident he could accomplish all this in “five, ten, or twenty years.” In his humourless and overbearing way, Meeker set out systematically to destroy everything the Utes cherished, to make them over into his image, as he believed he had been made in God’s image.

All Fergusson's verses, indeed all humanist verse, has within it an eligiac seam; always present beneath the surface is the assumption that the world is imperfect, that it has fallen from grace. As with the disintegrating Tory ideal in the country, there is in Fergusson's poetry an ideal, imagined city of the past, hopelessly toppling as the new Babylon lays down its foundations: city of chaos, dirt, noise, broken communication, luxury, disorder. In essence the poet follows in his representation the timeless humanist imperative, attempting 'to create order out of disorder, and to make sense of life'. Hallow-Fair and Leith Races to a degree make just such a clear demarcation between the two cities of past and present in their thesis - antithesis structures. The two cities embody two different Scottish cultures: Auld Reekie, the pastoral, civilised, humanist culture; and Edina, the Athens of the North, but more often, Babylon, the counter-pastoral, brutal, Whig culture. Hallow-Fair, Leith Races, The Election, The King's Birth-Day in Edinburgh, satirise the new Babylon; the poems of this group celebrate an older Scotland, and Auld Reekie, in the same eligiac vein as The Daft Days. Yet, as we have seen, the poet, at times, undermines too rigorous a humanist position: demarcations are not all that clear; ideals don't always elevate the human codition; the endless wheel of change and creativity, diversity and unrest, may be forging themselves into a new order.

People think of the green pastoral when they think of lovers in nature. Those English poets used the vales and streams to douse their lusts into verse. But the desert offers something that no forest brook or valley ever can: distance. A cloudless rooming house for couples. Skies that will host any visitors’ dreams with the bald hospitality of pure space.

Metahemeralism. Tell me about it. Everything you know. I gotta know something about metahemeralism." "I'm sorry. I don't know what that is." "I don't either," Bunny would say brokenly. "Got to do with art or pastoralism or something. That's how I gotta tie together John Donne and Izaak Walton, see." He would resume pacing. "Donne. Walton. Metahemeralism. That's the problem as I see it." "Bunny, I don't think "metahemeralism" is even a word." "Sure it is. Comes from the Latin. Has to do with irony and the pastoral. Yeah. That's it. Painting or sculpture or something, maybe." "Is it in the dictionary?" "Dunno. Don't know how to spell it. I mean" — he made a picture frame with his hands — "the poet and the fisherman. Parfait. Boon companions. Out in the open spaces. Living the good life. Metahemeralism's gotta be the glue here, see?" And so it would go on, for sometimes half an hour or more, with Bunny raving about fishing, and sonnets, and heaven knew what, until in the middle of his monologue he would be struck by a brilliant thought and bluster off as suddenly as he had descended. He finished the paper four days before the deadline and ran around showing it to everyone before he turned it in. "This is a nice paper, Bun — ," Charles said cautiously. "Thanks, thanks." "But don't you think you ought to mention John Donne more often? Wasn't that your assignment?" "Oh, Donne," Bunny had said scoffingly. "I don't want to drag him into this." Henry had refused to read it. "I'm sure it's over my head, Bunny, really," he said, glancing over the first page. "Say, what's wrong with this type?" "Tripled spaced it," said Bunny proudly. "These lines are about an inch apart." "Looks kind of like free verse, doesn't it?" Henry made a funny little snorting noise through his nose. "Looks kind of like a menu," he said. All I remember about the paper was that it ended with the sentence "And as we leave Donne and Walton on the shores of Metahemeralism, we wave a fond farewell to those famous chums of yore.

Love explained is love lost.

It is striking that our fall from Paradise also revolved around food. There was only the fruit of one tree that we were not given by God. It was not blessed, and not provided as a means of communion with sacred love. To eat of this fruit, therefore, was to seek food for its own end. Adam and Eve's reach for it symbolizes our striving to make work, family, health, or money their own ends. This, then, is our original sin. That old doctrine of the church refers not just to our primal disobedience to God's command. It also means that by seeking the fruit of the garden for its own sake, we have pulled the spiritual out of it and made the world material. It's not only our original sin; it's our continued addiction.

Opera was born in Florence at the end of the sixteenth century. It derived almost seamlessly from its immediate precursor, the intermedio, or lavish between-the-acts spectacle presented in conjunction with a play on festive occasions. Plays were spoken, and their stage settings were simple: a street backed by palace facades for tragedies, by lower-class houses for comedies; for satyr plays or pastorals, the setting was a woodland or country scene. Meanwhile the ever-growing magnificence of state celebrations in Medici Florence on occasions such as dynastic weddings gave rise to a variety of spectacles involving exuberant scenic displays: naval battles in the flooded courtyard of the Pitti Palace, tournaments in the squares, triumphal entries into the city. These all called upon the services of architects, machinists, costume designers, instrumental and vocal artists. Such visual and aural delights also found their way into the theater—not in plays, with their traditional, sober settings, but between the acts of plays. Intermedi had everything the plays had not: miraculous transformations of scenery, flying creatures (both natural and supernatural), dancing, singing. The plays satisfied Renaissance intellects imbued with classical culture; the intermedi fed the new Baroque craving for the marvelous, the incredible, the impossible. By all accounts, no Medici festivities were as grand and lavish as those held through much of the month of May 1589 in conjunction with the marriage of Grand Duke Ferdinand I and Christine of Lorraine. The intermedi produced between the acts of a comedy on the evening of May 2 were considered to be the highlight of the entire occasion and were repeated, with different plays, on May 6 and 13. Nearly all the main figures we will read about in connection with the birth of opera took part in the extravagant production, which was many months in the making: Emilio de' Cavalieri acted as intermediary between the court and the theater besides being responsible for the actors and musicians and composing some of the music; Giovanni Bardi conceived the scenarios for the six intermedi and saw to it that his highly allegorical allusions were made clear in the realization. Jacopo Peri and Giulio Caccini were among the featured singers, as was the madrigal composer Luca Marenzio, who wrote the music for Intermedio 3, described below. The poet responsible for the musical texts, finally, was Ottavio Rinuccini, who wrote the poetry for the earliest operas...