“May my meditation
be pleasing to him, as I rejoice in the LORD.”
Psalm 104:33
Maybe 100 people lived in the
village of Westfield, Massachusetts, in the the 1670s—maybe more, maybe
less. The Puritan colonies were just
then establishing themselves, carving out new settlements in wilderness forests
that had once been the sole province of the Wampanoag, a local native tribe, as
well other Native peoples.
By the 1670s war would break out, King
Phillip’s War, an unthinkable bloodletting that shaped the minds of the
colonists almost as forcefully as their immigrant Calvinism. King Phillip’s War was perhaps the most
disastrous war in American history, one in ten of the Indians the colonists
dead. But that’s another story.
There was in Westfield, a prelate,
a Puritan preacher named Edward Taylor, who spent every last year of his
ministry in a single church. Upon his
arrival in New England in 1668, he’d enrolled at Harvard College, then
graduated, and taken up the ministry at Westfield, where he served God and his
people until he died in 1729.
Strangely enough, this man—a
wilderness preacher, really, and a staunch conservative—had an incredibly rich
imaginative life as a poet, a life he apparently shared with no one. For most of his ministry he was composing
lines for a variety of occasions, but critics agree that his masterpieces are
the “Preparatory Meditations,” a series of poems he created throughout his life
to try to make himself worthy for the Lord’s Supper, the sacrament of
communion.
But no one saw those poems, apparently,
until, in the 1930s, almost two centuries later, when a scholar named Thomas
Johnson found a bound manuscript in the library of Yale University. They were shocking, absolutely shocking—and
for several reasons.
They were brilliantly imaginative,
for one thing. Two centuries after
Plymouth Plantation, American historians would not have believed that a Puritan
preacher could fashion such intricate intimacy.
What’s more, those poems—some of them at least—are something of a scandal
in their gaudy earthiness. They’re rich
and vivid and devout, the enterprise of an immensely creative artist who
apparently cared not a whit what anyone thought about what he was doing. Hours and hours he must have worked on his
poetry, and nobody knew.
I think those Prepatory Meditations
are amazing. They are what everyone says
they are—rich, almost metaphysical tapestries, sometimes bizarre in their
forthright character, charmingly un-Puritanical.
But I love the fact that, like
Emily Dickinson, Edward Taylor seemed interested in creating them only for
himself and his God. Impossible as it
seems, he sat at his desk, quill in hand, and, it seems, wrote only to please
God.
I’d like an editor. Edward Taylor never had one. I’d like an audience. Taylor thought of only one reader—God
almighty. Honestly, I’d like to sell a
book. Taylor, standing before the bread
and wine, wanted only to be worthy.
My motives may be mixed, even
tainted, when compared to his purity; but I’d like to think that the two of us
are brothers in more than one profession.
I’m guessing that Edward Taylor, like the psalmist, liked to repeat this
line—one of the last from 104: “May my meditation be pleasing to him.” As do I.
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