Classic and Contemporary Poetry: Explained

"Dieu! Qu'il La Fait," a poem by Charles d'Orléans, delves into the complexities of beauty, desire, and divine creation. Written in the 15th century, the poem serves as both an ode to a beloved's beauty and an expression of awe toward the divine force responsible for creating such perfection. The poem offers a nuanced treatment of physical allure and spiritual wonderment, demonstrating how the two are intrinsically connected in the eyes of the observer.

The poem begins with an invocation to God, recognizing the divine role in the creation of the woman's beauty. The speaker is in awe not just of the woman herself, but also of the creative force behind her. This opening gambit elevates the poem's subject matter from mere physical attractiveness to something of divine significance. The exclamation, "God! that mad'st her," establishes this link, as if beauty itself is a miraculous act requiring divine intervention.

The poem skillfully balances two kinds of awe: one directed at the woman's beauty, "so fair and bonny," and the other at the divine craftsman who shaped her. This dual focus reveals a cultural milieu in which beauty is not seen as superficial or merely physical but as an aspect of a higher divine order. The speaker is not just entranced by the woman; he is devoutly grateful for her existence, seeing in her beauty evidence of divine grace.

The second stanza employs the motif of spells and borders to suggest that the woman's allure has a magnetic, almost magical quality. The phrase "spells are alway renewed on her" suggests that her beauty is not static but continually refreshing and bewitching. The poet wonders how anyone could "part him from her borders," indicating that her charm serves as a kind of enchanting boundary that keeps admirers close.

In terms of geography, the reach of the woman's allure is boundless: "From here to there to the sea's border." The woman's beauty is not merely a local phenomenon but has a kind of universal quality, transcending regional limitations. No "Dame nor damsel" from any location can rival her, reinforcing her exceptional nature. This hyperbolic expression serves to elevate her beauty to an almost mythic status.

Lastly, the poet describes thoughts of her as being "of dream's order," further emphasizing her unreal, almost ethereal beauty. This description culminates the poetic expression of awe, both human and divine, that has been building throughout the poem.

In "Dieu! Qu'il La Fait," Charles d'Orléans crafts a complex, multifaceted portrait of beauty that is both a tribute to a particular woman and a meditation on the divine. By seamlessly integrating the earthly and the heavenly, the poem elevates a common theme-romantic admiration-to a level of spiritual wonder. The speaker's awe is not merely the result of human desire but a profound response to the mystery and majesty of creation itself.

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