Classic and Contemporary Poetry: Explained

"Jonathan Edwards in Western Massachusetts" by Robert Lowell is a reflective poem that explores the life, work, and legacy of the 18th-century theologian Jonathan Edwards. The poem intertwines historical reflection with personal musings, providing a rich tapestry of imagery and thought that examines Edwards' profound influence and the inevitable erosion of his physical and spiritual legacy.

The poem opens with a vivid image of the decline of Edwards' influence: "Edwards' great millstone and rock of hope has crumbled," suggesting the physical and symbolic deterioration of his once formidable presence. Despite this, the "square white houses of his flock stand in the open air," indicating that his impact persists in the enduring structures and memories of his community, albeit now "out in the cold, like sheep outside the fold." This metaphor highlights a sense of loss and displacement, as well as the continued existence of his followers in a changed world.

Lowell touches on the inherent tension between faith and doubt: "Hope lives in doubt. / Faith is trying to do without / faith." This paradox reflects the ongoing struggle to reconcile belief with the realities of a modern, rational world. In "western Massachusetts," the poet feels the remnants of the frontier and the eschatological anxieties that Edwards once harbored, where "Edwards thought the world would end." The poem contrasts these past apocalyptic visions with contemporary uncertainties: "We know how the world will end, but where is paradise," questioning the loss of spiritual direction and longing for an elusive promised land.

The poem evokes Edwards' sense of grandeur and simplicity: "Was it some country house that seemed as if it were Whitehall, if the Lord were there?" This blend of the majestic and the humble captures the dual nature of Edwards' vision. His appreciation for natural beauty and the divine is illustrated through the "gardens designed / that the breath of flowers in the wind or crushed underfoot, / came and went like warbling music."

Edwards' refusal to sell Bacon's great oak grove underscores his connection to the land and his principled stance: "saying, 'Why should I sell my feathers?'" This line poignantly conveys his commitment to preserving his environment and ideals. However, Lowell acknowledges the personal and philosophical distance between himself and Edwards: "Ah paradise! Edwards, I would be afraid / to meet you there as a shade. / We move in different circles."

Lowell provides a glimpse into Edwards' early life, describing his solitary prayers and observations of nature: "As a boy, you built a booth in a swamp for prayer; lying on your back, you saw the spiders fly." This image of young Edwards watching spiders ascend, "swimming from tree to tree / so high, they seemed tacked to the sky," symbolizes his early fascination with the natural world and its divine significance. This fascination continues into adulthood, as Edwards sees "the world was soul, the soul of God!"

Edwards' relationship with his wife, Sarah Pierrepont, is tenderly depicted: "So filled with delight in the Great Being, she hardly cared for anything." Her spiritual rapture and harmony with nature reflect Edwards' ideal of a pious life, intertwined with the divine presence in everyday existence. Lowell also touches on Edwards' controversial actions, such as giving his wife "Pompey, a negro slave," and the impact of his fervent sermons during the Great Awakening.

The poem juxtaposes Edwards' spiritual grandeur with his human frailties. His dramatic sermons are recalled: "Alas, how many in this very meeting house are more than likely to remember my discourse in hell!" This line emphasizes Edwards' fire-and-brimstone style and the fear it instilled. Despite his towering spiritual presence, Edwards' fall from grace is acknowledged: "You stood on stilts in the air, but you fell from your parish."

Lowell's pilgrimage to Northampton yields only a humble relic: "the round slice of an oak you are said to have planted." This piece of kindling, "only fit for burning," symbolizes the transient nature of physical legacies compared to the enduring impact of ideas. The poet expresses admiration for Edwards' intellectual rigor and perseverance: "I love you faded, old, exiled and afraid / to leave your last flock," highlighting his dedication to his beliefs even in the face of adversity.

The poem concludes with a poignant reflection on Edwards' health and reluctance to take on the presidency of Princeton: "My deffects are well known; / I have a constitution peculiarly unhappy." These lines reveal Edwards' self-awareness and humility, acknowledging his physical and emotional struggles. His devotion to his studies and intellectual pursuits, which "have swallowed up my mind," underscores the depth of his commitment to his theological work.

In "Jonathan Edwards in Western Massachusetts," Robert Lowell paints a complex and nuanced portrait of Jonathan Edwards, blending admiration with critical reflection. The poem's rich imagery and contemplative tone invite readers to explore the intersections of faith, legacy, and human frailty, offering a profound meditation on the enduring impact of one of America's most influential theologians.

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