Early in the New Year, I finished this volume which is a beacon of hope for those of us who maintain faith in the midst of a dark night of rationalism, knowing that there is more afoot than reductionism and materialism and scientism with their false certainties provide. Yet how can we articulate that vision, having been raised in these -isms of late modernity?
Poetry is Guite’s answer. In this book, he discusses how poetry, with its fraught edges of language and human experience, its deployment of symbol and metaphor and juxtaposition, brings us into contact with the transcendent God and provides a medium for expressing those realities glimpsed at the corners of our vision that are almost inexpressible in modernist terms, realities, as I would express it, embodied in liturgy and the mystical. Here, the medium for this theological expression and outlet for realities beyond the ken of man is the poetic.
After setting up the problem of late modernity and postmodernism’s failure to solve or address the problem with any success, he takes us into the realm of imagination, of poetry, weaving in a few poems along the way. An extended discussion of two wonderful poems ensues — ‘The Rain Stick’ by Seamus Heaney, and ‘Prayer (1)’ by George Herbert. Here we see how language plays upon us and how the created world can be a window into eternity.
Then the methodology of reading poetry is brought forth, a methodology we should all use, whether reading theologically or not. Guite cites five ways of reading:
1. Tasting the Words
2. Echo and Counterpoint
3. Images and Allusion
4. Ambiguity and Ambivalence
5. Perspective and Paradox
Re-read each poem seeking after all of these.
The main body of the book is then arranged chronologically from The Dream of the Rood, a poem which I love, to Seamus Heaney, my appreciation of whom is growing. And that’s not a backhanded compliment, but a sincere enjoyment of a modern poet (rare for me). The poets along the way are Shakespeare, Sir John Davies, John Donne, George Herbert, Henry Vaughn, John Milton, Samuel Taylor Coleridge, Thomas Hardy, Philip Larkin, and Geoffrey Hill.
Not all of these men are Christians — Hardy, Larkin, and Hill are explicitly not. Guite’s treatment of them is sensitive and eloquent, showing how the honesty of these poets allows for the real life fissures in any belief, including unbelief. And not all of the poems are explicitly Christian, such as A Midsummer Night’s Dream and The Tempest.
Reflecting and refracting throughout the book is the image from ‘The Rain Stick’ of glimpsing eternity through the ear of a raindrop. And, from the arrival of Sir John Davies, an important theme of Faith, Hope and Poetry is the inner person, the microcosm (incidentally, an idea originally imaged forth by St Maximos the Confessor in the 600s), and how, for all its subtleties, physical science can never penetrate the human soul. Know yourself — but this is not achieved by science.
A third major contributor, and possibility the theorist who gave rise to so much of this, is S. T. Coleridge and his philosophy of poetry and symbol. Coleridge is important, for he is the first of these poets writing after the Enlightenment (Endarkenment). He believes that God, as Creator, is writ upon creation in a real yet subtle way. Indeed, symbols are not simply one thing standing for another. No, symbols are pathways from one thing to another. They bridge the gap between apparently divergent realities, human and animal, God and creation, nature and supernature. This, I observe, is not dissimilar from much of the theology of icons in St John of Damascus or, more recently, Pavel Florensky.
There are many great insights in this book, and I recommend it to anyone who wants to come to poetry and to theology with fresh eyes.