We are broken in this life. : We are broken in this life. But Jesus was broken on the cross, broken to death, that in His resurrected wholeness, we will receive the wholeness with which we will live with and through Him in Heaven, unto the ages of ages. He died our deaths so that we could live His life---with Him and through Him, in the place He has prepared for us. I thank you, and pray God's blessing envelop you, for another great poem of spiritual testimony.
I am astounded with amazement: I am astounded with amazement at how this essay dovetails into your poem, and into the Romanov material, and into my Orthodox Faith in general. The gut-wrenching agony of experiencing this, and then writing about it, will be rewarded with joy in God's timing. I am even more convinced that you are writing out of a spiritual vocation---you are ministering to readers you do not know, and likely will never meet except in cyberspace, and I firmly believe you will be blessed for your effort; bread cast on the waters, as Solomon once said.
This poem has posted so: This poem has posted so timely, because it dovetails into some information I just found (random browsing) on the Russian New Martyr, Elizabeth Romanov, the Czar's sister-in-law, who was a nun in the Orthodox Church, and was murdered the day after the Czar's family were executed. Thirteen years before her death, her husband, who was also the Czar's uncle, was assassinated by a bomb that had been tossed into his carriage. Although in deep mourning, Elizabeth visited the man who had slain her husband, assured him (the murderer) of her forgiveness, and offered to intercede with the Czar to commute the death sentence to imprisonment. The murderer declined to accept her offer and was duly executed in the prison's small yard by a firing squad. (I have to wonder if he avoided the customary penalty of being "strung up" without a drop, and received the quicker dispatch from several closely aimed rifles, at her behest, in order to lessen his suffering.) She then had a steel Orthodox Crucifix erected and consecrated on the very spot where her husband had died, and on it were the words of Christ from Luke 23:34 about forgiving them who know not what they do. After the Bolsheviks attained power, this monument so aggravated "Comrade" Lenin that he ordered a local crowd of his comrades to pull it down manually, and even came out of the Kremlin, himself, to pull on one of the ropes. There is some evidence that Lenin feared Elizabeth Romanov even more than he had detested the Czar: about her, Lenin said (I paraphrase) that virtue wedded to royalty was the most dangerous threat to the Revolution. The day after the Czar's family died. Elizabeth, and another nun, and a couple of other Orthodox laity were taken to an emptied mining pit, and pushed over the side to a twenty foot fall. Then live grenades were dropped into the pit. When the Czarist forces came through that region attempting to rescue any surviving Romanovs (but the Bolsheviks had already butchered them), Elizabeth's body was found, examined (it was not badly decomposed), and they discovered that she did not die from the fall, or from the grenades, but from slow starvation. According to the reports of the executioners, she had been severely beaten up by them before they tossed her to the pit. She was canonized to Sainthood, as is only fitting, by the Orthodox Church in Russia.
Like your poem points out, so beautifully, Elizabeth found blessing in the place of mourning and pain---first, by becoming a Nun (and the Abbess of a Convent in Moscow), then by keeping her Faith firm during the execution process. The executioners had also noted that, before the grenades were thrown in, the several people in the pit began singing Orthodox hymns, which enraged their executioners. Elizabeth bore her cross willingly, gladly, even eagerly, because it was a source of blessing to her. I can almost imagine her in Heaven, giving your poem a validating smile and nod. (She and Tsarevich Alexei, who died at the age of thirteen the day before Elizabeth was dropped into the pit, are my favorite Saints among the New Martyrs, and among my most favorite Saints among all who are designated as Saints. Reading about her yesterday, and some of her remarks, answered some difficulties I have had as a convert to Orthodoxy in a family that is coldly hostile to it. I went to sleep in greater peace than I have had for a long time, and no longer feel the false difficulties with which the Evil One tormented me. Now, I have read through your excellent poem, and it speaks to the same Faith and the same Blessings.
Please . . . always keep this poem posted at PostPoems. I believe it will help readers just as much as the Evan series. Your poem has ministered to me today, and I am very grateful to you for it. Someday, perhaps sooner than I think, I will meet Elizabeth and Alexei in Heaven; and I will be sure to discuss your poem with them.
I believe I have edited all the typos out, and I apologize in advance if any remain. At my age, I am a very poor keyboardist.
I am enjoying your work very: I am enjoying your work very much. I don't pay much attention to what is new and what is old---an omission I learned as part of a reading strategy at college---it is just, all of it, your work. At one time, I made false divisions (early and late) in the work of two of my favorite Poets, Vergil and Wallace Stevens. These were, as I learned, false constructions. So that I learned that the Vergil who wrote of the amorous (and sometimes naughty) shepherds in the Eclogues was really no different from himself when later building The Aeneid. (The only writer I have ever encountered for whom Early and Late, or Old and New, seems to work is Stephen King, and I am very prejudiced toward his early stuff, and not at all toward his later stuff.)
As for rhyme, I too thought it had to rhyme until I began reading it. When I was a freshman, we were all required---or our parents were required---to go to a commercial bookstore and pay for a paperback anthology of American poets from the late 1600's to the late 1950's. I was shock at how swiftly rhyme dropped away. Then I read Milton's epic Paradise Lost (his revised edition with the one page essay explaining why Milton hated rhyme and, by is old age, refused to write it).
Thank you for the comment. : Thank you for the comment. Being an adolescent in the seventies, I was taught that Hitler was the ultimate evil; and, while the Soviet Union was our enemy, the focus was on communism as an economic system, not as a social system. The murders of the Romanovs (and, believe it or not, the executioners even killed Alexei's dog), the wholesale maryrdoms of countless Orthodox Christians and the maniacal destruction of their churches (one was even made a public lavatory, with toilet stalls all throughout the building), and the savage attitude of Joe Stalin toward Lenin's surviving associates (the so called Old Bolsheviks, most of whom were liquidated in the Moscow trials in the 30's)---all of these were hardly, if at all, mentioned. When I went up to college for my first term as a freshman, I read Pasternak's Zhivago during finals week (I read it for fun, not for an assignment), and then I began to realize---only just began to realize---how horrific it was and how Lenin and Stalin sort of out-Hitlered Hitler. I actually converted to Orthodoxy from the Baptist churches in 2014, because of the Romanovs' example.
Some years ago, I came across a suggestion from some historian (I now forget who) that Lenin's primary motive n bringing communism to Russia was not because he had an affection for the Russian people and wanted, in a misguided way, to improve their situation (and I don't question that they had it rough under the czars); but that Lenin was motivated by a need to avenge his older brother, who had been executed for trying to assassinate the previous Czar, and communism was a way to rally the Russian People to his cause so that, when empowered, he could carry out his vengeance under the guise of "Revolution." Supposedly, Lenin---who had been raised in the Orthodox Faith---reverted to it desperately on his deathbed, and died pleading for forgiveness.
Another joke I heard was that industrialization turned Russia into one bleak, dismal, and dull landscape which featured only two colors---concrete and steel. The joke was that if you look at pictures of Lenin's wife, Krupskaya, who was incredibly ugly, you would think he rebuilt Russian in his wife's image; or at least as an analogue to her personality. Supposedly, after taking power, Lenin awared himself an entire floor of the Kremlin as living quarters. His suite of rooms was in the middle of the floor; his wife's suite of rooms was on one end of the floor, and his girl friend's suite was on the other end. After a busy day of drawing up lists of people to be executed, he had three choices on stand-by for wherever he wanted to spend his evenings.
I just recently started: I just recently started reading The Gulag Archipelago by Aleksandr Solzhenitsen, and only vaugely being familiar with the Soviets before, I'm appalled to learn about how atrocious the U.S.S.R really was. Hitler usually gets the MVP in the hall of infamy, but the sheer length of time that people suffered mercilessly under the reign of the soviets astonishes me to this day. Outlawing God, and the freedom to worship Him as you see fit, always has tremendous, unfathomable consequences. I am thankful to live an America, in spite of its many faults.
I always appreciate your: I always appreciate your feedback. Revisiting the past, even its winter seasons, can shed new light on the present. I hope you've enjoyed what you've read so far!
I've been revisiting my old: I've been revisiting my old poetry myself, astonished to find I don't hate it. You see, I generally loathe what I write. As though it weren't good enough. Until recently, that is, somehow I've learned to enjoy even the process. Most of these poems, written between nine and seven years ago were written for one person, a woman who used to post on here frequently. It was love, or perhaps limerence, for her that drove me to write poetry in the first place. I was still just finding my voice back then, so I apologize if some of the poetry is a tad-singsongy. I didn't know then that poetry didn't have to rhyme. Hope you enjoy going through my old work!
Although I do not fully: Although I do not fully understand the poem's format or structure, I applaud the profound wisdom it presents, especially in that final stanza---which deserves to be in the quotation books. Bravo!
Thanks kindly Ms Patricia.: Thanks kindly Ms Patricia. Glad you gave ear and sensibility to this poem along with the rest that are shared here and elsewhere.
I want to extend my comment: I want to extend my comment by just a bit, beginning with an extended metaphor from my past. For the first fourteen years of my life, my parents' house was on the edge of a pine tree forest. So close to the edge of it that I could reach over the chain link fence and touch the living branches of an ancient pine tree. The fragrance, all year around, was wonderful. On the north edge of the pine tree forest, the Pennsylvania railroad came through, at least four trains a day.
But to me, even though we lived with this beauty daily, the best version of it was the Christmas Tree my parents put up and decorated on the day after Thanksgiving (and when my widowed grandmother began attending our Thanksgiving dinner, they moved the tree to Thanksgiving afternoon). The tree would be thickly decorated with bulbs, lights, silver rope, and icicles. And, sometimes, beneath it, a Lionel electric train rushed around the base on an unrealistic track of three rails. The odor when the locomotive motor became warm was one I have always associated with Christmas. To my young mind, this was more beautiful than the realistic forest and rail tracks just beyond our back yard.
I said all that to say this. Patricia's art is very much like that situation from my early years. She takes natural details, adorns them in her language, and gives us a perspective that the reader might not have had prior to the reading. For example, focusing on that final stanza which continues to astound me, I have felt renewed in the mornings; I have walked among trees, and I have breathed, and have been one of the living. But Patricia's poetry in this stanza has also reminded me of the Egyptian sun being born anew each day; and of the account of our first parents in Eden. These had been separate items of which I was aware---but they had not been decorated with Patricia's words and phrases; so that, while aware of them (the Lord has allowed me to read about ancient Egypt for fifty-eight years, beginning with an account of the discovery of Tutankhamun's tomb), they did not come together for me until this poem brought them together. Patricia's poetry is not ostentatiously allusive, in the manner, say, of Milton and Pope, and of Eliot in The Waste Land. Because she sets, as her Poetry's venue, the whole Cosmos, she can be very subtle in her allusiveness.
One can read any kind of poem casually. When I took a course on epics during my sophomore undergrad year, I was a little shocked at how casually some of my peers read Vergil's Aeneid. But if a reader brings only a casual reading to Patricia's poetry, the loss will be that reader's, not hers. I will add something here that I read back in 1978, in Diane Wakoski's collection of poems, The Magellanic Clouds. She wrote a prefatory essay, ostensibly about Wallace Stevens' poem, "Peter Quince At The Clavier," but, really, was about her poems. She said that the point of an exact reading of a poem, or poems, is that you should fine the internal connetions. To go back to my example from college, we should have noticed Vergil's connection of his epic to the Homeric mythos, to the poetic beliefs of Callimachus, and to his own contemporaries like Catullus. That is a full reading of the poem; or, to borrow a phrase from the Possum, a reading with gusto. Patricia's poetry must be read with gusto, and the internal connections (of her poems with themselves, and of her poems with the Western Canon) in order to function as she intended them to function. I remember either reading or hearing about some rather casual student who wondered how Pop Stevens could write poetry about something so mundane as insurance. (Stevens did not). That is a reading lacking in so much gusto that I can hardly describe its stupidity. Poets of Patricia's quality and achievement must be given a reading with gusto; no other reading can yield the full blossoming of the poem.
Thank you. My comments take: Thank you. My comments take inspiration from your poems. Plus, when commenting, I often feel like Matthew Henson putting that iron spike into the ice at the North Pole.
I'm always deeply moved and: I'm always deeply moved and astonished by the precision, depth, magnificence and intricacy of your comments, and not just the ones you leave on my posts, but on any post that has the honor of your attention. I can't even scratch the surface of my gratitude with mortal language. Peace and every blessing.
Thank you for your: Thank you for your metaphorically marvelous reflections. I truly value your opinion and your insightful, encouraging comments mean so much. Deepest gratitude.