Two Love Poems
(comments by by Fr. James Rosselli)
One of the most moving and powerful love poems ever written is “How Do I Love Thee?” (Sonnet 43) by Elizabeth Barrett Browning (1806 – 1861). I think most of us have read it, but since we’re discussing love it seems right to repeat it, here:
What powerful and evocative verse! Yet, on close reading, we see that the poem is less about her beloved than about her: her feelings, her passions. Not about love itself, but about her reactions to it.
Similarly stirring is Sammy Fain’s theme from a 1955 movie (produced by Buddy Adler for 20th Century Fox), entitled, “Love is a Many Splendored Thing”:
Here, Mr. Fain makes a valiant attempt to paean love, itself. In some really quite fine verse, we’re led into a glimpse of love, the phenomenon. The end of the piece, however, rather than soaring past itself as one might anticipate, finds its resolution in the personal experience of the poet.I suggest that this is the best we, of ourselves, can do.
There is nothing sentimental about this Love, nor anything self-referencing. Neither is there anything temporary about it. The Theological virtue of Love is nothing less than yielding to God Himself, Who is Love, and permitting Him-- come what may-- to transform us in character unto Christ-likeness.
(comments by by Fr. James Rosselli)
One of the most moving and powerful love poems ever written is “How Do I Love Thee?” (Sonnet 43) by Elizabeth Barrett Browning (1806 – 1861). I think most of us have read it, but since we’re discussing love it seems right to repeat it, here:
How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of being and ideal grace.
I love thee to the level of every day’sI love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of being and ideal grace.
Most quiet need, by sun and candle-light.
I love thee freely, as men strive for right.
I love thee purely, as they turn from praise.
I love thee with the passion put to use
In my old griefs, and with my childhood’s faith.
I love thee with a love I seemed to lose
With my lost saints. I love thee with the breath,
Smiles, tears, of all my life; and, if God choose,
I shall but love thee better after death.
I love thee freely, as men strive for right.
I love thee purely, as they turn from praise.
I love thee with the passion put to use
In my old griefs, and with my childhood’s faith.
I love thee with a love I seemed to lose
With my lost saints. I love thee with the breath,
Smiles, tears, of all my life; and, if God choose,
I shall but love thee better after death.
What powerful and evocative verse! Yet, on close reading, we see that the poem is less about her beloved than about her: her feelings, her passions. Not about love itself, but about her reactions to it.
Similarly stirring is Sammy Fain’s theme from a 1955 movie (produced by Buddy Adler for 20th Century Fox), entitled, “Love is a Many Splendored Thing”:
Love is a many-splendored thing,
It's the April rose that only grows in the early spring,
Love is nature's way of giving a reason to be living,
The golden crown that makes a man a king.
Lost on a high and windy hill,
In the morning mist two lovers kissed and the world stood still,
When our fingers touch, my silent heart has taught us how to sing!
Yes, true love's a many-splendored thing.
It's the April rose that only grows in the early spring,
Love is nature's way of giving a reason to be living,
The golden crown that makes a man a king.
Lost on a high and windy hill,
In the morning mist two lovers kissed and the world stood still,
When our fingers touch, my silent heart has taught us how to sing!
Yes, true love's a many-splendored thing.
Here, Mr. Fain makes a valiant attempt to paean love, itself. In some really quite fine verse, we’re led into a glimpse of love, the phenomenon. The end of the piece, however, rather than soaring past itself as one might anticipate, finds its resolution in the personal experience of the poet.I suggest that this is the best we, of ourselves, can do.
We can’t describe Love, but God can, and He has:
Love suffers long and is kind; love does not envy;
love does not parade itself, is not puffed up;
does not behave rudely, does not seek its own, is not provoked,
thinks no evil; does not rejoice in iniquity, but rejoices in the truth;
bears all things, believes all things, hopes all things, endures all things.
Love never fails.
But whether there are prophecies, they will fail; whether there are tongues, they will cease;
whether there is knowledge, it will vanish away.
For we know in part and we prophesy in part.
But when that which is perfect has come, then that which is in part will be done away.
1 Corinthians 13: 4-8
Love suffers long and is kind; love does not envy;
love does not parade itself, is not puffed up;
does not behave rudely, does not seek its own, is not provoked,
thinks no evil; does not rejoice in iniquity, but rejoices in the truth;
bears all things, believes all things, hopes all things, endures all things.
Love never fails.
But whether there are prophecies, they will fail; whether there are tongues, they will cease;
whether there is knowledge, it will vanish away.
For we know in part and we prophesy in part.
But when that which is perfect has come, then that which is in part will be done away.
1 Corinthians 13: 4-8
There is nothing sentimental about this Love, nor anything self-referencing. Neither is there anything temporary about it. The Theological virtue of Love is nothing less than yielding to God Himself, Who is Love, and permitting Him-- come what may-- to transform us in character unto Christ-likeness.
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