Introduction
John Milton, a renowned poet and author of the epic Paradise Lost, penned a masterpiece that often remains overshadowed by his other works: On the Morning of Christ's Nativity. This remarkable poem captures the essence of the nativity story, blending poetic elegance with deep theological reflections. Let us delve into the verses of this celebrated piece, and embark on a journey of wonder, beauty, and spiritual contemplation.
Summary
On the Morning of Christ's Nativity by John Milton describe the events and significance of Christ's birth in detail. The poem begins by announcing that it is the month and the joyful morning when the Son of Heaven's eternal King, born of a virgin mother, brought redemption to humanity. The sages had foretold this event, emphasizing Christ's role in releasing humanity from its sins and establishing eternal peace.
The majestic and radiant form of Christ, often seen at heavenly councils, was set aside as he chose to be born in human form. He left the eternal heavens to reside in the humble house of mortal clay on Earth. The poet addresses the Heavenly Muse, asking if she can provide a fitting verse or hymn to welcome the newborn Christ to his new abode. The setting is described as a time before the sun's light has touched the Earth, with the stars keeping watch in bright formations.
The Magi*, guided by a star, approach from the East with sweet-smelling offerings. The poet implores the Muse to compose a humble ode to greet Christ before the Magi do, symbolizing the honor of being the first to welcome him. The scene shifts to the winter landscape where Christ is born in a humble manger. Nature, out of reverence, has shed its extravagant attire and decorations to sympathize with the birth of its divine Creator. This is a time of humility, unsuitable for nature's usual revelry with the sun. Nature, ashamed of its own imperfections, tries to cover its guilt with snow, but Christ's presence exposes its inadequacies. However, Christ sends the meek-ey'd Peace down to restore tranquility and harmony, bringing a universal peace to land and sea.
The poet describes a scene of unparalleled peace. The world is devoid of war; even the elements seem to recognize Christ's presence. Kings maintain a sense of awe and reverence, acknowledging the presence of their sovereign Lord. The night of Christ's birth is peaceful and marks the beginning of his reign of peace on Earth. The winds are quiet, the waters are calm, and birds sit calmly on the enchanted waves. The stars, in amazement, fix their gaze upon the Earth, refraining from their usual flight. Lucifer, the morning star, hesitates to leave his post, but Christ's command eventually compels him to go. The Sun, in an act of humility, dims its brightness as it recognizes the greater light of Christ. The scene shifts to shepherds on a lawn before dawn, unaware that the divine presence, akin to the ancient god Pan (Greek God of Shepherds), has come to live among them.
Suddenly, celestial music fills the air, unparalleled in its sweetness. A divine voice answers the sounds of musical instruments, causing the souls of the shepherds to be enraptured in bliss. The echoes of this heavenly music resonate in the air. The harmony of this music resonates throughout the cosmos, uniting heaven and earth in a way that Nature recognizes as the perfect union. A circular globe of light appears, illuminating the night. Cherubim and Seraphim (members of the heavenly host), adorned with wings and armed, join in a grand choir with harps, welcoming the newborn Heir of Heaven with unexpressive notes. This music is reminiscent of the creation of the world when the sons of morning sang as the Creator set the foundations of the world. It is a music so divine that it unites heaven and earth in a harmonious symphony.
The poet calls on the crystal spheres to bless human ears with their melodious chimes, creating a full harmony to complement the angelic symphony. The vision is of a time when the age of gold will return, and sin and suffering will fade away, leaving only truth, justice, and mercy. The poet acknowledges that such a state of perfect bliss is not yet here; the infant Christ must grow and eventually face his sacrificial death on the cross for humanity's redemption. Before that, the trumpet of doom must sound, heralding the end times and Christ's return as a judge.
The chaotic and tumultuous events of the end times are described, with the earth shaking and cosmic upheaval taking place. Despite the chaos, the dominion of evil will be curtailed, and the poet likens the restrained Devil to a dragon whose tail is constrained. The false gods and idols of various cultures are described as losing their power and influence upon the birth of Christ. The pagan deities, including Baal, Ashtaroth, and Moloch, are described as leaving their temples in fear of the infant Christ's power. Osiris, a god from Egyptian mythology, is also described as feeling the presence of the newborn Christ. The power and divinity of the infant Christ are shown to be stronger than the old gods.
The section ends with the Virgin Mary gently laying her baby to rest, symbolizing the beginning of Christ's earthly life. The Star of Bethlehem, the "youngest-teemed star," guides her chariot as she attends to the sleeping Christ, surrounded by angels in service. Overall, the lines explore the anticipation, arrival, and transformative impact of Christ's birth, depicting both earthly and cosmic responses to this extraordinary event.
(* 'The Magi' refers to a group of wise men who followed a star from the East to Bethlehem in search of a newborn king.)
Analysis
We have seen the overall gist of the poem in the summary above. However, for the sake of better understanding, it would be more convenient if we attempt a stanza-wise analysis of the poem. Let us look into individual stanzas.
Stanza 1:
This stanza establishes the setting as a significant moment in time, emphasizing the birth of Jesus Christ as the "Son of Heav'n's eternal King." It highlights the miraculous nature of Jesus's birth through a virgin mother, emphasizing his role in bringing redemption to humanity. The stanza references the prophecy of the "holy sages" that Jesus would bring salvation and peace, alluding to biblical narratives and prophetic fulfillment.
Stanza 2:
This stanza describes the divine nature of Jesus as the "glorious Form" and "Light unsufferable." It portrays Jesus's voluntary decision to leave his divine position and come to Earth as a human, forsaking the heavenly realms and taking on a mortal form. The imagery of Jesus leaving the "courts of everlasting day" to reside in a "darksome house of mortal clay" emphasizes his humility and sacrifice.
Stanza 3:
The speaker addresses the "Heav'nly Muse," asking if it can provide a suitable offering, verse, hymn, or song to welcome the newborn Jesus. The stanza captures the sense of awe and anticipation surrounding Jesus's birth, noting that the heavens are untrodden by the Sun's rays and the stars are vigilantly shining.
Stanza 4:
This stanza refers to the wise men, often known as the "star-led wizards" or "Magi," who are following a star to find the newborn Jesus. The speaker urges the Muse to write a humble poem or ode to welcome Jesus before the wise men arrive, suggesting that the Muse's offering will have the honor of being the first to greet Jesus. There's a call for the Muse to join the celestial choir of angels and offer its hymn from a sacred place.
Stanza 5:
This stanza sets the scene as a "winter wild" and describes the humble circumstances of Jesus's birth, lying in a simple manger. It conveys the idea that even nature recognized the significance of this event, as if nature itself humbled its ostentatious appearance in reverence to Jesus. The stanza contrasts the ordinary behavior of nature (personified as a female) with its response to Jesus's birth, suggesting that the usual vibrant display of the sun is not appropriate in this context.
Stanza 6:
This stanza continues the personification of nature, describing how it attempts to cover its flaws and impurities. Nature is compared to a maiden who uses "innocent snow" to hide its "guilty front." The imagery reflects the concept of purity and the idea that the presence of the divine, symbolized by Jesus, exposes the flaws of the world.
Stanza 7:
In this stanza, divine intervention is described as bringing peace. The "meek-ey'd Peace" is personified and depicted as descending from heaven, symbolized by "olive green." This divine peace is described as spreading through the world, calming the "amorous clouds" and unifying the sea and land. The image of the "myrtle wand" suggests a peaceful and gentle influence, and it represents the idea of reconciliation and harmony.
Stanza 8:
This stanza vividly portrays the impact of divine peace. There is a cessation of war and conflict. Weapons and instruments of war are unused and laid aside. Even powerful leaders ("kings") are depicted as being still and reverent, acknowledging the presence of their "sovereign Lord."
Stanza 9:
This stanza focuses on the peaceful night when Jesus, referred to as the "Prince of Light," brought his reign of peace to Earth. Nature is described as responding to this peace with wonder. The wind is "whist," and the waters are gentle. The image of "birds of calm" brooding on the "charmed wave" adds to the sense of serene tranquility.
Stanza 10:
This stanza describes the reaction of the stars to the birth of Jesus. They are personified as being amazed and fixed in their positions, not moving as they normally do. Even the brightest star, "Lucifer" (referring to the morning star or Venus), remains in its place, as if in reverence. The stars' glow continues until Jesus himself commands them to depart.
Stanza 11:
This stanza highlights the humility and significance of Jesus's birth. Even the Sun's brightness is diminished, symbolically hiding in shame. The idea is that Jesus, the "greater Sun," has arrived, rendering the physical sun unnecessary. The imagery emphasizes Jesus's divine radiance and the idea that his presence surpasses earthly lights.
Stanza 12:
This stanza shifts the focus to the shepherds in the fields, unaware of the monumental event taking place. The shepherds are depicted in a casual scene, engaged in conversation before the break of dawn. The surprise lies in the revelation that the "mighty Pan," symbolizing Jesus, has come to live among them. The mundane concerns of the shepherds, such as their affections or their flocks, preoccupy their thoughts, highlighting their ignorance of the divine presence.
Stanza 13:
This stanza describes how the shepherds are suddenly greeted by heavenly music, surpassing anything they have heard before. The music is described as "divinely warbled," emphasizing its celestial nature. The music is so enchanting that it fills their souls with blissful rapture. The beauty of the music is so profound that the air itself seems reluctant to let it fade, echoing the heavenly strains.
Stanza 14:
This stanza portrays the impact of the heavenly music on nature itself. The "hollow round of Cynthia's seat" refers to the moon's orbit. The celestial music affects the entire airy region, echoing the idea that nature responds to divine occurrences. Nature seems to be convinced that its role is complete, and its reign is fulfilled in this divine event. The stanza suggests that the harmony produced by this event could unite heaven and earth in greater happiness.
Stanza 15:
This stanza describes a vision that the shepherds witness: a radiant sphere of light envelops them. The vision includes angelic beings like Cherubim and Seraphim, depicted with wings and swords, suggesting their celestial nature. These angelic beings are engaged in a solemn choir, playing harps and singing with "unexpressive notes" (notes beyond human comprehension) to honor Jesus, the "Heav'n's new-born Heir."
Stanza 16:
This stanza emphasizes the extraordinary nature of the music heard by the shepherds, comparing it to the music sung by the "sons of morning" during the creation of the universe. It refers to the moment when the "Creator great" established the constellations and the world's order, suggesting a divine choir at the dawn of creation. The stanza connects the divine music witnessed by the shepherds with the very foundations of the world.
Stanza 17:
This stanza addresses the celestial bodies, calling them to join in the celebration with their own music. The speaker implores the "crystal spheres" (a reference to the celestial bodies) to bless human ears with their music. The stanza envisions a grand orchestral performance, with the silver chimes and the deep bass of heaven's organ joining in harmony. The desire is for the celestial bodies to add their unique music to the angelic symphony.
Stanza 18:
This stanza reflects on the transformative power of the divine music. It suggests that if such a holy song were to captivate human imagination for an extended period, it could bring about remarkable changes. The "age of gold" refers to a golden age of purity and innocence. The stanza envisions a world where vanity, sin, and suffering are eradicated. It implies that the divine music has the potential to lead to a profound transformation of the world, culminating in the victory of light over darkness.
Stanza 19:
This stanza continues the theme of transformation. It envisions a world where Truth and Justice are restored to humanity, symbolized by a rainbow. Mercy is depicted as a celestial presence, positioned between Truth and Justice. The image of Heaven's gates opening wide at a festival conveys the idea of a grand celebration in heaven, welcoming this transformation.
Stanza 20:
This stanza presents a contrast to the previous optimistic visions. It acknowledges that while the transformative events are possible, it is not the current reality. It reminds that the newborn Jesus, depicted as a Baby in "smiling infancy," will later undergo the crucifixion to redeem humanity. The stanza emphasizes the dual purpose of Jesus's sacrifice: to glorify both himself and humanity. The anticipated events must first wait until the "wakeful trump of doom" heralds the end times and resonates throughout the world.
Stanza 21:
In this stanza, the poet describes a scene of cataclysmic events. It references the moment when God's presence and power were revealed on Mount Sinai in the form of a terrifying sound and appearance, as described in the Bible. The poem speaks of the world's final judgment day, where the Earth will shake with fear as the Judge of all humanity takes his throne in the midst of the sky.
Stanza 22:
This stanza alludes to the concept of the fall of Satan and the triumph of Christ. With Christ's birth, human salvation is made possible, and Satan's power is limited. The "old Dragon" refers to Satan, and the poem suggests that his dominion is reduced. The image of swinging the "scaly horror of his folded tail" symbolizes Satan's frustration and anger at his diminishing influence.
Stanza 23:
This stanza discusses the end of pagan oracles and divination practices. The "Oracles" are the prophetic utterances given by various gods in ancient cultures. With the birth of Christ, these oracles become silent and ineffective. Apollo, a prominent figure in Greek mythology associated with prophecy, is unable to provide guidance anymore. The description of the "pale-ey'd priest" refers to the priests of these pagan traditions who can no longer receive insights from their prophetic practices.
Stanza 24:
In this stanza, the poem depicts a melancholic scene in nature. The "lonely mountains" and "resounding shore" echo with sounds of mourning and lament. The "Genius" and the "Nymphs" are mythological beings associated with natural places, and they are described as experiencing sorrow and separation. This imagery reflects the idea that the arrival of Christ brings about a transformation in the spiritual and natural world.
Stanza 25:
In this stanza, the focus is on Roman religious practices and beliefs. The "Lars and Lemures" are spirits associated with the Roman household and the deceased. The poem describes them moaning and lamenting in sacred places like altars and urns. The rituals performed by the "flamens" (priests) are disrupted by eerie and ominous sounds, signifying a disruption in the traditional spiritual practices. The mention of "chill marble" sweating and deities forsaking their places emphasizes the upheaval caused by the advent of Christ.
Stanza 26:
This stanza continues to address the abandonment of pagan deities and religious practices. The names mentioned are associated with different ancient Near Eastern and Mediterranean cultures. Peor, Baal, and Ashtaroth were deities worshipped in various contexts, and their temples are deserted. The mention of the "twice-batter'd god of Palestine" likely refers to Dagon, an ancient Philistine deity. The imagery portrays a decline in the worship of these gods as the influence of Christ spreads.
Stanza 27:
This stanza highlights the abandonment of worship even by the most fearsome and demanding deities. Moloch, associated with child sacrifice, has fled, leaving his dark idol behind. The rituals to call upon him ("cymbals' ring") are futile. The reference to a "dismal dance about the furnace blue" may allude to the ritualistic dances that accompanied Moloch's worship. The gods of Egypt (Isis, Orus, Anubis) are also depicted as quickly losing their power and influence.
Stanza 28:
This stanza continues the theme of the decline of pagan deities. Osiris, an important god in Egyptian mythology, is no longer visible in his sacred places. The description of him trampling the grass with "lowings loud" suggests a sense of absence and abandonment. The reference to his "sacred chest" alludes to his mythological death and resurrection, but now he finds no peace even in that. The rituals performed by the "sable-stoled sorcerers" to honor him are ineffective.
Stanza 29:
In this stanza, the focus shifts to the impact of Christ's birth on the pagan deities, including Osiris. The "dreaded Infant's hand" refers to Jesus Christ as a newborn. His presence blinds the pagan deities, symbolizing their powerlessness in the face of divine light. Even the mightiest of them, like Typhon, cannot withstand Christ's influence. The final lines emphasize the power of Christ as an infant, indicating his ability to control even the forces of evil.
Stanza 30:
In the final stanzas, the imagery shifts to the retreat of darkness. The sun setting is likened to it resting on a "cloudy red" bed. Shadows retreat, symbolizing the end of the powers of darkness. "Fetter'd ghost slips to his several grave" refers to the imprisonment of evil spirits, indicating their powerlessness. The "yellow-skirted fays" likely represent fairies or supernatural beings associated with the night, and their departure signifies the diminishing influence of darkness.
Stanza 31:
The final stanza returns to the scene of Christ's birth. The Virgin Mary has put her Baby to sleep, symbolizing the completion of the cycle of events. The poem acknowledges that the time has come to conclude its story. The "youngest-teemed star" refers to the morning star, announcing the dawn of a new era. The imagery of the "polish'd car" signifies a heavenly chariot. Angels surround the stable where Jesus rests, highlighting their reverence and service to the newborn King.
The analysis of Milton's poem On the Morning of Christ's Nativity reveals how he blends Christian themes with mythological references to convey the transformative power of Christ's birth on both the natural and spiritual world.
Themes
The poem, as we know, is a description of the birth of Jesus Christ, focusing on the events surrounding his birth, the reactions of nature and heavenly beings, and the implications of his arrival. The poem is rich in allegorical and symbolic language, drawing on religious themes. Here's a breakdown of its main themes and elements in the poem:
1. Introduction and Setting: The text begins by acknowledging the time and occasion, referring to the birth of Jesus as a significant event. It describes this moment as the time when the Son of God was born to a virgin mother, bringing redemption to humanity.
2. Describing the Son of God: The passage describes Jesus as the glorious form and eternal light of the heavenly king. He is depicted as leaving his heavenly position to be born as a human, "choosing a darksome house of mortal clay."
3. Invocation of the Heavenly Muse: The speaker calls upon a "Heavenly Muse" to provide a suitable hymn or verse to welcome the newborn Jesus.
4. The Star-Led Wise Men: The passage mentions the wise men who are following a star to find the newborn Jesus. The speaker encourages the Muse to write a hymn to welcome Jesus before the wise men arrive.
5. Description of Jesus's Birth: The birth of Jesus is depicted as taking place in a humble manger during the winter season. Nature is portrayed as reverent and subdued in the presence of the divine event.
6. The Peaceful Night: The night of Jesus's birth is described as peaceful, with no sounds of war or battle. Even the rulers and kings are depicted as still and awestruck in the presence of the new king.
7. The Angelic Chorus: Angels appear in the sky, singing a heavenly song to celebrate the birth of Jesus. Their music is described as divine and beyond mortal comprehension.
8. Nature's Response: Nature reacts to the angelic chorus, as stars stand still in amazement, the wind stops blowing, and even the sun hides its light as if in shame.
9. The Shepherds and Their Experience: The shepherds in the fields hear this divine music and experience a sense of bliss and rapture. The passage highlights their simple lives and the unexpected privilege of witnessing this event.
10. Harmony and Unity: The passage speaks of the harmony brought by the birth of Jesus. The imagery includes the concept of "ringing out" from crystal spheres, symbolizing a restoration of truth, justice, and peace on Earth.
11. Future Glory and Redemption: The speaker envisions a time when humanity will be redeemed, sin and suffering will end, and heaven and earth will be united in joy. This is portrayed as a distant but certain future.
12. God's Judgment and Second Coming: The passage shifts to a description of the future judgment day, with apocalyptic imagery of a trumpet blast and the arrival of the Judge. This contrasts with the peaceful birth of Jesus.
13. Rejection of Immediate Glory: The speaker acknowledges that the immediate fulfillment of heavenly glory is not the current reality. The infant Jesus must first grow and later experience the cross to redeem humanity.
14. Defeat of Evil Powers: The passage depicts the diminishing power of false gods and evil forces due to the presence of Jesus. These entities lose their influence over the world.
15. End of Oracle and Idol Worship: The influence of oracles, idols, and false gods wanes. Their power fades as a result of the coming of Jesus.
16. Virgin's Rest: The passage concludes by describing the Virgin Mary placing her child, Jesus, to rest. The night ends with the appearance of the "youngest-teemed star," indicating a new day and a sense of peaceful closure.
Overall, On The Morning of Christ's Nativity is a poetic and allegorical exploration of the birth of Jesus Christ, his significance, and the transformative effects of his arrival on Earth. It draws on religious and mythological imagery to convey a sense of wonder, reverence, and hope.
Conclusion
John Milton's On the Morning of Christ's Nativity is a poetic masterpiece that marries beauty and theology in a stunning display of literary artistry. Its vivid imagery, celestial themes, and deep spiritual insights make it a timeless work that continues to resonate with readers across generations. As we engage with this poem, we are invited to witness the transcendent beauty of the nativity story and contemplate the profound mysteries of faith.
For your reference, the text of the poem is given below:
On The Morning of Christ's Nativity
This is the month, and this the happy morn,
Wherein the Son of Heav'n's eternal King,
Of wedded Maid, and Virgin Mother born,
Our great redemption from above did bring;
For so the holy sages once did sing,
That he our deadly forfeit should release,
And with his Father work us a perpetual peace.
That glorious Form, that Light unsufferable,
And that far-beaming blaze of Majesty,
Wherewith he wont at Heav'n's high council-table,
To sit the midst of Trinal Unity,
He laid aside, and here with us to be,
Forsook the courts of everlasting day,
And chose with us a darksome house of mortal clay.
Say Heav'nly Muse, shall not thy sacred vein
Afford a present to the Infant God?
Hast thou no verse, no hymn, or solemn strain,
To welcome him to this his new abode,
Now while the heav'n, by the Sun's team untrod,
Hath took no print of the approaching light,
And all the spangled host keep watch in squadrons bright?
See how from far upon the eastern road
The star-led wizards haste with odours sweet:
O run, prevent them with thy humble ode,
And lay it lowly at his blessed feet;
Have thou the honour first thy Lord to greet,
And join thy voice unto the angel quire,
From out his secret altar touch'd with hallow'd fire.
It was the winter wild,
While the Heav'n-born child,
All meanly wrapt in the rude manger lies;
Nature in awe to him
Had doff'd her gaudy trim,
With her great Master so to sympathize:
It was no season then for her
To wanton with the Sun, her lusty paramour.
Only with speeches fair
She woos the gentle air
To hide her guilty front with innocent snow,
And on her naked shame,
Pollute with sinful blame,
The saintly veil of maiden white to throw,
Confounded, that her Maker's eyes
Should look so near upon her foul deformities.
But he, her fears to cease,
Sent down the meek-ey'd Peace:
She, crown'd with olive green, came softly sliding
Down through the turning sphere,
His ready harbinger,
With turtle wing the amorous clouds dividing;
And waving wide her myrtle wand,
She strikes a universal peace through sea and land.
No war or battle's sound
Was heard the world around;
The idle spear and shield were high uphung;
The hooked chariot stood
Unstain'd with hostile blood;
The trumpet spake not to the armed throng;
And kings sate still with awful eye,
As if they surely knew their sovran Lord was by.
But peaceful was the night
Wherein the Prince of Light
His reign of peace upon the earth began:
The winds with wonder whist,
Smoothly the waters kist,
Whispering new joys to the mild Ocean,
Who now hath quite forgot to rave,
While birds of calm sit brooding on the charmed wave.
The Stars with deep amaze
Stand fix'd in steadfast gaze,
Bending one way their precious influence;
And will not take their flight,
For all the morning light,
Or Lucifer that often warn'd them thence,
But in their glimmering orbs did glow,
Until their Lord himself bespake, and bid them go.
And though the shady gloom
Had given day her room,
The Sun himself withheld his wonted speed,
And hid his head for shame,
As his inferior flame
The new-enlighten'd world no more should need:
He saw a greater Sun appear
Than his bright throne or burning axle-tree could bear.
The shepherds on the lawn,
Or ere the point of dawn,
Sate simply chatting in a rustic row;
Full little thought they than
That the mighty Pan
Was kindly come to live with them below:
Perhaps their loves, or else their sheep,
Was all that did their silly thoughts so busy keep;
When such music sweet
Their hearts and ears did greet,
As never was by mortal finger strook,
Divinely warbled voice
Answering the stringed noise,
As all their souls in blissful rapture took:
The air such pleasure loth to lose,
With thousand echoes still prolongs each heav'nly close.
Nature, that heard such sound
Beneath the hollow round
Of Cynthia's seat, the Airy region thrilling,
Now was almost won
To think her part was done,
And that her reign had here its last fulfilling:
She knew such harmony alone
Could hold all heav'n and earth in happier union.
At last surrounds their sight
A globe of circular light,
That with long beams the shame-fac'd Night array'd;
The helmed Cherubim
And sworded Seraphim
Are seen in glittering ranks with wings display'd,
Harping in loud and solemn quire,
With unexpressive notes to Heav'n's new-born Heir.
Such music (as 'tis said)
Before was never made,
But when of old the sons of morning sung,
While the Creator great
His constellations set,
And the well-balanc'd world on hinges hung,
And cast the dark foundations deep,
And bid the welt'ring waves their oozy channel keep.
Ring out ye crystal spheres!
Once bless our human ears
(If ye have power to touch our senses so)
And let your silver chime
Move in melodious time,
And let the bass of Heav'n's deep organ blow;
And with your ninefold harmony
Make up full consort to th'angelic symphony.
For if such holy song
Enwrap our fancy long,
Time will run back and fetch the age of gold,
And speckl'd Vanity
Will sicken soon and die,
And leprous Sin will melt from earthly mould;
And Hell itself will pass away,
And leave her dolorous mansions to the peering Day.
Yea, Truth and Justice then
Will down return to men,
Orb'd in a rainbow; and, like glories wearing,
Mercy will sit between,
Thron'd in celestial sheen,
With radiant feet the tissu'd clouds down steering;
And Heav'n, as at some festival,
Will open wide the gates of her high palace hall.
But wisest Fate says no:
This must not yet be so;
The Babe lies yet in smiling infancy,
That on the bitter cross
Must redeem our loss,
So both himself and us to glorify:
Yet first to those ychain'd in sleep,
The wakeful trump of doom must thunder through the deep,
With such a horrid clang
As on Mount Sinai rang
While the red fire and smould'ring clouds outbrake:
The aged Earth, aghast
With terror of that blast,
Shall from the surface to the centre shake,
When at the world's last session,
The dreadful Judge in middle air shall spread his throne.
And then at last our bliss
Full and perfect is,
But now begins; for from this happy day
Th'old Dragon under ground,
In straiter limits bound,
Not half so far casts his usurped sway,
And, wrath to see his kingdom fail,
Swinges the scaly horror of his folded tail.
The Oracles are dumb;
No voice or hideous hum
Runs through the arched roof in words deceiving.
Apollo from his shrine
Can no more divine,
With hollow shriek the steep of Delphos leaving.
No nightly trance or breathed spell
Inspires the pale-ey'd priest from the prophetic cell.
The lonely mountains o'er,
And the resounding shore,
A voice of weeping heard and loud lament;
From haunted spring, and dale
Edg'd with poplar pale,
The parting Genius is with sighing sent;
With flow'r-inwoven tresses torn
The Nymphs in twilight shade of tangled thickets mourn.
In consecrated earth,
And on the holy hearth,
The Lars and Lemures moan with midnight plaint;
In urns and altars round,
A drear and dying sound
Affrights the flamens at their service quaint;
And the chill marble seems to sweat,
While each peculiar power forgoes his wonted seat.
Peor and Ba{:a}lim
Forsake their temples dim,
With that twice-batter'd god of Palestine;
And mooned Ashtaroth,
Heav'n's queen and mother both,
Now sits not girt with tapers' holy shine;
The Libyc Hammon shrinks his horn;
In vain the Tyrian maids their wounded Thammuz mourn.
And sullen Moloch, fled,
Hath left in shadows dread
His burning idol all of blackest hue:
In vain with cymbals' ring
They call the grisly king,
In dismal dance about the furnace blue.
The brutish gods of Nile as fast,
Isis and Orus, and the dog Anubis, haste.
Nor is Osiris seen
In Memphian grove or green,
Trampling the unshower'd grass with lowings loud;
Nor can he be at rest
Within his sacred chest,
Naught but profoundest Hell can be his shroud:
In vain with timbrel'd anthems dark
The sable-stoled sorcerers bear his worshipp'd ark.
He feels from Juda's land
The dreaded Infant's hand,
The rays of Bethlehem blind his dusky eyn;
Nor all the gods beside
Longer dare abide,
Not Typhon huge ending in snaky twine:
Our Babe, to show his Godhead true,
Can in his swaddling bands control the damned crew.
So when the Sun in bed,
Curtain'd with cloudy red,
Pillows his chin upon an orient wave,
The flocking shadows pale
Troop to th'infernal jail,
Each fetter'd ghost slips to his several grave,
And the yellow-skirted fays
Fly after the night-steeds, leaving their moon-lov'd maze.
But see, the Virgin blest
Hath laid her Babe to rest:
Time is our tedious song should here have ending.
Heav'n's youngest-teemed star,
Hath fix'd her polish'd car,
Her sleeping Lord with handmaid lamp attending;
And all about the courtly stable,
Bright-harness'd Angels sit in order serviceable.
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