What His Eyes See

She sees the oily shine of a complexion that hasn’t noticed puberty ended years ago.
He sees a radiance that comes from beauty within.

She sees crooked teeth marred with coffee stains.
He sees a smile so warm it could melt a heart of stone.

She sees calloused hands from all the times she forgot to wear gloves.
He sees a woman who is not afraid to work.

She turns her hands over and sees wrinkles and veins that resemble a mountain road map.
He sees hands that would fit perfectly inside of his own.

She looks down and sees folds of unwanted fat.
He sees a woman he longs to fold in his embrace.

Then he silences her self-deprecation with a kiss
And his touch tells her that she is accepted as she is.

Now she sees only him.
And he sees only love.

 

August 3, 2017 ~ couplet chain
© 2017 Abigail Gronway – All Rights Reserved

Now I Lay Me Down

Now I lay me down to weep.
I pray Thee, Lord, to help me sleep.
But if I cry all through the night,
I pray Thee, Lord, please hold me tight.

TBT 1990
© 2017 Abigail Gronway – All Rights Reserved

Absence

Absence is to love what wind is to fire; it extinguishes the small, it enkindles the great.”

Comte de Bussy-Rabutin
Histoire Amoureuse des Gaules “Maximes d’Amours”

Fellowship (from Everyman)

Fellowship sees a frown on Everyman’s face and asks him what’s wrong. Everyman hesitates to answer, so Fellowship promises to be true to him and go with him anywhere, even all the way to hell if need be. But when Everyman tells him that Death has sent him to stand before the judge Adonai and make a reckoning for his life, Fellowship quickly renigs on his promise, saying he wouldn’t go there even for his own father. They part ways, never to see each other again, and Everyman says:

Alack, shall we thus depart indeed—
Ah, Lady, help!—without any more comfort?
Lo, Fellowship forsaketh me in my most need!
For help in this world whither shall I resort?
Fellowship herebefore with me would merry make,
And now little sorrow for me doth he take.
It is said, “In prosperity men friends may find
Which in adversity be full unkind.”
Now whither for succor shall I flee,
Since that Fellowship hath forsaken me?

from Everyman, after 1485

This is Part 3 in a series of Sunday segments from this allegory, which I am sharing as much to educate as to entertain. Click here to read Part 1: Messenger and Part 2: God.

Everyman is the best surviving example of that kind of medieval drama which is known as the morality play. Moralities apparently evolved side by side with the mysteries and in England were, like them, acted by trade guilds, though they were composed individually and not in cycles. They both have a primarily religious purpose, though their method of attaining it is different. The mysteries endeavored to make the Christian religion more real to the unlearned by dramatizing significant events in Biblical history and by showing what these events meant in terms of human experience. The moralities, on the other hand, employed allegory to dramatize the moral struggle that Christianity envisions as present in every man. The actors are every man and the qualities within him, good or bad, and the plot consists of his various reactions to these qualities as they push and pull him one way or another—that is, in Christian terms, toward heaven or toward hell.

 

 

Can’t Just Walk Away

“You were right about that tree thing, the love tree, or whatever you called it. I am not ready to let the tree die. MaryAnne and I have given each other the best of ourselves and maybe the worst, too, but either way, we both own a significant portion of each other. That’s not something you can just walk away from.”

from “Catherine’s Telegram” in The Letter by Richard Paul Evans, p. 247

 

God (from Everyman)

I perceive, here in my majesty,
How that all creatures be to me unkind,
Living without dread in worldly prosperity.
Of ghostly sight the people be so blind,
Drowned in sin, they know me not for their God.
In worldly riches is all their mind:
They fear not of my righteousness the sharp rod;
My law that I showed when I for them died
They forget clean, and shedding of my blood red.
I hanged between two, it cannot be denied:
To get them life I suffered to be dead.
I healed their feet, with thorns hurt was my head.
I could do no more than I did, truly—
And now I see the people do clean forsake me.
They use the seven deadly sins damnable,
As pride, avarice, wrath, and lechery
Now in the world be made commendable.
And thus they leave of angels the heavenly company.
Every man liveth so after his own pleasure,
And yet the more that I them forbear,
The worse they be from year to year:
All that liveth degenerates fast.
Therefore I will, in all the haste,
Have a reckoning of every man’s person.
For if I leave the people thus alone
In their life and wicked tempests,
Verily they will become much worse than beasts;
For now one would by envy another up eat.
Charity do they all clean forget.
I hoped well that every man
In my glory should make his mansion,
And thereto I had them all elect.
But now I see, like traitors deject,
They thank me not for the pleasure that I to them meant,
Nor yet for their being that I them have lent.

from Everyman, after 1485

Everyman is the best surviving example of that kind of medieval drama which is known as the morality play. Moralities apparently evolved side by side with the mysteries and in England were, like them, acted by trade guilds, though they were composed individually and not in cycles. They both have a primarily religious purpose, though their method of attaining it is different. The mysteries endeavored to make the Christian religion more real to the unlearned by dramatizing significant events in Biblical history and by showing what these events meant in terms of human experience. The moralities, on the other hand, employed allegory to dramatize the moral struggle that Christianity envisions as present in every man. The actors are every man and the qualities within him, good or bad, and the plot consists of his various reactions to these qualities as they push and pull him one way or another—that is, in Christian terms, toward heaven or toward hell.

This is the second in a series of Sunday segments from this allegory, which I am sharing as much to educate as to entertain. Click here to read this series from the beginning.

 

 

Messenger (from Everyman)

I pray you all give your audience,
And hear this matter with reverence,
By figure a moral play.
The Summoning of Everyman called it is,
That of our lives and ending shows
How transitory we be all day.
The matter is wonder precious,
But the intent of it is more gracious
And sweet to bear away.
The story saith: Man, in the beginning
Look well, and take good heed to the ending,
Be you never so gay.
You think sin in the beginning full sweet,
Which in the end causeth the soul to weep,
When the body lieth in clay.
Here shall you see how fellowship and jollity,
Both strength, pleasure, and beauty,
Will fade from thee as flower in May.
For ye shall hear how our Heaven-King
Calleth Everyman to a general reckoning.
Give audience and hear what he doth say.

from Everyman, after 1485

Everyman is the best surviving example of that kind of medieval drama which is known as the morality play. Moralities apparently evolved side by side with the mysteries and in England were, like them, acted by trade guilds, though they were composed individually and not in cycles. They both have a primarily religious purpose, though their method of attaining it is different. The mysteries endeavored to make the Christian religion more real to the unlearned by dramatizing significant events in Biblical history and by showing what these events meant in terms of human experience. The moralities, on the other hand, employed allegory to dramatize the moral struggle that Christianity envisions as present in every man. The actors are every man and the qualities within him, good or bad, and the plot consists of his various reactions to these qualities as they push and pull him one way or another—that is, in Christian terms, toward heaven or toward hell.

For the next few Sundays I’ll give you bit and pieces from this allegory, as much to educate as to entertain.