Edwin Markham (1852–1940) was a popular American literary figure during the first half of the twentieth century whose oeuvre fuses social justice concerns with religious faith. He gained international renown with his poem “The Man with the Hoe,” which, inspired by a Jean-François Millet painting of the same title, protests the plight of the exploited laborer. In addressing the issues of his day Markham looked to Jesus, who he considered an embodiment not only of peace, love, and other such virtues but of poetic genius as well. His essay “The Poetry of Jesus,” reprinted below, first appeared in the December 1905 issue of The Homiletic Review. Emphasis is mine.
Earth gives us hint and rumor of a divine beauty that broods above us, an ideal splendor that completes the real. To express that beauty is the perpetual aspiration of the poet. Poetry expresses this beauty in words; religion in deeds. So Jesus, as the supreme religious genius of the world, carried the vision of the poet—
This light is the light of the ideal; this consecration is the consecration to the service of humanity; and this dream is the dream of the social federation of the world. Toward these glorious finalities all religion labors and all poesy aspire.
Jesus, like every great poet, was stung with the pain of genius, the passion for perfection, the yearning for the ideal. No wonder, then, that He was “a man of sorrows and acquainted with grief.” Out of the long collision between the is and the ought-to-be, between the world that exists and the world that awaits us in the future, springs that majestic sorrow, that noble reticence, that touches with its shadow all elevated and poetic natures.
Upon Greece came the passion for beauty, upon Palestine the passion for righteousness. Jesus carried both ideals in His heart, for He saw the glory of the lilies in the furrow and also the perfidy of the oppressors who walk over graves. He was moved not only by the beauty of holiness, but also by the holiness of beauty.
Jesus preached artistically as the true poet always preaches; He twined the truth with the beauty. For the most part He spoke in symbol, in parable, leaving His hearer to point the moral—leaving the truth to be inferred from the beauty. If His art-feeling seems meager and His insistence upon beauty scant, let us remember that He was forced to spend most of His priceless life in teaching a few of the primary principles of conduct. Still, in spite of all obstacles, the inborn poetry of His nature was continually breaking forth through the crevices of His conversation. His message was flung forth in telling metaphor, vivid simile, pointed parable—the chief machinery of the poet. He unsouled Himself in the poet’s way, because the poet’s way is the natural and spontaneous utterance of the heart.
Feeling ever the pity and terror of our existence—its sad perversity, its pathetic brevity, and its tremendous import—still His poet’s heart took loving note of the beauty and wonder never wholly lost from these gray roads of men. He did not fail to note the wayward wind that bloweth where it listeth, the red evening sky that means fair weather, the cloud out of the west that brings the shower, the tempest in the sea, and the calm that follows after the storm. Nor did He overlook the birds of the air that feed on the Father’s bounty in the open fields and lodge in the branches of the mustard-trees; nor the green grass that glories in the field to-day and to-morrow is cast into the oven.
He knew all these, and He knew also the homely aspects of the day’s work—the bottling of the new wine, the sifting of the wheat with fans, the digging of the fallen ox from the pit, the casting of the fish-nets into the sea. He saw the young virgins trimming the lamps, the bowed women grinding at the mill, the housewife hiding the leaven in the measure of meal, and the mother forgetting the pangs of labor in the joy over the new-born child. Continue reading “ESSAY: “The Poetry of Jesus” by Edwin Markham”