Classic and Contemporary Poetry: Explained

Denise Levertov's poem "To Live in the Mercy of God" captures the profound and often overwhelming experience of encountering divine mercy within the natural world. Through vivid imagery and a contemplative tone, Levertov explores the intersection of awe, comfort, and the relentless power of God’s love.

The poem begins with a vivid image of lying beneath ancient trees: "To lie back under the tallest / oldest trees. How far the stems / rise, rise / before ribs of shelter / open!" This setting establishes a sense of grandeur and majesty in nature, where the towering trees evoke a feeling of awe and protection. The imagery of the "ribs of shelter" suggests a sanctuary provided by the natural world, inviting a sense of safety and reverence.

Levertov immediately links this natural sanctuary to the divine: "To live in the mercy of God." This line, repeated later in the poem, serves as both a statement and a meditation. The phrase "the complete / sentence too adequate, has no give" reflects the paradox of divine mercy—it is both perfect and overwhelming, leaving little room for human interpretation or modification. The juxtaposition of "Awe, not comfort" suggests that true encounters with the divine are initially unsettling, demanding a response beyond mere consolation.

The poem then delves deeper into this sense of awe: "Stone, elbows of / stony wood beneath lenient / moss bed." The roughness of stone and wood contrasted with the softness of moss highlights the duality of nature and, by extension, the divine. This duality—hard and soft, awe and comfort—pervades the poem, emphasizing the complexity of experiencing God’s mercy.

Levertov describes how awe "suddenly / passing beyond itself" transforms into comfort: "Becomes the steady / air you glide on, arms / stretched like the wings of flying foxes." This transformation is depicted as a shift from tension to release, from fear to a kind of spiritual flight. The comparison to flying foxes, creatures known for their graceful gliding, suggests a newfound ease and freedom.

The poem moves to the idea of silence and deep listening: "To hear the multiple silence / of trees, the rainy / forest depths of their listening." This profound silence is portrayed as a form of communication, a deep, almost mystical attentiveness that invites the reader to listen more intently to the world and, by extension, to God.

Levertov extends the metaphor of floating: "To float, upheld, / as salt water / would hold you, / once you dared." This evokes the image of buoyancy and trust, suggesting that surrendering to divine mercy is akin to allowing oneself to be supported by the ocean. The act of daring is crucial—trust in divine mercy requires courage.

The poem culminates with the image of a waterfall: "To feel vibrate the enraptured / waterfall flinging itself / unabating down and down / to clenched fists of rock." The waterfall symbolizes the relentless and powerful nature of God’s love, which continues "hour after year after century" without interruption. The waterfall’s voice is described as "many-stranded," suggesting the complexity and richness of divine communication.

Levertov contrasts the waterfall's "steelwhite foam" and "fugitive jade" to capture its beauty and intensity. The waterfall’s passion is ambiguous: "rage or joy?" This ambiguity reflects the multifaceted nature of divine love—it is not always gentle but is always vast and encompassing.

The poem concludes with a powerful affirmation: "Thus, not mild, not temperate, / God’s love for the world. Vast / flood of mercy / flung on resistance." Here, Levertov underscores that God's mercy is neither mild nor temperate but a "vast flood" that overcomes resistance. This final image of divine love as an overwhelming, unstoppable force captures the essence of the poem—an exploration of the profound, sometimes unsettling, yet ultimately comforting nature of living in the mercy of God.

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