Classic and Contemporary Poetry: Explained

"Interior of the Oude Kerk, Delft, with Open Grave" by Linda Gregerson is a profound meditation on art, memory, and the subtle beauty of everyday life. Through the lens of a painting by Emanuel de Witte, a 17th-century Dutch perspective painter, Gregerson explores themes of historical continuity, the mundane amidst the sacred, and the persistence of human expression.

The poem opens by addressing the meticulous work of Emanuel de Witte, acknowledged for his detailed inspection of a date under magnification. This historical figure, who lived in the 17th century, represents the careful and patient efforts involved in creating and understanding art. Gregerson’s mention of de Witte’s detailed work on the painting emphasizes the care and precision involved in capturing and preserving history: "The author will have had some subtle / point to make... the painting will have been remote."

The description of the church interior—"pillars in their radiant stillness, honeyed vaulting, shadow / plying blessed / partiality"—conjures a serene and almost ethereal atmosphere. Gregerson contrasts this with the idea of "the whole / view," suggesting that complete understanding or full revelation is withheld until one is ready to bear it. This concept is mirrored in the church's architectural perspective, "two-point, washed in milk," highlighting the blend of clarity and mystery inherent in the scene.

Gregerson acknowledges the beauty of traditional, richly colored church art—"lapis, / vermeil, leaded / glory"—but expresses a personal preference for the subtler, more intimate beauty of this scene. The "alembic / light" and the everyday activities within the church, such as a woman nursing and the sexton at work, bring a sense of normalcy and community to the sacred space. The church, described as "something like a village square," emphasizes the integration of the sacred and the mundane.

The poem then touches on the historical and religious tensions underlying the scene: "You wouldn't know, / to stand amidst this sociable / vernacular, / how bitter the quarrel had been." The reference to the "banished image" making a small return through "red chalk" highlights the persistence of human creativity and expression, even in the face of doctrinal strictures. The children’s graffiti on the church pillar serves as a subtle act of defiance and a testament to the enduring need for visual expression.

Gregerson's reflection on the open grave, with the sexton preparing the earth, brings a poignant reminder of mortality and the continuous cycle of life and death. The practical details of the sexton's work—"spade and shovel, / pickax, broom"—ground the poem in the physical reality of the scene, contrasting with the more ethereal aspects of light and architecture. The sexton's pragmatic approach to his duties, not worrying about the children’s drawings or the temporary state of the open grave, underscores a deeper acceptance of life's transient nature: "He doesn't think the dead / will be much / bothered in the meantime."

"Interior of the Oude Kerk, Delft, with Open Grave" masterfully weaves together the aesthetic, historical, and everyday elements of the scene. Gregerson's evocative language and keen observations invite readers to consider the layers of meaning embedded in art and life. Through the depiction of this church interior, the poem explores the interplay between the sacred and the mundane, the past and the present, and the persistent human desire to leave a mark, however small, on the world.

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