Classic and Contemporary Poetry: Explained

John Frederick Nims’ "Matthew 5:28" engages in a witty yet provocative dialogue with scripture, questioning the rigidity of moral judgment on desire. The poem’s title directly references the biblical verse in which Jesus declares, "But I say unto you, That whosoever looketh on a woman to lust after her hath committed adultery with her already in his heart." This verse, often cited in discussions of sin and temptation, is presented here not as an absolute truth, but as a point of contention.

Nims begins by acknowledging the severity of the biblical pronouncement: "The saying's dire." This concise phrase establishes the weight and gravity of the moral doctrine being referenced. The word "dire" suggests not only strictness but also an element of fear, as this commandment implicates even internal thoughts as transgressions, extending guilt beyond action into the realm of mere contemplation.

However, the poem immediately turns to dissent: "Yet some demur..." The choice of "demur" signals a polite but firm objection, suggesting that not all accept this scriptural warning without question. What follows is a bold and ironic counterargument: "He's worthier of hellfire / Who, with God's loveliest latest work in sight, / Stifles the radiant impulse of delight." Here, Nims suggests that repressing admiration—perhaps even desire—for beauty is itself a kind of wrongdoing. The phrase "God’s loveliest latest work" subtly reminds the reader that human beauty, and by extension, the capacity to appreciate it, is itself divine in origin. The implication is that to look upon such beauty and not feel "delight" is to reject the very creation of God, an act perhaps more unnatural or offensive than the supposed sin of desire.

This inversion of the moral logic in Matthew 5:28 is both humorous and subversive. Nims implies that appreciating beauty—rather than stifling one’s "radiant impulse"—is a natural, even spiritual, response to the world. The juxtaposition of "hellfire" with "radiant delight" sharpens the irony, questioning whether moral absolutism truly aligns with the nature of human experience.

Structurally, the poem is composed as a quatrain with a simple yet effective ABBA rhyme scheme, reinforcing the compactness and punch of its argument. The symmetry of the rhyme mirrors the dual perspectives presented—first the rigid scriptural warning, then the challenge to it. By condensing his argument into such a brief structure, Nims underscores the stark contrast between moral rigidity and a more instinctive, appreciative view of beauty.

Ultimately, "Matthew 5:28" is a playful yet profound engagement with the tension between religious doctrine and human nature. Nims challenges the notion that mere thought can constitute sin, suggesting instead that repressing admiration for beauty may be the greater failing. The poem invites the reader to reconsider the balance between moral discipline and the innate impulses that make us human.

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