I wanted to share this poem by fellow New Mexico dweller, although many years ago, D.H. Lawrence. He touches on spirit in some of his writings in ways that bite to the core. This is the greatest one I have read. Read it slow, each line taking a few deep breaths, sinking in to where it carries you.
Song of a Man Who Has Come Through
Not I, not I, but the wind that blows through me!
A fine wind is blowing the new direction of Time.
If only I let it bear me, carry me, if only it carry me!
If only I am sensitive, subtle, oh, delicate, a winged gift!
If only, most lovely of all, I yield myself and am borrowed
By the fine, fine wind that takes its course through the chaos of the world
Like a fine, an exquisite chisel, a wedge-blade inserted;
If only I am keen and hard like the sheer tip of a wedge
Driven by invisible blows,
The rock will split, we shall come at the wonder, we shall find the Hesperides.
Oh, for the wonder that bubbles into my soul,
I would be a good fountain, a good well-head,
Would blur no whisper, spoil no expression.
What is the knocking?
What is the knocking at the door in the night?
It is somebody wants to do us harm.
No, no, it is the three strange angels.
Admit them, admit them
The painting is “The Silent Voice” by Gerald Edward Moira and it’s one of my very favorites of all the art I have ever seen. It is so mysterious, but not at all.
If you care to explore more about it, from Uppsala Auktionskammare:
In “The art of Gerald Moira” from 1922 Harold Watkins describes the painting:“The first picture, an imaginative figure-piece, was founded on these lines:
‘Thereto the silent voice replied,
Look up, look up - the world is wide.’ and showed a remarkable ability in the painter to take a given conventional subject and interpret it along his own unconventional lines.
There is a quality in the picture which was well expressed by a critic, writing in the time of its exhibition at Burlington House: ‘In the blue moonlight, close about the dazed and doleful figure of a seated girl, a ‘silent voice’, or half perceived figure, whispers a coming comfort. Weird, haunting, fascinating it is as a page from L’Intruse of Maeterlinck.”
The Studio, Gleeson White, Mr. Gerald Moira’s Paintings and Bas-relief Decorations, 1898, vol 12, pp. 221‑37. Harold Watkins, “The art of Gerald Moira”, 1922, p. 12.