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Have you ever seen the "Pearl of Great Price"?
O Jewel that rich men cannot buy
Nor prideful learning gather up,
Redemptive Shining Delta's eye --
Wine of the eucharistic cup --
Refuge of the despised and poor,
Soft shimmering grace beyond the door,
Cool water of the thirsting soul,
Pure fountain making broken whole
Fill with thy blood my hungry heart.
Conduct and teach me in thy ways
O sacred seed, for all my days
To harvest, winnow, and depart.
Let down thy silken twist to me
And by your grace, I'll climb to thee.
It is probable that I do not follow all of the masonic iconography (`Shining Delta's eye'), but this appears to be a direct and rhetorically simple poem. The octave is all in the vocative case; the sestet is an invocation, the couplet of which provides the obvious eschatological conclusion. Unlike Donne or Shakespeare, your sonnets do not use extended metaphor as a form of argumentation, but as ornament; in this sense your writing is more akin to Keats, Wordsworth, or the Victorians.
`Seed' (l. 11), punning on grain and pearls, draws the mind to the suffering of the Son; this is the sole reference to the parable to which the title alludes. Yet, the poem is more personal than this, much as the original parable was (which Father Al charmingly renders above). In a similar vein (hah!) we have wine and blood (ll. 4 and 9) and the charming (were it not for `depart') life in the agricultural cycle. I personally enjoyed line 2, though it does not make a perfect counterpoint to line 10; the Delta of line 3, the downcast of line 5, the briefly extended water imagery of ll. 8-9 (which surprisingly skips the miracle of Cana), and the silk of the couplet all seem disconnected from one another. Except for line 2, these do not add up to a coherent picture of the speaker's faith, so that, `by your grace' in the end seems almost superfluous, even repeating a word and the notino of softness from l. 6, since it is unclear how the speaker thinks he has offended, as would be so terribly manifest in Donne.
I am tickled to see a Eugene Onegin sonnet, but the form does not quite add or detract from the meaning of the poem. I think I recall seeing at least one other Onegin sonnet of your composition, in which these worked in more obvious concord.
Please do not think I do not find this a `good' sonnet; your technical skills in modulating sound are not always as varied as our better poets, but are certainly always as pure. What often seems to interest me is how you structure discourse and carry an argument forward, so I find myself commenting on this, and forgive me, if it is perhaps excessive. In this case, dissonances, such as where the rich man does buy the pearl in the original story, draw me to to question the precision of the poem's intent.
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