"and Ah! Bright Wings." : The Story Behind the Tapestry

Sometimes an idea for a tapestry takes a while to formulate. I wanted to do something with the Hebrew phrase “tikkun olam”, using the Hebrew script. But as I sometimes do, I complicated that plan by starting to think of what it might take to “repair the world”.

I remembered that powerful image at the start of the genesis creation story, of the Spirit of God brooding over the pre-creation chaos, followed by that lovingly long narrative of Creation when God said, and it was so, and it was good. That in turn took me to the closing couplet of ‘God’s Grandeur’, one of the poems I go back to without ever tiring of it, or feeling I’ve come all that close to understanding it.

Because the Holy Ghost over the bent
   World broods with warm breast and with ah! bright wings.

So two ideas came together, a Hebrew script and the couplet of a Victorian poem. The title of the tapestry is “Ah! Bright Wings”, because the structure of the imagery is sustained by the encircling and brooding, brightly coloured and covering wings.

The Hebrew script commands the horizontal central ground, but surrounded by the wings of the Holy Ghost. But the tapestry tries to relate to much of the rich imagery throughout Hopkins’s poem. The dull coloured square and angular grey and brown stitches symbolise the industrial ugliness that accompanies manufacture on an industrial scale. The combustion and force needed to work raw material into steel, and the engineering that constructs machinery, and the waste that is the inevitable by-product: ‘all is seared with trade; bleared smeared with toil’. The natural world is threatened by human activity and ‘wears man’s smudge’ so that ‘the soil is bare now’. That narrow central panel symbolises the earth stripped and brown, and trampled by steel shod shoes.

The cross is constructed of blocked squares that contrast with the flow of colours in the wings, and its geometric, utilitarian engineering is surrounded by the blues and greens where live, ‘the dearest freshness deep down things’. Those six squares dominate and yet are surrounded by a thin defining thread of red that rises to the top of the Gothic arch where it splits in three directions. It’s only a hint, but intentionally a Trinitarian articulation of the cross. The cross holds together the green of Creation and the smudge of human industrial activity.

And of course the Hebrew script is in green, the colour of Creation. Green represents the defiance of life against death. The seasonal and recurring beauty of the land contrasts with the destructive forces of human possessiveness that is the economic presupposition of mass manufacture, cheap goods, the profit motive and the dominance of factory over field.

The Gothic arch is dissected by red thread, and on the west side the sun is setting and on the east the sun is rising: “And though the last lights of the black West went, Oh, morning at the brown brink eastward springs –‘

The wings frame the whole, and their colours move from red sacrifice, to green life force, to golden light, before tapering inwards through pink to the red that surrounds fields, factories and the rhythms of sunset and sunrise. The colours of the wings are warm as they enfold the heart of things.

Hopkins’ astonishing phrase ‘Ah! bright wings’, is in my view a powerfully hopeful cry that is as much a prayer as it is a touch of poetic brilliance. To repair the world, ‘tikkun olam’, requires nothing less than a replay of the Creation story, an act of eschatological nurture, possible only to the originating Creator and those first divine breaths that energised the spirit of God, brooding over the waters of chaos, intent on creating a world. 

The surrounding frame of triangles and a border in random muted colours, are held together by an unobtrusive thread of gold. That continuous loop of gold makes possible a ‘world charged with the grandeur of God.’ Like a power cable it carries energy, light and the power to renew and replenish.

Because the Holy Ghost over the bent
   World broods with warm breast and with ah! bright wings.

Here is the full text of God's Grandeur, G M Hopkins.

The world is charged with the grandeur of God.

    It will flame out, like shining from shook foil;

    It gathers to a greatness, like the ooze of oil

Crushed. Why do men then now not reck his rod?

Generations have trod, have trod, have trod;

    And all is seared with trade; bleared, smeared with toil;

    And wears man's smudge and shares man's smell: the soil

Is bare now, nor can foot feel, being shod.

 

And for all this, nature is never spent;

    There lives the dearest freshness deep down things;

And though the last lights off the black West went

    Oh, morning, at the brown brink eastward, springs —

Because the Holy Ghost over the bent

    World broods with warm breast and with ah! bright wings.

Comments

[Gail]

Beautiful poem. Beautiful tapestry.