Edward Abbey Runs from Humanity, Runs from God

Environmentalism is a major force in Western society today. Inherent in the “ism” of environmentalism is a sense of ought-ness for human involvement in the world. Christianity insists that man made in God’s image is responsible for his stewardship over God’s creation. Is environmentalism compatible with Christianity? Perhaps the terms of this question are too complex and broad for a simple answer. The questions I begin to explore in this essay are more precise. Is environmental literature, in its popular expressions, compatible with a historic Christian worldview? Is popular environmental literature even consistent with its own worldview? I don’t claim to provide an infallible, absolutely conclusive answer to these questions, but I do make some specific claims about a specific, foundational work of environmental literature.


Edward Abbey Runs from Humanity, Runs from God

In Desert Solitaire, Edward Abbey tells the story of his time as a park ranger in Arches National Park in Utah. Throughout the novel, two major themes are apparent, his disdain for human culture and his disdain for God. During his sojourn in the wilderness, he regularly relates his aversion for these two realities. In fact it seems that a significant reason that he takes the position as a ranger is to try to escape both society and God. Abbey’s relationship with humanity and the question of God’s existence are both themes that the author never fully resolves in the novel; the tension present throughout the book remains at the end. It is my argument that Abbey’s time in the desert is an expression of his running from and resistance to humanity and God. In both cases, he is not successful; both humanity and God are inescapable realities with which Abbey is forced to deal one way or another.

Abbey’s Role in Literature in General

One of the great values of literature is its capacity to help connect the reader with aspects of life experience that could otherwise easily go unnoticed in the bustle of everyday life. Whether constructing a fictional story or retelling actual events, the author of any piece of literature chooses which elements he includes in his work. Literature is constructed by the author and experienced by the reader, so it has the opportunity to provide insights into both the author’s view of the world and the common experiences shared between author and reader. As one writer states, “Literature abstracts from the complex events of life (just as we do all the time every day) and can reveal patterns that are like patterns of events in the real world. Studying literature can give us sensitivity to those patterns. This sensitivity to the rhythm of life is closely connected with what the Bible calls wisdom” (Leithart 13). As Leithart puts so well, those insights a reader can gain from literature have to do with the “rhythm of life” and even “wisdom”. As I discuss humanity and God in Desert Solitaire, I will be interested in seeing what can be discovered about Abbey’s perspectives on these areas of life and to what extent this perspective of his comports with reality.

Abbey’s Role in Environmental Literature

Abbey’s emphasis on man’s relationship to the environment places his writing in the modern category of “environmental literature”. Since this genre is primarily concerned with teaching, or at least proclaiming a particular way of viewing the natural world and man’s position in it, it tends to come across as what is commonly described as “preachy”. In order to minimize the perception of inherent “preachy” voice of such a piece of literature, Abbey makes use of heavy sarcasm. However, as a work of environmental literature, Desert Solitaire embodies a concern for the morality of man’s dealing with nature and the responsibilities that he has toward nature. In dealing with these questions, environmental writers such as Abbey introduce both an important insight into the rhythm of life in the natural world and a fundamental philosophical inconsistency into their arguments. Loren Wilkinson, writing from a liberal theological perspective, makes a keen observation about environmental literature that is relevant for this discussion and also consistent with historical Christian thinking:

“But perhaps uniquely, environmental literature has the capability of revealing the inadequacy of some of its own foundations. For the more environmental literature is informed by an ethical urgency, the more it impels a recognition that “environment” is “creation” (at least this particular corner of it), and concern for its care is not consistent with a monism (whether pantheistic or naturalistic) that recognizes neither Creator nor the unique nature of the human person within creation” (Wilkinson).

Wilkinson’s insight into the fundamental incongruity of naturalistic assumptions with notions of moral imperatives regarding man and nature can be noted throughout Abbey’s work. I will provide illustrations of such inconsistencies as I argue for Abbey’s running both from human society and God.

Running from Humanity

Just another animal?

Throughout the account of Abbey’s time in the desert, he tries to distance himself as much as possible from humanity; this is the solitaire part of Desert Solitaire. To account for this intentional distancing, and to measure his success or failure in this goal, it is helpful first to note how he perceives human society. Edward Abbey is not a friend of humanity. When he speaks about humans, especially in contrast to nature, Abbey assumes a scathing, sarcastic tone. One such example comes early on as he considers whether or not to kill a snake that has taken up residence beneath the steps of his trailer: “…I have personal convictions to uphold. Ideals, you might say. I prefer not to kill animals. I’m a humanist; I’d rather kill a man than a snake” (Abbey, Desert 20). It is hard to tell whether he is simply being sarcastic here or if this is a moment of candor for Abbey. One would like to think that his preference of killing a man over a snake is just a snarky joke, but this hope may not be entirely justified given the recurring nature of such sentiments throughout the book. Though he vacillates over his approval or disapproval of other humans during his time in the desert, the same sense of disdain for humanity shows up on numerous occasions.

One way to account for this disdain may be seen in the following line from a letter sent to a local newspaper: “I merely wish to insist that we must stop pretending that we are somehow different from, or in some fashion superior to, the other animals on this planet” (Abbey, “Letters”). This statement is taken from a letter in which Abbey pronounces his blessing upon a potential crash of human population. He is declaring the beneficial results of such a calamity, saying that it would be good since we are really just the same as any other species of animal and a population crash would reduce our consumption of resources. For Abbey, there is supposedly no meaningful distinction between human beings and animals. We are merely one twig on the great evolutionary tree of life. However, it is worth mentioning here that such a failure to distinguish clear differences is inconsistent with Abbey’s imperatives about how humans ought to behave. Inherent in his statement is that human beings, through belief and action, have a say in whether or not we act or think as if we are on the same level as animal life. Implicitly, then, Abbey’s statement serves as an example of the principle that Wilkinson affirms.  Abbey’s end-goal is that human beings should maintain what he would consider a sustainable population size, namely 25 million, as he points out later in the letter. Regardless of the wisdom (or lack thereof) of his ideal, there is a moral imperative of man in his relationship toward nature that is implied here, and that moral imperative is absolutely inconsistent with his godless worldview. A consistently naturalist worldview simply does not have the capability of providing a foundation for morality. Morality is a sort of law; it necessarily comes from a lawgiver.

Not only is there a moral ought-ness in Abbey’s stance regarding humans and nature, but there is a recognition that humans are uniquely equipped with something that sets us apart from nature. A human being can, by Abbey’s own admission, pretend to be of more value than he is. Presumably, he wouldn’t have similar complaints about any of the animal species. If one species is eating too many of another species, the predator is just doing its job, and responsibility falls on humans to correct the problem. Here is where the distinction becomes clear. Humans can reason and consider their place in relation to the world and to God, which ability is a part of what it means to be made in God’s image, whereas there is no indication that animals have such thoughts. However, to admit that there is a fundamental distinction between humans and animals leads to the conclusions that man is not merely the product of naturalistic evolutionary processes and the universe is not merely matter in motion. In other words, if humans are moral creatures, they are in essence more than super-evolved animals, and the source of that difference is the Creator God. Abbey doesn’t recognize the fallacious nature of his position on humans as being just another part of nature, but this position does serve as a foundation for other positions that he takes regarding human society throughout Desert Solitaire.


Building on his perception of human beings and their place in the world, Abbey regularly employs his sarcasm on the subject of human beings and their reliance upon technology, culture, and especially religion. At one point, he writes, “An increasingly pagan and hedonistic people (thank God!), we are learning finally that the forests and mountains and desert canyons are holier than our churches. Therefore let us behave accordingly” (Abbey, Desert 65). Abbey has an especially sardonic tone for Christian beliefs, but more will be made of this later in the essay. Abbey never clearly delineates where he believes wilderness should begin and end, but he does insist on several occasions that automobiles should not be allowed in it. The overall mood of Desert Solitaire suggests that humanity has far too much of an impact on the world, and by extension that it should have far less of an impact. How could Abbey’s naturalist ideals be accomplished? In the “Polemics…” chapter, he presents a plan, and the foundation for that plan is the restriction of human population. He doesn’t lay out any specific numerical goals for population in Desert Solitaire, although the previously referenced letter mentions that the world population of humans should be limited to 25 million. Of course, he has his own suggestion for how humans can fix the population issue as well. If there are too many people, “we may soon have to make birth control compulsory” (Abbey, Desert 136).  But is Abbey’s lifestyle consistent with his ideals for human societies?

Except for a few short moments in the book, Abbey is disparaging toward humanity and things that are associated with human society and culture. In particular, he is against automobiles in the parks and belittles tourists for their dependence on societal conveniences (Abbey, Desert 64,65). However, Abbey himself is really not so different than those he mocks. As one man in the desert, he represents all the things of which he disapproves in others. “About once a week I put on my pants and walked up to the Indian village to buy bacon, canned beans and Argentine beef in the little store” (Abbey, Desert 248). Abbey is completely dependent upon the human society from which he is supposedly trying to escape. Whenever his food runs out, he goes to the store rather than hunting or providing his own food. He eats the bacon that comes from a farm and is distributed and sold by businessmen. On a number of occasions in the novel, Abbey feeds on canned beans. He even lives in a trailer with a petroleum-powered generator and drives a petroleum-powered truck through the park! He never fully leaves society behind, but takes it with him. In another case, he goes back to town to buy a new pair of shoes when his are worn out (Abbey, Desert 285). He still depends upon the civilizational infrastructure that must be in place to provide for all the manufactured conveniences that he requires.

Beyond the items that Abbey consumes while in the desert, the very nature of his being there is also inconsistent with his professed values. Abbey is a Park Ranger, employed by the Federal Government of the United States of America. The source of his income is a paycheck from this government. The Federal Government and its public services are paid for through tax revenues of American citizens. In other words, human society and economy together serve as the backbone that makes Abbey’s wilderness sojourn possible. In such a situation, completely dependent upon and representative of human society, Abbey expresses disapproval of the very nature of that society. As he uses money produced through the American economy to buy a can of beans produced, distributed, and sold through the American socio-economic system, and as he drives his government truck from one spot in the park to another, Abbey writes that people should keep out of the wilderness, or at least not bring their automobiles. One would think that so many inconsistencies were bad enough, but the irony goes even deeper than this.

Edward Abbey, hired by the Park Service as a Ranger of Arches National Park, and running from humanity in that park has a problem that cannot be solved by either clever argumentation or change of lifestyle; Edward Abbey is a human being. In his effectively anti-human stance, regardless of practical inconsistencies, Abbey is a part of the very community that he sees as the problem with nature. Deep in the wilderness, Abbey seems to feel the most separated from the rest of humanity. At one point, he entertains the idea that he has somehow joined the natural order of predators and prey as he kills a rabbit hopping around near his trailer:

“What the rabbit has lost in energy and spirit seems added, by processes too subtle to fathom, to my own soul. I try but cannot feel any sense of guilt. I examine my soul: white as snow. Check my hands: not a trace of blood. No longer do I feel so isolated from the sparse and furtive life around me, a stranger from another world” (Abbey, 40).

Abbey sees this experiment as a success. He has left the world of mankind and entered the natural order. He seems to relish the fact that he’s become a predator in the wild, but there is a problem. Predators kill their prey for sustenance, but Abbey kills the rabbit because he can, as an experiment. Once again, Abbey reveals that he cannot truly disconnect from his humanity. This is another example of a uniquely human ability to experiment, pretending to be something other than what he is to measure the resulting emotional response. He leaves the dead rabbit to decomposition or scavenging, and grabs a sandwich to satisfy his hunger just two paragraphs later. His failure truly to connect with nature reinforces the notion that humans are separate from nature. As much as Abbey would like to entertain the thought of being just another part of nature, he remains the very thing he seems to despise, a human being.

Running from God

What is God?

Abbey’s problems with humanity are reflected and rooted in his problem with God. There are many different variations of belief regarding the nature and existence of God. In a popular understanding, “God” can mean anything from a powerful being with any number of different qualities and attributes to a genetic condition of emotional feelings resulting from evolutionary processes. The former is represented in the numerous religions and sects that exist, the latter in naturalistic expressions such as one character from a popular Margaret Atwood novel: “God is a brain mutation, and that gene is the same one birds need for singing” (Atwood, 377). When I argue that Abbey is running from God, I’ll be referring to the Triune God of the Christian Scriptures. After all, Christianity has been very influential in the culture and life of Western society. To be clear, this God who is revealed in the Bible is characterized by certain attributes: “God is a Spirit, infinite, eternal, and unchangeable, in his being, wisdom, power, holiness, justice, goodness and truth” (Westminster). This is the God from whom Abbey is running in the desert.

Abbey the Atheist

As Abbey’s language concerning human society is sarcastic and disparaging, so it is with his language about God. He is agnostic at best, but much more likely atheistic. Abbey has a sarcastic sense of humor, but when God is the subject, his tone is almost always sardonic. Previously quoted, Abbey states, “An increasingly pagan and hedonistic people (thank God!), we are learning finally that the forests and mountains and desert canyons are holier than our churches. Therefore let us behave accordingly” (Abbey, Desert 64). This is one example of how Abbey flippantly mentions God to make an ironically humorous point. Statements like this are certainly more consistent with one who “sits in the seat of scoffers” than the blessed man of Psalm 1 whose “delight is in the law of the LORD” (Psalm 1:1, 2). Abbey doesn’t here explicitly proclaim a system of atheism, but his words and tone are clear in demonstrating that he rejects the Christian God.

In another work, Abbey responds to the idea that creation is a gift of God by decrying “the constant name-dropping. Always of one name. People who go around muttering about God make me nervous. It seems to me that the word mystery, not capitalized, should suffice” (Abbey, Abbey’s 20). Abbey seems willing to admit that he does not have a definite answer for life’s big questions. Questions like, “How did we get here?”, and “What is our purpose?” naturally arise from human experience and are exacerbated by the denial of God as Creator. Abbey’s insistence that we be content to attribute nature as the product of mystery rather than the gift of God is further evidence that he does not merely question the existence of God, but outright denies it.

To Meet God or Medusa face to face

With such a perception of God, and with the previously discussed dislike for humanity, I argue that a second aspect of Abbey’s sojourn in the wilderness is a desire to escape the nagging doubts of his atheism. In other words, he is running from God. In one of the defining passages of the novel, Abbey says that he wants “to meet God or Medusa face to face, even if it means risking everything human in [him]self” (Abbey, Desert 7). Taken at face value, one might think that Abbey is on a spiritual mission to find God in the desert. How then is it that I can say that this passage is an expression of Abbey’s desire to escape God? In large part, this conclusion derives from the stipulations that Abbey puts on how God must be found. Abbey’s approach is similar to the Transcendentalist writer, Ralph Waldo Emerson, who rhetorically asked, “Why should not we also enjoy an original relation to the universe? Why should not we have a poetry and philosophy of insight and not of tradition, and a religion by revelation to us, and not the history of theirs?” (Emerson 1). If Abbey is “to meet God or Medusa” it will be “face to face” and on his own terms. In the same paragraph where Abbey expresses this intention to meet God, he says that he wants to see nature “as it is in itself,” even “to confront, immediately and directly if it’s possible, the bare bones of existence” (Abbey, Desert 7). Not unlike the quote from Emerson, this expectation of an immediate experience of God or Medusa in nature illustrates just how far Abbey is from desiring a true encounter with the Living God.

Abbey’s words indicate that he has a presupposed notion of what nature is, why we are here, and how God, if such a being exists, may be encountered. He doesn’t explicitly lay out a positive case for the answers to these big questions—and it does appear that he is searching for answers of some kind—but he reveals enough of his worldview for the reader to determine what he believes the answers are not. Whatever Abbey’s notions are about the natural world and how God may be encountered, he does not allow for the Christian belief of God’s revelation. According to the Bible, God reveals himself in creation and in Scripture. Regarding his revelation in the creation, it says that “[God’s] invisible attributes, namely, his eternal power and divine nature, have been clearly perceived, ever since the creation of the world, in the things that have been made. So [all men] are without excuse.” (Romans 1:20). By this argument, one needn’t go searching somewhere for God, because his “eternal power and divine nature” are already “clearly perceived” by all men. However, the Bible also teaches that although the natural knowledge of God is enough so that all men are “without excuse”, God has revealed himself in Scripture so that men may know him personally, and so that they may know what he requires of them. In another place, it says, “All Scripture is breathed out by God and profitable for teaching, for reproof, for correction, and for training in righteousness, that the man of God may be complete, equipped for every good work” (2 Timothy 3:16). If the God of the Bible is what is meant by “God”, then he must be sought out in his inspired Scriptures and not in “immediate” experience.

Abbey insists that if God exists, then he must be accessible through “immediate” experience in nature; he assumes that an immediate experience is possible and that this experience will reveal to him nature or God as it really is. This method of experiencing God is one that Abbey has stipulated, but as previously pointed out, the sovereign and all-powerful God of the Bible is able to determine for himself how he will be experienced by his creatures. On the subject of man’s knowledge of God in creation as taught in Romans 1, Christian theologian K. Scott Oliphint writes,  “To claim to know something while thinking it to be independent of God (or to deny that there is a God) is to fail to know it for what it really is. Whatever it is, it is created and sustained by God at every moment” (Oliphint 42). Abbey professes a desire to know nature as it is in itself, or as it really is, but his language throughout Desert Solitaire reveals that he has already written off the notion that nature “is created and sustained by God.” Following the logic of Romans 1, Abbey’s presupposed nature of things as they really are, is actually an expression of how men “by their unrighteousness suppress the truth” (Romans 1:18). In approaching his quest for an experience of nature in a way that necessitates seeing it apart from its relationship to God, as creation, Abbey is actually determined not to see things as they really are. His quest is in vain. Furthermore, his concept of what God is and how he may be experienced is evidence that he isn’t really searching for God “as [he] is in [himself]”; Abbey has a preconceived notion of how he thinks God should be, and that notion is much closer to Abbey the creature than to God, the autonomous Creator, revealed in Scripture.


In one of the didactic sections of the book, Abbey presents his view of the natural world as a sort of gospel that ought to be published. He writes that the animals “do not lie awake in the dark and weep for their sins” (Abbey, Desert 23). After a couple sentences describing evolutionary relationships, he writes, “We are obliged, therefore, to spread the news, painful and bitter though it may be for some to hear, that all living things on earth are kindred” (Abbey, Desert 23). Although there is no explicit mention of God here, there are certainly religious overtones. By his own language, Abbey is calling up and rejecting Christian teaching about sin and God’s provision of salvation for that sin. The implication is that the Christian Gospel of salvation from our sin by faith alone in the atoning work of Jesus Christ alone is not worth our concern and effort to proclaim to others. He is here supplanting the Christian Gospel with a new gospel of evolutionary inter-species relatedness and the naturalist worldview from which that belief springs; it would follow, then that the Christian Gospel is not true. He presents the new evolutionary gospel as something for which we are morally obliged to spread. Again, however, the reader is faced with a moral imperative to take particular action, but the worldview Abbey is promoting is an insufficient foundation for this kind of moral imperative.

There are many such passages in Desert Solitaire where Abbey mentions God or alludes to Scripture in order to somehow strengthen his arguments against Christian teaching and in favor of a naturalist view of the world along with those moral imperatives that Abbey promotes. I earlier pointed out how Abbey’s resistance to humanity is futile, ultimately because he himself is human and cannot separate himself from what it means to be a human being. Likewise, Abbey’s resistance to the God of the Scriptures is futile; he can never truly escape this God of whom it is said, “And no creature is hidden from his sight, but all are naked and exposed to the eyes of him to whom we must give account” (Hebrews 4:13). But, again one wonders, if Abbey is convinced that his objections to the Christian faith are correct, is my argument for the futility of his anti-faith merely a matter of ipse dixit? Christian apologist, Cornelius Van Til wrote, “Arguing about God’s existence, I hold, is like arguing about air. You may affirm that air exists, and I that it does not. But as we debate the point, we are both breathing air all the time” (Van Til). This analogy of an argument about air is consistent with the Biblical teaching that “[The Lord Jesus Christ] is before all things, and in him all things hold together” (Colossians 1:17).  Like the hypothetical doubter from Van Til’s analogy, Abbey relies completely on God to deny him and belittle any notion of Him. Not only does Abbey live in God’s world, reliant upon God’s sustaining power for his own continued existence, but Abbey provides his own analogy, similar to this quote from Van Til, as he regularly mentions God and alludes to biblical passages in the expression of his unbelief in the God revealed therein.


Edward Abbey is known because of his role in environmental literature and the promotion of environmental causes. The concern that he shows for preserving and not destroying the natural world in Desert Solitaire is admirable and worthy of consideration. However, as the Wilkinson quote and my arguments demonstrate, Abbey’s worldview provides an insufficient foundation for the moral imperatives required to construct an environmental ethic. Insofar as Abbey opposes humanity as a special creation of God, he destroys any moral foundation for man to protect the natural world, even from man himself. And insofar as Abbey opposes God as Creator, he likewise destroys any moral foundation for the natural world to have any inherent value. Sadly, in pursuit of his goal to argue on behalf of nature, he chooses to attack the God of Scripture who is the only coherent foundation for any argument. Abbey has to deal with the inescapable realities of man and God, but he does so in ways that are inconsistent with the values he professes. In maintaining a devotion to these professed values, even in spite of their lack of foundation in his worldview, Abbey actually give credence to the Christian worldview that he seeks to suppress and destroy. That is to say, Edward Abbey is God’s creature, and as a man, he has been given a certain responsibility over God’s creation. Though Abbey runs from humanity and God, and though a tense unbelief remains in the end, he cannot truly escape the One “to whom we must give account” (Hebrews 4:13).


Works Cited

Atwood, Margaret. The Year of the Flood. Knopf Doubleday Publishing Group, 2009. Kindle Edition.

Emerson, Ralph Waldo. Nature. James Munrow and Company, 1849. Kindle Edition.

Leithart, Peter. Brightest Heaven of Invention. Moscow, Idaho: Canon Press, 1996. Print.

Oliphint, K. Scott. Covenantal Apologetics: Principles and Practice in Defense of Our Faith. Crossway, 2013.  Kindle Edition.

Van Til, Cornelius. Why I Believe in God. Center for Reformed Theology and Apologetics, 1996. Barlow, Jonathan ed. Web. 19 Nov. 2014. <http://www.reformed.org/apologetics/index.html?mainframe=/apologetics/why_I_believe_cvt.html>.

“Westminster Shorter Catechism”. Center for Reformed Theology and Apologetics. Web. 2014, November 20. <http://www.reformed.org/documents/wsc/index.html?_top=http://www.reformed.org/documents/WSC_frames.html>.

Wilkinson, Loren. “Pilgrims at home: The mutual challenge of christendom and environmental literature”. Christian Scholar’s Review. 32.4. (2003): 413. Web. 2014, Nov. 7. <http://proxying.lib.ncsu.edu/index.php?url=/docview/201277649?accountid=12725>


Seeing the Creator in Creation – Anne Bradstreet’s “Contemplations”


The full text of “Contemplations” can be accessed by clicking this link.

In “Contemplation”, Anne Bradstreet illustrates the Christian understanding of the natural world as a source of divine revelation that points to its Creator. Throughout the poem, she ponders some of the beauties and curiosities of nature and then demonstrates how these various aspects serve as signs of the greater, transcendent beauty of the God who made all things. Although she accomplishes this throughout the whole of the poem, a particular stanza may be considered to highlight some of the ways that she relates nature, in this case the sun, to God:

“Art thou so full of glory that no Eye
Hath strength thy shining Rays once to behold?
And is thy splendid Throne erect so high?
As, to approach it, can no earthly mould.
How full of glory then must thy Creator be?
Who gave this bright light luster unto thee:
Admir’d, ador’d for ever be that Majesty.” (Bradstreet)

In this stanza, Bradstreet portrays the sun’s attributes as signifying attributes of God by considering the strength of the sun’s appearance, the loftiness of the sun’s position relative to the earth, and the source of the sun’s brightness.

Bradstreet begins this stanza by considering the strength of the sun’s appearance. Having first examined a great oak with its autumnal hues, her gaze is directed further upward to the “glistering Sun” which shines through the earth-toned leaves. She describes the sun in terms of its glory, that is, the shining of its rays. The shining of these glorious rays is what directs her to consider the sun in the first place. She says that it is full of this glory. If there is a direct link between the words “glory” and “rays”, then Bradstreet could well be considering this great orb as so full of this glory that it pours it out onto the earth below. Through her words and the composition of autumn imagery, the trees, leaves, and shining sun, she frames a picture of great beauty, capturing the picture that is on display for her. She notes the medium through which she perceives this picture. She beholds the scene through her eyes and notes that the eye is too weak to look directly at the sun. Such is the strength of this sight, according to Bradstreet, that even to look once is too much. As anyone peering at the sun has experienced, one must quickly turn one’s eyes away; the brightness is too intense. Even then, the image lingers as a shadow for some time. Perhaps it is this overpowering of the eye that Bradstreet has in mind when she says, “…no Eye hath strength thy shining Rays once to behold.”

In what may be seen as the second section of this stanza, Bradstreet moves from considering the sun’s appearance to its lofty position relative to earth. A “splendid Throne” is how she describes the sun’s location above her vantage point. A throne suggests the ruler who sits on it, and a ruler is one vested with power to rule over something. Bradstreet’s poetic language calls to mind the creation account where God makes the sun “…to rule over the day…” (Genesis 1:18 ESV). In using the word “splendid”, she calls to mind the previous two lines about the sun’s glory. But the greatness of the sun’s throne doesn’t merely consist in its outpouring of visible “glory”, but in its great height. It is so high, she says that “no earthly mould” can approach it. That is to say that this great sun, which is so bright that one dare not look directly at it, is situated so high that one could not hope to attain to its height. She specifically says that no earthly mould can “approach” it. In Bradstreet’s estimation, the sun is of such a high and lofty position that, try as it might, nothing of earthly origin can close the gap between them. The distance is too great. The sun is, as it were, in another realm altogether.

In the latter three lines of the stanza, Bradstreet shifts from the appearance and position of the sun to the source of its creaturely attributes. In typical Christian fashion, Bradstreet uses the inspiration of awe and wonder stirred up by some part of nature as a sort of symbol or sign that points to the God who created it. In response to the glory of which the sun is full, she asks the sun about the fullness of the Creator’s glory, and from whom he received his bright light. In response to the sun’s great height, she speaks of this Creator’s “Majesty”. She clearly distinguishes between the sun as a created object and the Creator who made the sun, gave glory and luster to it, and placed it in unapproachable heights in its splendid throne. In making this Creator-creature distinction, and in asking the question “how full of glory then must thy Creator be,” she is implying that, as awe-inspiring as the sun is, the one who is responsible for its existence must be as glorious and high and powerful to the sun as the sun is to us.

Her conclusion, then, is understandable. Rather than continuing to reverence the creation, she judges that the one who is so much greater should be “Admir’d, ador’d for ever.” The choice of these two words, “Admir’d” and “ador’d”, coupled together suggests that Bradstreet is well acquainted with the answer to the first catechism question memorized by many Protestants in the 17th Century, “Man’s chief end is to glorify God, and to enjoy him forever” (Westminster). How can one glorify one who is so much more glorious than the sun but by admiring Him? How can one enjoy one who is so much higher than even the sun on its inapproachable throne but to adore Him? And if this Creator is so great, then it is no surprise that Bradstreet, along with the Westminster divines who formulated the catechism answer, would choose to admire and adore Him “for ever”, with no end in sight.

In the form of written word, Anne Bradstreet preserves the visual experience of an autumn day, marking the appearance, height, and source of the sun’s greatness. In so doing in this section and throughout the poem, she echoes the teaching of Psalm 19, seeing in the natural world an opportunity to pay homage to the Creator.

“The heavens declare the glory of God,
and the sky above proclaims his handiwork.
Day to day pours out speech,
and night to night reveals knowledge.
There is no speech, nor are there words,
whose voice is not heard.
Their voice goes out through all the earth,
and their words to the end of the world” (Psalm 9:1-4 ESV)



Work Cited

“Westminster Shorter Catechism”. Center for Reformed Theology and Apologetics. Web. 2014, September 12. <http://reformed.org/documents/wsc/index.html>.