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First Hymn of Cantor Gabriel of Qay A (Kiahk Vesper Praises)

2sma_germany

A hymn chanted during communion on the days of the Paramoun of the Nativity.

Istermagi (English) - Communion Hymn for the Paramoun of the Nativity

Melody for St. Samuel ♱ Kiahk (Live)  مديح للأنبا صموئيل ♱ كيهك

Eshop enshan erapsilin (Friday Theotokia)- Kerolis Said and Steven William

St. Marina Coptic Orthodox
The Hymns of Holy Week

O Only-begotten (English)

Response to Litany of the Clergy (Coptic)| Mina Ibrahim Ayad

Heaven-Haven

A nun takes the veil

I have desired to go
Where springs not fail,
To fields where flies no sharp and sided hail,
And a few lilies blow.

And I have asked to be
Where no storms come,
Where the green swell is in the havens dumb,
And out of the swing of the sea.

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https://www.poetrybyheart.org.uk/poems/heaven-haven
Gerard Manley Hopkins was a remarkably inventive and experimental Victorian poet. In his twenties Hopkins converted to Roman Catholicism and trained as a Jesuit priest and abandoned thoughts of continuing to write. However several years later when a ship carrying five Franciscan nuns was wrecked at the mouth of the Thames he wrote “The Wreck of the Deutschland”.

Very little of his work was published in his lifetime as Hopkins saw a conflict between his religious calling and the self-promotion that publication might suggest.  It was his friend and poet Robert Bridges who ensured that his poems were seen in 1918 nearly twenty years after Hopkins had died of typhoid fever.

He was a poet of great faith but also of doubt as can be seen in his sonnets known as the ‘Sonnets of Desolation’ or the ‘Terrible Sonnets’ where he struggles to come to terms with a sense of spiritual anguish.

Hopkins developed innovative techniques in poetry including “sprung rhythm” where stresses are counted rather than syllables in a line. His use of language is robust, energetic and at times defiantly experimental.

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https://allpoetry.com/Heaven--Haven:-A-Nun-Takes-The-Veil
In "Heaven-Haven: A Nun Takes the Veil," the speaker seeks sanctuary within a metaphorical haven, where eternal spring and tranquility prevail. The poem reflects the author's preoccupation with nature and spirituality, as seen in his other works such as "God's Grandeur" and "The Windhover." It also embodies the Victorian era's yearning for escape and the allure of the unknown.

The poem's simple language and regular meter contrast with the complex imagery it evokes. The "sharp and sided hail" and "green swell" of the sea represent the harshness and instability of the outside world, while "fields" and "lilies" evoke a realm of peace and beauty. The haven is described in negative terms, as a place "where no storms come" and "out of the swing of the sea," highlighting the nun's desire to withdraw from the chaos and uncertainty of life.

The poem's focus on refuge and safety aligns with the Victorian era's fascination with escapism and the search for a hidden world free from societal pressures. It also reflects the religious undertones of the time, with the haven representing the sanctuary and protection of God. However, the poem goes beyond mere escapism by suggesting that the speaker's search for refuge is a spiritual one, a longing for connection with the divine

First Hymn of Cantor Gabriel of Qay A (Kiahk Vesper Praises)

Bisho Elias

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