Poem Analysis - Jonathan Edwards

Introduction: A Vision of Eternal Judgment

Jorge Luis Borges' "Jonathan Edwards" is a compact and unsettling meditation on the nature of divinity and damnation through the lens of the 18th-century American theologian. The poem evokes a sense of serene, almost pastoral, detachment, only to subvert it with a chilling perspective on divine justice. Its tone is initially peaceful and contemplative, shifting to a more disturbing and ironic acknowledgment of Edwards's rigorous theology. The poem creates a portrait of Edwards as both enmeshed within and set apart from the natural world.

Edwards in Eternity: Isolation and Divine Contemplation

The poem opens with Edwards existing in a realm "far from the city," separated from the common concerns of humanity and "mutable" time. This establishes a sense of isolation, suggesting that Edwards is now in a state of eternal contemplation, freed from earthly distractions. The imagery of "trees tinged with gold" creates a beautiful, almost idyllic setting, yet this beauty is immediately juxtaposed with the harsh realities of Edwards' theology, foreshadowing the disturbing content to come.

Wrath and Felicity: The Theme of Predestination

The central theme of the poem revolves around the doctrine of predestination, a core tenet of Edwards' Calvinistic beliefs. Borges highlights Edwards' perceived "felicity" in the idea that the world exists as "an eternal instrument of wrath." This implies a sense of satisfaction in the belief that most of humanity is destined for hell. The phrase "longed-for celestial" emphasizes the exclusivity of salvation, reinforcing the idea that "very few" are chosen, while "nearly all" are condemned. This grim perspective underscores the poem's unsettling tone.

God, the Spider: A Disturbing Symbol of Divinity

The most striking image in the poem is the metaphor of "God, the Spider" at the center of the "gigantic web." This symbol evokes a sense of cold, calculating control, suggesting that God is not a benevolent shepherd but a detached architect of suffering. The web represents the vast and intricate system of predestination, trapping individuals within its inescapable design. Moreover, God, too, is a "prisoner," possibly suggesting that even the divine is bound by the logic of its own creation. This unusual and disturbing depiction of God encourages us to question the traditional understanding of divine power and its implications.

The Ambiguity of Ambience: Natural Beauty vs. Divine Justice

The "serene ambience" described in the second stanza presents an interesting ambiguity. On the one hand, it signifies the divine perfection and unity inherent in God's creation. On the other hand, it could be interpreted as a deceptive facade, masking the underlying harshness of divine justice. Is the beauty of the "gold of the afternoon or of the moon" a reflection of God's love, or is it a cruel reminder of the beauty that will be forever denied to those destined for inferno? This unresolved tension adds to the poem's unsettling power.

Concluding Thoughts: A Critical Portrayal

"Jonathan Edwards" is not a simple celebration of faith, but a complex and critical engagement with a particular theological vision. Borges uses vivid imagery and ironic tone to present a portrait of Edwards as both a man of profound conviction and a proponent of a potentially terrifying doctrine. The poem ultimately challenges readers to confront the implications of predestination and to question the nature of a God who could design such a system. Through its stark imagery and unsettling conclusions, Borges's poem creates a lasting impression of doubt and discomfort surrounding traditional religious notions of justice and salvation.