by David Whyte
We are like children in the master’s violin shop
not yet allowed to touch the tiny planes or the rare wood
but given brooms to sweep the farthest corners
of the room, to gather shavings, mop spilled resins
and watch with apprehension the tender curves
emerging from apprenticed hands. The master
rarely shows himself but whenever he does he demonstrates
a concentrated ease so different from the willful accumulation
of experience we have come to expect,
a stripping away, a direct appreciation of all the elements
we are bound, one day, to find beneath our hands.
He stands in our minds so clearly now, his confident back
caught in the light from pale clerestory windows
and we note the way the slight tremor of his palms
disappears the moment they encounter wood.
In this light we hunger for maturity, see it not as stasis
but a form of love. We want the stillness and confidence
of age, the space between self and all the objects of the world
honoured and defined, the possibility that everything
left alone can ripen of its own accord,
all passionate transformations arranged only
through innocent meetings, one to another,
the way we see resin allowed to seep into the wood
in the wood’s own secret time. We intuit our natures
becoming resonant with one another according
to the grain of the way we are made. Nothing forced
or wanted until it ripens in our own expectant hands.
But for now, in the busy room, we stand in the child’s
first shy witness of one another, and see ourselves again,
gladly and always, falling in love with our future.
You can find this poem in The Sea in You.