
The work explores themes of war, suffering, and the quest for divine presence amidst chaos. It begins with a speaker reflecting on the horrors of battle, personified by the "terrible daughters" of War, who evoke a sense of despair and questioning of God's existence. The speaker grapples with doubt and seeks solace, urging the heart to remain brave and to keep hope alive for a figure representing peace. As the battle rages, the imagery of angels and death creates a stark contrast between destruction and the yearning for divine protection. The speaker's internal conflict is evident as they call for God’s watchfulness and the need to maintain a sanctuary for peace amidst turmoil. The narrative shifts as the chaos subsides, and a voice beckons from the darkness, signaling the end of the storm. This moment signifies a transition from despair to hope, as the speaker is invited to witness the return of peace, symbolized by a figure adorned with divine splendor. The work concludes with a sense of renewal and the promise of tranquility, emphasizing the resilience of the human spirit in the face of adversity.
By Madison Cawein · First published 1902 · Genre: Poetry, Religious, War Literature · 374 words
/ Upon the iron crags of War I heard his terrible daughters / In battle speak while at their feet, / In gulfs of human waters, / A voice, intoning, "Where is God? " in ceaseless sorrow beat: / And to my heart, in doubt, I said, / "God? -- God's above the storm! / O heart, be brave, be comforted, / And keep your hearth-stone warm / For her who breasts the storm -- / God's Peace, the fair of form. " / I heard the Battle Angels cry above the slain's red mountains, / While from their wings the lightnings hurled / Of Death's destroying fountains, / And thunder of their revels rolled around the ruined world: / Still to my heart, in fear, I cried, / "God? -- God is watching there! / My heart, -- oh, keep the doorway wide / Here in your House of Care, / For her who wanders there, / God's Peace, with happy hair."
The Iron Crags is listed on Textopian as a poem by Madison Cawein, dated 1902 CE.
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