Of verse and spiritual joy

Charles Mifsud: Il-Blata Tiegħi: a collection of poems, self-published, 2011, 192 pp.

This is Charles Mifsud’s fifth collection of poems, and practically all of them are seeped with deep spiritual contemplation.

The poet almost transcends his intense emotions and often sounds ecstatically eager to to outdo himself- Alfred Palma

The book is divided into two sections: the first 131 poems are of a religious nature, all expressing unconditional love and belief in God and the joy of faith.

At times, particularly in the poems Darba Kellimni Alla, Ewkaristija, X’Naqbad Nitolbok, L-Istatwa M’hix Alla and Mulej Kif Nista’ Nifhmek?, the poet almost transcends his intense emotions and often sounds ecstatically eager to reach ever higher, to outdo himself and further charge his feelings, particularly gratitude and reverence, to his creator, and metamorphose his every verse into a long chain of intense prayers.

He does this with an astonishing ease generated by his love of God, and the awe with which he looks on God as the non plus ultra of everything, the source to which man has to refer if he is to ever find peace in this sick and troubled world.

The next 72 poems comprising the second part of this collection are dedicated to Our Lady.

Here, in his equally reverential love for the Virgin Mary, Mifsud excels in beautiful poems such as Nifs tas-sema, Hekk riedek imżejna, Marija Bambina, Nhar jum id-Duluri, Omm Alla and Verġni pura, which are like tiny hymns replete with spiritual passion, recalling his two oratorios Sultana ta’ Ġensna (2001) and Omm Ħelwa u Ħanina (2010) both dedicated to Our Lady.

In his foreword, Alfred Massa ad­mits that publishing religious poetry in this day and age, where materialism, greed and religious apathy prevail is no mean feat. Yet, this type of poetry, much akin to prayers, will benefit all those who would deign to read it for, in spite of everything, the primeval need of man to connect with the god-head will always be there, and therein man will always find some sort of solace in his struggle for existence.

The book’s cover depicts a rock being assailed by an angry sea, and the symbolism is immediately clear. The author’s faith is as steady as the rock, and both his faith and his poetry are a guarantee against the furious waves that relentlessly threaten him, his religious beliefs, and humanity. Mifsud’s poetry is mainly written in a traditional style but is far from tedious; its musical and fluent style enhances the lines; the poem is a prayer in its own way.

The 202 poems are a joy to read and will be a welcome addition to the other poetry collections of a religious nature, occasionally published locally. They will provide a spiritual contrast to the profane which, invariably, has always predominated poetry locally and abroad.