Have you ever seen a piece of art that captures the quiet drama of a pivotal moment in history? Evie Hone’s Nativity Window, housed at the Manresa Jesuit Retreat House in Clontarf, does just that, but with a twist. It's not the idyllic scene you might expect. Let's dive into Daniel Reardon's poem inspired by this unique stained-glass masterpiece.
The poem opens with a surprisingly human portrayal of the Holy Family. Joseph isn't radiating joy; instead, he's depicted with his chin resting in his hand, a thoughtful, almost melancholic gaze in his eyes. Mary mirrors his concern, her expression suggesting a weight of responsibility. But here's the contrast: the newborn Jesus, bathed in a rosy glow, is beaming! He's not a passive infant; Reardon imagines him proclaiming, "Here’s Jesus! Saviour of Mankind.", arms outstretched, a tiny beacon of hope. It’s a bold and unconventional take – a confident, almost cheeky, Messiah from the very beginning.
Down the hill, the traditional scene unfolds: the three kings approach, laden with precious gifts, guided by a shepherd with his staff. The poem juxtaposes this familiar imagery with the intimate, almost domestic, scene of Joseph and Mary, creating a compelling tension.
But the poem is more than just a description of the window; it’s also a tribute to Evie Hone herself. Reardon acknowledges her artistic genius, describing her work as "exquisite, sublime." He touches upon her personal struggles – "You lived that sadness you made in Joseph’s eyes" – hinting at the pain and hardship she faced in her life. Hone, who died at just sixty years old, found solace and purpose in her art, transforming her suffering into something beautiful and enduring. And this is the part most people miss: the poem connects Hone's personal story with her artistic vision, suggesting that her own experiences informed her unique interpretation of the Nativity.
The poem ends with a poignant image of sunshine dancing through Hone’s stained-glass windows, a metaphor for the transformative power of art and faith. It suggests that Hone, through her art, not only found Christ but also shared Him with the world, illuminating the darkness with her "heavenly, heart-stopping, windows."
Reardon's poem beautifully captures the multifaceted nature of Hone's work. It's a celebration of art, faith, and the human spirit. But here's where it gets controversial... Is Reardon's interpretation of Jesus as a confident, even slightly sassy, newborn a fitting one? Or does it detract from the traditional image of a humble and vulnerable infant? And what about Joseph's sadness? Is it a reflection of Hone's own struggles, or does it represent something deeper about the burdens of parenthood and the weight of prophecy?
Daniel Reardon, the author of this insightful poem, is himself a poet, playwright, and actor, with a collection titled "Fond Pageant" published in 2018. His artistic background clearly informs his sensitive and nuanced reading of Hone's Nativity Window.
What are your thoughts on Hone's unconventional portrayal of the Nativity? Does it resonate with you, or do you prefer a more traditional interpretation? Share your opinions and interpretations in the comments below!
