THE SONGS OF MUSIC
THE SONGS OF MUSIC
By E. L. TEDDY
Never stop the beat.
And I shall forever sing the melodious harmony;
Well blended into the sweet sounds of music.
Sing to me the songs of music.
And I would but empty my jar.
I would burn this tin fuel, the Wailers gave...
Never look me in the face, for then I shall be but
Truly a man.
Never take my speech, for I do not know.
And never ask after the beat. Who cares? Do I know?
The skilled conga romancer has torn my skin, my very vellum.
The strength of the tension, the dead sound.
The beauty of the string when unbroken.
The king dances, and like banana he peels.
Sing to me the songs of music.
And I would care so much for my guitar.
I would run my finger all over the fretboard.
I would talk to my giraffe friend.
About the beauty of the beats and the steps of those
Who think they are sound.
Be careful. There are voluntary judges.
Be mindful. Let them respect jurisdiction.
What's the chord? Point your touch!
A little progress by little progress.
A settled mind.
Place that elephant on the sustaining pedal.
But think of your weight.
Sing to me the songs of music.
And I would know which cord to trust.
Where to lift or place my foot and who to blame.
Who to but look when off-key calls.
And who to praise when sound blends.
As I befriend the duo colour, I wed the band.
Adjust a little.
How can your horn, so point and gaze so deeply into my eyes?
I know that your lips so red-like,
For you are so great a professional.
Sing to me the songs of music.
And I would wish you free not the valve.
And as a music mouthpiece, spare not the mouthpiece.
The bugle's cry mustn't crack, less the laugh.
The wind bender mustn't farm, if only he must live.
Let him naturally be.
And we, who hears; shall always praise his horn and the power of the bender.
Lead.
Please lead.
Easy, easy, okay!
Be not hastily in love to reach the peak.
Be it lento, grave, moderato, allegro, or prestissimo.
No one should be in isolation. The played, the player, even the one who reads.
Sing to me the songs of music,
And I would not my peace let be.
If the tune is to me an alien,
I would but hum. Does that make me no singer?
Man! It shall be said, "Pro is the lead singer."
I'm only a borrower.
The credit is the Lord's.
"Sing to me the songs of music, and I would but empty my jar."
ATMOSPHERE FOR PERFORMANCE
The atmosphere of this poem is musical, energetic, celebratory, humorous, reflective, cultural, instructional, and ultimately spiritual.
As I move through the poem, I take;the reader through different parts of a musical performance. I begin with the drum and percussion. I move to the guitar and strings. I proceed to the piano or keyboard. I then move into wind instruments and finally arrive at the vocalist.
The poem therefore feels like a musical performance unfolding before us. There is dancing, singing, playing, listening, judging, correcting, coordinating, and praising.
But underneath all of that enjoyment is a deeper message about professionalism, cooperation, discipline, talent, and humility. And after showing all these human abilities, I finally bring everything back to God.
AUTHOR'S NOTES
When I began writing THE SONGS OF MUSIC, I was not trying to write a technical textbook about music.
I was trying to capture what music does to me and what I see happening whenever different sounds, instruments, musicians, singers, and listeners come together.
I have always been fascinated by the way music can affect the human soul. Sometimes one beat can change an atmosphere. Sometimes one guitar can change the mood of a gathering. Sometimes a keyboard chord can give a song its emotional direction. Sometimes the sound of a trumpet, saxophone, trombone, tuba, or bugle can immediately command attention.
And sometimes, whe all these things come together, something happens that is greater than the individual sounds.
That is the beauty of music.
I therefore decided to build this poem instrument by instrument. I began with the drum because the beat is one of the things that first captures the body. A professional drummer can make a drum speak. The sound can become so powerful that the listener begins to dance, drink, smoke, laugh, forget himself, and simply surrender to the rhythm.
That is why the first stanza carries references to the Wailers, the jar, the beat, the conga, the skin, and the intoxicated listener.
Then I moved to the guitar.
Here, I became interested in the string, tension, fretboard, fingers, and the cooperation between musicians. The guitar cannot simply be played anyhow. Its strings must have the right tension. The musician must know where his fingers should go. And when musicians perform together, they must listen to one another.
That is where my "giraffe friend" comes from.
The giraffe represents the musician stretching his neck to listen carefully to the note or key another musician is producing.
Then I moved to the piano or keyboard.
Here I introduced the chord, touch, sustaining pedal, foot, weight, and the question of who should be blamed when something goes wrong and who should be praised when the sound blends.
The expression "A little progress by little progress" has a personal story behind it. My cousin, whose name is Progress, once taught a little girl how to play the piano. She was learning very well, even though she was still a beginner. So I used the name Progress and the idea of progress to shade light on that expression.
The elephant on the sustaining pedal is another playful image. The elephant represents the weight of someone's leg or foot on the pedal. I am simply warning the musician to be careful about how much pressure is applied.
Then came the wind instruments.
Here I am talking about instruments such as the trumpet, trombone, tuba, saxophone, bugle, and others.
I became interested in the lips, mouthpiece, horn, breath, and the discipline required to produce a smooth sound.
The bugle reference is personal.
During my NYSC experience, I witnessed a bugle player during morning drills. On that particular occasion, the bugle did not sound as smoothly as it should have. The sound cracked, and the corps members burst into laughter. That experience stayed with me.
I therefore turned it into Poetry.
The message is simple: if you are a wind instrumentalist, be careful with your instrument. When you perform publicly, people hear what you produce. They may not know the technical difficulty behind your performance, but they know when something does not sound right.
I also use the word "farm" symbolically in this stanza to mean smoking. A wind instrumentalist depends heavily on breath and respiratory strength. Therefore, I am advising the musician not to damage the very body that makes his music possible.
Then I arrive at the vocalist.
This is where the human voice itself becomes the instrument. The opening word, "Lead," is deliberately written as a noun. It refers to the lead singer. Then I immediately follow it with: "Please lead." Here, the second "lead" functions as a verb.
So the first line identifies the person, while the second line gives the instruction.
The presenter or musical director is now speaking to the lead singer.
"Easy, easy, okay!" The instruction is to calm down and follow the arrangement.
The vocalist must not run faster than the instruments, the singer must listen, he must understand the progression. The singer must know when to rise, when to remain moderate, when to slow down, and when the music requires speed.
That is why I bring in the musical tempo terms: lento, grave, moderato, allegro, and prestissimo.
Lento means slow.
Grave generally indicates a very slow and solemn or serious tempo.
Moderato means moderate.
Allegro means fast or lively.
Prestissimo means extremely fast.
I am therefore telling the vocalist that music has different movements. There are moments to slow down, moments to remain moderate, moments to become lively, and moments to move extremely fast. But whatever the tempo may be, the vocalist must not lose coordination with the instrumentalists.
CONTENT ANALYSIS
STANZA ONE: THE DRUM
The first stanza introduces the drum and percussion.
"Never stop the beat." I begin with the beat because the beat gives music its pulse. It is almost like the heartbeat of the performance.
When I say "Never stop the beat," I am expressing the desire for the rhythm to continue indefinitely.
"And I shall forever sing the melodious harmony." Here, the beat has already begun producing another musical response. Rhythm and melody begin to meet.
"Well blended into the sweet sounds of music." This line introduces one of the major ideas of the entire poem: blending.
Music becomes beautiful when its different ingredients work together.
"Sing to me the songs of music." This becomes the recurring refrain of the poem.
"And I would but empty my jar." Here I introduce the pleasure and intoxication surrounding music. The jar represents drinking. A listener may drink while enjoying music, and the music can become part of the atmosphere of pleasure.
"I would burn this tin fuel, the Wailers gave..." This is my allusion to the Wailers and the reggae atmosphere associated with Bob Marley and the Wailers. The "tin fuel" symbolizes smoking, including the cultural imagery associated with cigarette or Indian hemp smoking.
The following lines move deeper into intoxication.
"Never look me in the face..." The speaker is so intoxicated that he may not even want to be confronted with his own actions.
"Truly a man." The phrase carries the humorous idea of the ordinary man who may do or say things while intoxicated and later deny responsibility.
"Never take my speech, for, I do not know." The speaker is admitting that he is no longer fully aware of himself.
"And never ask after the beat. Who cares? Do I know?" The rhythm has taken control. The listener may dance without knowing the actual steps or understanding the technical beat.
Then comes the climax:
"The skilled conga romancer has torn my skin, my very vellum." The "conga romancer" is my creative description of a professional conga player. I personify the musician as someone who has an intimate relationship with his instrument.
The "skin" refers to the skin surface of the conga, while "vellum" belongs to the poem's deliberately unusual vocabulary and reinforces the physical imagery of the instrument.
The first stanza therefore moves from beat, to harmony, to pleasure, to intoxication, to dancing, and finally to the skill of the drummer.
STANZA TWO: THE GUITAR AND STRINGS
The second stanza moves into the world of string instruments, especially the guitar.
"The strength of the tension, the dead sound."
Here I am talking about the tension of the guitar string. When the tension is not properly adjusted, the sound can become dull or dead. When the string has the proper tension, it can produce a clearer and more desirable tone.
"The beauty of the string when unbroken." A guitar depends on its strings. If one string breaks, the completeness and range of the instrument are affected.
"The king dances, and like banana it peels." This is a biblical allusion to David dancing before the Lord. The image communicates how powerful music can become. A king, who normally represents dignity and authority, can become completely carried away by celebration and rhythm.
"Sing to me the songs of music." The refrain returns.
"And I would care so much for my guitar." Here, I finally name the instrument I have been approaching through words such as tension and string.
"I would run my finger all over the fretboard." This is about professionalism. The guitarist must know the fretboard and know where to place the fingers.
"I would talk to my giraffe friend." The giraffe is an image of another musician stretching his neck to listen carefully to the note or key being played.
"About the beauty of the beats and the steps of those..." This refers to musical coordination. One musician must listen to another so that his own contribution enters correctly.
"Who think they are sound." This continues the playful musical personification.
"Be careful. There are voluntary judges." These are people who listen to the performance even though they may not know how to play the instrument themselves. They voluntarily, become judges of what they hear.
"Be mindful. Let them respect jurisdiction." Here I borrow language from the legal world.
A judge should operate within his jurisdiction. I use that idea humorously in the musical setting. The musician should remember that people are listening, even if those people are not professional musicians themselves.
"Sing to me the songs of music, and I would wish you free not the valve."
STANZA THREE: THE PIANO OR KEYBOARD
The third stanza introduces the piano or keyboard through its musical vocabulary.
"What's the cord? Point your touch!" The speaker wants to know what chord the other musician is playing. This continues the idea from the "giraffe friend" in Stanza Two. The musician is listening and asking questions so that he can know how to enter his own part.
"A little progress by little progress." This has a personal connection to my cousin (Progress), and the little girl he taught to play the piano. The expression deliberately combines the name Progress with the ordinary meaning of progress.
"A settled mind." A musician needs concentration. The hands, ears, mind, rhythm, chord, and other musicians must work together.
"Place that elephant on the sustaining pedal." The elephant symbolizes the leg or foot. I am creating a humorous image of someone's weight being placed on the sustaining pedal.
"But think of your weight." The musician must be careful about how much pressure is applied.
"Sing to me the songs of music." The refrain returns.
"And I would know which cord to trust." The speaker wants to know which chord fits the musical arrangement.
"Where to lift or place my foot and who to blame." This returns to the sustaining pedal and introduces responsibility.
"Who to but look when off-key calls." When something sounds wrong, somebody must identify where the problem came from.
"And who to praise when sound blends." When the instruments blend beautifully, praise should follow.
"As I befriend the duo colour, I wed the band." The "duo colour" introduces colour symbolism and cultural imagery associated with the musical world being portrayed. The phrase also points toward the colour symbolism surrounding Rastafarian culture.
"I wed the band" means that the speaker has developed such an attachment to music that he metaphorically marries himself to the band. The stanza therefore moves from the chord to the pedal, from the individual musician to the whole band.
STANZA FOUR: THE WIND INSTRUMENTS
The fourth stanza is about wind instruments.
I am thinking of the trumpet, trombone, tuba, saxophone, bugle, and other instruments that depend on breath and controlled airflow.
"Adjust a little." The musician must make the necessary ,adjustments before producing the desired sound.
"How can your horn, so point and gaze so deeply into my eyes?" The horn is personified as though it can point and gaze at the listener.
"I know that your lips so red-like," The lips become a visible sign of the musician's repeated interaction with the instrument.
"For you are so great a professional." The physical evidence of the craft becomes a symbol of dedication and professionalism.
"Sing to me the songs of music." Again, the refrain.
"And I would wish you free not the valve." "Valve" is used here in the poem's symbolic language around smoking.
"And as a music mouthpiece, spare not the mouthpiece." The mouthpiece is one of the technical elements of the wind instrument.
"The bugle's cry mustn't crack, less the laugh." The bugle is particularly personal because of my NYSC experience. I remember a bugle player whose sound cracked during morning drills, causing the corps members to burst into laughter.
I transformed that experience into this warning to the wind instrumentalist: be careful with your instrument because the audience hears the result.
"The wind bender mustn't farm, if only he must live." "Farm" is symbolic here. It refers to smoking. The wind bender depends on breath, so he must protect the physical system that enables him to produce sound.
"Let him naturally be." I am advising the musician to remain natural, take care of himself, and avoid habits that can undermine his ability.
"And we, who hears; shall always praise his horn and the power of the bender." When the musician performs well, the audience appreciates both the instrument and the person controlling it. The "wind bender" therefore becomes a metaphor for the musician who takes invisible air and transforms it into audible music.
STANZA FIVE: THE VOCALIST
The fifth stanza moves from instruments to the human voice.
"Lead." Here, "lead" is a noun. It identifies the lead singer.
"Please lead." Here, "lead" becomes a verb. The presenter or musical director is now giving an instruction to the lead singer.
"Easy, easy, okay!" The singer is being asked to control himself: Do not rush, listen to the music, follow the arrangement, do not run faster than the instruments.
"Be not hastily in love to reach the peak." This means that the singer should not be obsessed with reaching the highest point of the song too quickly.
A good performance has progression. There must be patience. There must be control.
"Be it lento, grave, moderato, allegro, or prestissimo." These Italian musical terms represent different tempo instructions.
Lento means slow.
Grave generally indicates very slow and solemn or serious.
Moderato means moderate.
Allegro means fast or lively.
Prestissimo means extremely fast.
My message is therefore that the vocalist must understand the movement of the music and respond appropriately:
Where the music demands slowness, slow down.
Where it demands moderation, remain moderate.
Where it demands speed, become lively.
Where it demands extreme speed, follow that movement.
But do not move ahead of the instruments.
"No one should be in isolation. The played, the player, even the one who reads." This is one of the central statements of the poem. Nobody should operate alone. The instruments, musicians, conductor or presenter, and even the person reading or following the music should work together.
"Sing to me the songs of music," The refrain returns once more.
"And I would not my peace let be." The speaker is determined to remain peaceful and connected to the musical experience.
"If the tune is to me an alien," Here the speaker becomes the audience or represents the ordinary listener. Even if the listener does not understand the tune or musical arrangement, he can still participate emotionally.
"I would but hum. Does that make me no singer?" The "hum" represents humming along. The rhetorical question challenges the idea that only technically trained vocalists have the right to participate in music. If I hum along with the tune, does that suddenly mean I am not a singer? No. I may not be the lead singer, but I am still participating in the musical experience.
"Man! It shall be said, 'Pro is the lead singer.'" This is the reward for professionalism. When all the elements are brought together correctly, people recognize the performer. They say that the person knows what he is doing.
The word "Pro" therefore represents professional competence and excellence.
STANZA SIX: THE BORROWER
The final stanza contains only two lines:
"I'm only a borrower. The credit is the Lord's." This is where everything changes.
After spending five stanzas celebrating drums, strings, keyboards, wind instruments, singers, professionals, listeners, coordination, rhythm, melody, tempo, and creativity, I suddenly step back.
I acknowledge that none of these abilities ultimately originated from me. I am only a borrower. A borrower does not permanently own what he has borrowed. He has received something temporarily and is responsible for how he uses it. That is how I see talent.
The musician may be talented, the singer may have a beautiful voice, the drummer may have extraordinary rhythm, the guitarist may have exceptional fingers, the keyboardist may understand chords, the wind instrumentalist may have extraordinary breath control. But behind all these abilities is the Creator who gave human beings the capacity to create.
Therefore: "The credit is the Lord's." That is the theological conclusion of the entire poem. Everything that came before it was ultimately pointing toward this realization.
FORM AND STRUCTURE
THE SONGS OF MUSIC contains six stanzas. The first five stanzas contain eleven lines each while the final stanza contains only two lines. This creates a significant structural contrast.
The first five stanzas are expansive because they explore the different components of music. The final stanza is extremely short because the conclusion does not require elaboration.
After everything has been said, only two statements are necessary: "I am only a borrower, the credit is the Lord's."
The poem therefore moves from complexity to simplicity. It begins with many musical ingredients and ends with one spiritual acknowledgment.
THE MUSICAL ARCHITECTURE OF THE POEM
The poem is deliberately constructed like a musical ensemble.
Stanza One introduces percussion and the drum.
Stanza Two introduces strings and the guitar.
Stanza Three introduces the piano or keyboard.
Stanza Four introduces wind instruments.
Stanza Five introduces the vocalist.
Stanza Six introduces God as the ultimate source behind the talent.
This means that the poem itself behaves like the music it describes. Different parts are introduced separately, then they gradually come together.
The recurring line: "Sing to me the songs of music," works almost like a chorus. It gives the poem continuity as the instrument changes from one stanza to another.
SETTING
The poem does not depend on one physical location. Its setting is primarily the world of musical performance.
At different points, however, it moves through several imagined and remembered environments.
- There is the atmosphere of reggae and the Wailers.
- There is the environment of a guitarist performing with other musicians.
- There is the keyboard or piano setting.
- There is the environment of wind instrumentalists.
- There is the performance environment involving a lead singer, presenter, conductor, and audience.
- There is also a real-life memory from my NYSC experience, which becomes part of the fourth stanza through the bugle.
Therefore, the setting is both musical and experiential.
MAJOR THEMES
Music as a Combination of Different Parts
The greatest theme of the poem is that music is not produced by one ingredient alone.
Drums, strings, keyboard, wind instruments, voices, timing, coordination, and listening all contribute to the final sound.
Professionalism
Throughout the poem, I repeatedly draw attention to skilled musicians. The drummer must understand the conga; the guitarist must understand the fretboard; the keyboardist must understand chords and pedals; the wind instrumentalist must control his breath and instrument; the vocalist must understand tempo and musical direction.
"Talent without discipline is not enough."
Coordination
Musicians must listen to one another.
One player cannot simply operate independently as beautiful music requires cooperation.
Music and Human Emotion
Music can make people dance, it can make people celebrate, it can make people laugh, it can create intoxication, it can unite people.
It can make an audience participate even when the listener does not understand the technical details.
Cultural Identity
The poem contains cultural references to reggae, the Wailers, Rastafarian colour imagery, drinking, smoking, dancing, and African social experiences.
Talent as a Gift
The final stanza establishes the deepest theme.
Talent is not something to boast about as though we created ourselves.
It is something received, it is borrowed.
Therefore, the credit belongs to God.
LANGUAGE, DICTION AND STYLE
My language in this poem deliberately combines several worlds.
I use musical vocabulary such as:
Beat
Harmony
String
Tension
Guitar
Valve
Vellum
Fretboard
Chord
Sustaining pedal
Horn
Mouthpiece
Bugle
Tempo
Lead singer
Sound
Band
At the same time, I bring in language from other areas.
"Jurisdiction" comes from the language of law.
"Borrower" comes from the language of ownership and responsibility.
"Wed" comes from marriage.
"Giraffe" comes from animal imagery.
"Elephant" comes from animal imagery.
"Farm" is given symbolic meaning(that's smoking).
This mixture of vocabulary is part of my poetic style.
I enjoy taking an ordinary word from one environment and placing it inside another environment where it develops a new meaning.
FIGURES OF SPEECH
Personification
The horn is described as though it can point and gaze.
The off-key sound is presented as though it can call.
The conga player becomes a "romancer" of his instrument.
Metaphor
"Wind bender" represents the wind instrumentalist.
"Giraffe friend" represents the musician stretching his neck to listen.
"Elephant" represents the heavy foot or leg.
"I wed the band" represents deep attachment to music.
"Borrower" represents the human being who receives talent from God.
Biblical Allusion
"The king dances" alludes to David's dancing before the Lord.
Personal Allusion
The bugle experience comes from my NYSC experience.
Cultural Allusion
"The Wailers" evokes Bob Marley and the Wailers and the reggae cultural atmosphere associated with them.
The colour imagery also evokes Rastafarian cultural symbolism.
Repetition
"Sing to me the songs of music" appears repeatedly and acts like a chorus.
Rhetorical Question
"Does that make me no singer?"
The question does not seek an ordinary answer. It challenges the assumption that only a professional vocalist can participate in singing.
Wordplay
"Lead" is deliberately used first as a noun and then as a verb.
"Progress" is used both as a name and as a description of gradual improvement.
"Jurisdiction" transfers legal language into music.
"Wed the band" transfers marital language into musical attachment.
THE ROLE OF PROFESSIONALISM
One of the things I deliberately emphasize throughout this poem is that music may sound effortless to the listener, but behind beautiful music is often enormous skill.
When I hear a professional drummer, I may only hear the beat, but the drummer knows where every beat belongs.
When I hear a guitarist, I may only hear the melody, but the guitarist knows the fretboard.
When I hear a keyboardist, I may only hear the chord, but the keyboardist knows the progression.
When I hear a trumpet or saxophone, I may only hear the sound, but the wind player knows how to control breath, lips, pressure, and the instrument.
When I hear the vocalist, I may simply enjoy the voice, but the vocalist must understand timing, pitch, tempo, breath, rhythm, and coordination.
That is why I repeatedly return to the idea of the professional.
MUSIC AS A CONVERSATION
Another important idea in the poem is that music behaves like conversation.
One musician speaks, another listens, another responds, another enters.
Someone changes the rhythm, someone follows, someone makes a mistake, someone corrects it. Eventually, everything blends.
That is why the line: "And who to praise when sound blends," is so important.
The beauty is not necessarily in one instrument, it is in the relationship between the instruments.
THE ROLE OF THE AUDIENCE
The audience is not passive in this poem.
The listener dances, the listener drinks, the listener smokes, the listener listens, the listener judges, the listener laughs, the listener praises, the listener hums. The listener becomes part of the musical experience.
This is why I ask: "Does that make me no singer?" Even the ordinary listener participates in music. You do not have to be a professional musician before music can become part of you.
THE SPIRITUAL MESSAGE
After all the musical celebration, I end with humility.
This is important.
I could have ended by praising the professional musician.
I could have ended by praising the singer.
I could have ended by saying that music is the greatest human invention.
But I did not.
I ended by pointing beyond humanity.
"I'm only a borrower.
The credit is the Lord's."
This means that creativity itself becomes evidence of divine generosity.
The human being creates, but the capacity to create is received.
The musician plays, but the ability to play is received.
The singer sings, but the voice is received.
The composer composes, but the imagination is received.
Therefore, the ultimate glory belongs to God.
CONCLUSION
THE SONGS OF MUSIC is my celebration of music, musicians, instruments, listeners, professionalism, coordination, culture, and creativity.
I begin with the beat and gradually assemble the musical experience.
I take the reader through percussion, strings, keyboard, wind instruments, and vocals.
Along the way, I talk about drinking, smoking, dancing, professionalism, mistakes, judgment, coordination, tempo, listening, and audience participation.
But the poem is not ultimately about instruments. It is about the mystery of human creativity.
How can a human being take wood, strings, metal, breath, fingers, voice, rhythm, and imagination and transform them into something that can move another person's soul?
That is the question beneath the poem.
And after looking at all these different abilities, I finally recognize that the human being is not the ultimate owner.
"I am only a borrower.
The credit is the Lord's."
That is where the poem finally settles.
Music may begin with a beat, but gratitude should end with God.
READER'S REFLECTION
- When you listen to music, what do you hear first?
- Do you hear the drum?
- Do you notice the guitar?
- Do you follow the keyboard?
- Do you listen to the wind instruments?
- Do you focus on the vocalist?
- Or do you simply enjoy the final sound without thinking about all the different people and skills required to produce it?
Perhaps that is one of the things this poem asks us to reconsider.
The next time you hear a beautiful musical performance, listen beyond the song:
- Listen for the coordination.
- Listen for the discipline.
- Listen for the individual instruments.
- Listen for the musician behind each sound.
- And then, perhaps, listen beyond the musician.
Because "behind every talent is a gift. And behind every gift is a Giver."
FINAL REFLECTION
THE SONGS OF MUSIC reminds me that every beautiful sound is made possible by many things working together. The drummer, guitarist, keyboardist, wind instrumentalist, vocalist, conductor, and listener may each occupy different positions, but when they understand their roles, something beautiful emerges. And when I look beyond all these human abilities, I see the hand of the One who gave us the capacity to create in the first place. I am only a borrower, and the credit is the Lord's. If this poem speaks to you, I invite you to comment and share your interpretation, share the poem with someone who loves music and poetry, follow the blog, and subscribe for more interesting poems from E. L. TEDDY.
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