A Critical Study of Some Famous Metaphysical Poets
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1 Manifesting the Soul in Andrew Marvell's 'On a Drop of Dew'
Manifesting the Soul in Andrew Marvell’s ‘On a Drop of Dew’ Ben Faber Redeemer University College [email protected] 1. Paradoxical Marvell ‘The ideal simplicity, approached by resolving contradictions’ is the epigraph to the chapter on Andrew Marvell’s ‘The Garden’ in William Empson’s Some Versions of Pastoral.1 With Marvell, however, the phrase ‘ideal simplicity’ itself requires resolving: Marvell is anything but simple, and his versions of pastoral consistently complicate the relationship between the ideal and the real. The material world in ‘The Garden’, for instance, may be annihilated in an ideal ‘green thought in a green shade’ (48) but even that happy, pure, and sweet place in the mind is ‘beyond a mortal’s share’ (57, 61).2 A painfully English experience of the fall—the ‘luckless apple’ of the Civil Wars—turns the Edenic environment of Nun Appleton into militias, forts, and garrisons, with Switzers, artillery, engines, and pillaging (‘Upon Appleton House’, 327). Ecocritical studies by Diane Kelsey McColley, Robert Watson, Andrew McRae, and Takashi Yoshinaka all echo the critical consensus of Marvell as a poet of ambivalence, of contradictions that remain largely unresolvable.3 1 William Empson, Some Versions of Pastoral (London: Chatto and Windus, 1968), p. 117. 2 All references to Marvell’s poems are taken from The Poems of Andrew Marvell ed. by Nigel Smith (New York: Longman, 2003) and are cited parenthetically. 3 Diane Kelsey McColley, Poetry and Ecology in the Age of Milton and Marvell (Aldershot: Ashgate, 2007); Robert Watson, Back to Nature: The Green and the Real in the Late Renaissance (Pittsburgh: University of Pennsylvania, 2007); Andrew McRae, ‘The green Marvell’ in The Cambridge Companion to Andrew Marvell, ed. -
Metaphysical Poetry
METAPHYSICAL POETRY Metaphysical poetry is a group of poems that share common characteristics: they are all highly intellectualized, use rather strange imagery, use frequent paradox and contain extremely complicated thought. Literary critic and poet Samuel Johnson first coined the term 'metaphysical poetry' in his book Lives of the Most Eminent English Poets (1179-1781). In the book, Johnson wrote about a group of 17th-century British poets that included John Donne, George Herbert, Richard Crashaw, Andrew Marvell and Henry Vaughan. He noted how the poets shared many common characteristics, especially ones of wit and elaborate style. What Does Metaphysical Mean? The word 'meta' means 'after,' so the literal translation of 'metaphysical' is 'after the physical.' Basically, metaphysics deals with questions that can't be explained by science. It questions the nature of reality in a philosophical way. • Here are some common metaphysical questions: • Does God exist? • Is there a difference between the way things appear to us and the way they really are? Essentially, what is the difference between reality and perception? • Is everything that happens already predetermined? If so, then is free choice non-existent? • Is consciousness limited to the brain? Metaphysics can cover a broad range of topics from religious to consciousness; however, all the questions about metaphysics ponder the nature of reality. And of course, there is no one correct answer to any of these questions. Metaphysics is about exploration and philosophy, not about science and math. CHARACTERISTICS OF METAPHYSICAL POETRY • The group of metaphysical poets that we mentioned earlier is obviously not the only poets or philosophers or writers that deal with metaphysical questions. -
The Boomerang Theology of Andrew Marvell
The Boomerang Theology NIGEL SMITH of Andrew Marvell Résumé : La poésie lyrique d’Andrew Marvell a suscité quelques discussions bien connues de la poétique protestante, puritaine et contre-réformatrice. Tou- tefois la religion joue un autre rôle, presqu’entièrement inexploré, dans sa poésie. On a remarqué jusqu’à quel point ses œuvres en prose des années 1670, dans lesquelles il exprime ses opinions sur la tolérancereligieuse, la liberté civile et l’absolutisme, incorporent des vers et des expressions remaniés de sa poésie, parmi d’autres références poétiques. Cet article considère la poésie de Marvell, autant en soi qu’en son remaniement, comme le chantier où a été forgée la largeur d’esprit manifestée dans sa prose. hirty years ago, the last time a large body of Marvell editions were Tpublished, the poet and politician’s public life and professed belief presented a number of seemingly unsolvable difficulties that were at least helpful in explaining the ambiguities and ironies for which his most famous poems were celebrated.1 A Parliamentarian and Puritan; a friend of Milton, but someone who apparently expressed sympathy for King Charles I, and so, perhaps, a covert royalist. A friend of the nonconformists, during the Restoration, and a stout defender of liberty of conscience, but despite his attack on the bishops, someone who was prepared to defend them in certain circumstances. A vehement spokesman against popery, and its concomitant, arbitrary government, but someone prepared occasionally to defend Catho- lics. We have come a long -
The Exegesis Tradition of Song of Songs and Richard Crashaw's
English Language and Literature Studies; Vol. 5, No. 3; 2015 ISSN 1925-4768 E-ISSN 1925-4776 Published by Canadian Center of Science and Education The Exegesis Tradition of Song of Songs and Richard Crashaw’s Baroque Poem Yi Zheng1 1 College of International Studies, Southwest University, Chongqing, China; School of Linguistics and Literature, University of Electronic Science and Technology of China, Chengdu, China Correspondence: Yi Zheng, School of Linguistics and Literature, University of Electronic Science and Technology of China, No. 2006, Xiyuan Ave, West Hi-Tech Zone, 611731, Chengdu, Sichuan, China. Tel: 86-136-8848-3836. E-mail: [email protected] Received: July 10, 2015 Accepted: July 28, 2015 Online Published: August 31, 2015 doi:10.5539/ells.v5n3p113 URL: http://dx.doi.org/10.5539/ells.v5n3p113 Abstract The exegesis tradition of the Song of Songs usually defines the bride and bridegroom of this poem as the church and Christ. So their marriage refers to the mystical union between the individual soul and the Word of God. Richard Crashaw’s famous Baroque poem “The Flaming Heart” illustrates the expectation and desire that Saint Teresa of Avila has towards her divine spouse. It also describes the raptures that the saint experiences after she has mystical union with God. To Crashaw, St. Teresa’s love to God is very similar to the love between the bride and bridegroom in the Song of Songs. By showing her ardent love, our love towards God has been kindled. Keywords: Richard Crashaw, the exegesis tradition, Baroque poem 1. Introduction Richard Crashaw is a religious poet of the 17th century England. -
Richard Crashaw
RICHARD CRASHAW “NARRATIVE HISTORY” AMOUNTS TO FABULATION, THE REAL STUFF BEING MERE CHRONOLOGY “Stack of the Artist of Kouroo” Project Richard Crashaw HDT WHAT? INDEX RICHARD CRASHAW RICHARD CRASHAW 1613 On some day in about this year Richard Crashaw was born at London, a son of that enemy of all things Catholic, the divine Dr. William Crashaw (1572-1626). NOBODY COULD GUESS WHAT WOULD HAPPEN NEXT Richard Crashaw “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX RICHARD CRASHAW RICHARD CRASHAW 1631 July: Richard Crashaw had been at Charterhouse School near Godalming in Surrey, but at this point was admitted to Pembroke College of Cambridge University. LIFE IS LIVED FORWARD BUT UNDERSTOOD BACKWARD? — NO, THAT’S GIVING TOO MUCH TO THE HISTORIAN’S STORIES. LIFE ISN’T TO BE UNDERSTOOD EITHER FORWARD OR BACKWARD. “Stack of the Artist of Kouroo” Project Richard Crashaw HDT WHAT? INDEX RICHARD CRASHAW RICHARD CRASHAW 1633 Rector George Herbert’s THE TEMPLE: SACRED POEMS AND PRIVATE EJACULATIONS. GEORGE HERBERT This collection of poems seems to have had an influence immediately upon Richard Crashaw and in less than two generations of human life, it would have gone through a dozen reprintings. HDT WHAT? INDEX RICHARD CRASHAW RICHARD CRASHAW Eventually, it would be having an impact upon Harvard student David Henry Thoreau as well. Constancie. Who is the honest man? He that doth still and strongly good pursue, To God, his neighbour, and himself most true: Whom neither force nor fawning can Unpinne, or wrench from giving all their due. Whose honestie is not So loose or easie, that ruffling winde Can blow away, or glittering look it blinde: Who rides his sure and even trot, While the world now rides by, now lags behinde. -
The Literary Underground in the 1660S: Andrew Marvell, George Wither, Ralph Wallis, and the World of Restoration Satire and Pamphleteering
Andrew Marvell Newsletter | Vol. 5, No. 1 | Summer 13 BOOK REVIEW STEPHEN BARDLE. The Literary Underground in the 1660s: Andrew Marvell, George Wither, Ralph Wallis, and the World of Restoration Satire and Pamphleteering. Pp. 208. OxforD: OxforD University Press, 2012. HarDback, $110 (£60). Stephen BarDle’s compact book on the Restoration’s “literary underground” follows in the footsteps of RicharD Greaves, Neil Keeble, David Norbrook, Sharon Achinstein, Harold Love, Martin Dzelzainis, Nigel Smith, anD Nicholas von Maltzahn, among others. While Demonstrating the enDuring value of Jurgen Habermas’s concept of the public sphere for literary anD cultural analysis, it heeds the call of Habermas’s critics for recognizing the crucial role playeD by religion in the Restoration’s intermittently expanDing public sphere. Although the government trieD to use censorship to make the public sphere contract, the literary unDergrounD, consisting of writers like Wither, Wallis, anD eventually Marvell, as well as networks of “entrepreneurial,” “risk-frienDly” printers and publishers, was collectively “a thorn in the government’s siDe” anD helped expanD the public sphere, especially at times when Parliament was in session. It expanDeD enough to incluDe micro-public spheres in towns like Wallis’s Gloucester as well as in the prisons where he, Wither, Bunyan, anD many other Dissenters were confineD for extenDeD perioDs. Collectively, Bardle’s three authors contributeD to the survival of the public sphere by writing both for it anD in a sense about it. After emphasizing the comparative fragility of the RestoreD regime, which faileD to stamp out the revolutionary iDeas of the 1640s anD 50s, only senDing them unDergrounD, BarDle’s IntroDuction uses Steve Pincus anD Peter Lake’s religion-frienDly account of the public sphere to mount an argument that Wither, Wallis, anD Marvell interveneD in the public sphere in the 1660s via manuscript anD print in orDer to aDvocate religious toleration. -
Protestants Reading Catholicism: Crashaw's Reformed Readership
Georgia State University ScholarWorks @ Georgia State University English Theses Department of English 8-14-2009 Protestants Reading Catholicism: Crashaw's Reformed Readership Andrew Dean Davis Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Part of the English Language and Literature Commons Recommended Citation Davis, Andrew Dean, "Protestants Reading Catholicism: Crashaw's Reformed Readership." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/english_theses/69 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. PROTESTANTS READING CATHOLICISM: CRASHAW’S REFORMED READERSHIP by ANDREW D. DAVIS Under the direction of Dr. Paul Voss ABSTRACT This thesis seeks to realign Richard Crashaw’s aesthetic orientation with a broadly conceptualized genre of seventeenth-century devotional, or meditative, poetry. This realignment clarifies Crashaw’s worth as a poet within the Renaissance canon and helps to dismantle historicist and New Historicist readings that characterize him as a literary anomaly. The methodology consists of an expanded definition of meditative poetry, based primarily on Louis Martz’s original interpretation, followed by a series of close readings executed to show continuity between Crashaw and his contemporaries, not discordance. The thesis concludes by expanding the genre of seventeenth-century devotional poetry to include Edward Taylor, who despite his Puritanism, also exemplifies many of the same generic attributes as Crashaw. INDEX WORDS: Richard Crashaw, Edward Taylor, Steps to the Temple , Metaphysical poets, Catholicism, Puritans, New Historicism, Meditative poetry, Louis Martz, Genre Theory PROTESTANTS READING CATHOLICISM: CRASHAW’S REFORMED READERSHIP by ANDREW D. -
Sacramental Signification: Eucharistic Poetics from Chaucer to Milton
Sacramental Signification: Eucharistic Poetics from Chaucer to Milton Shaun Ross Department of English McGill University, Montreal August 2016 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Shaun Ross 2016 i Table of Contents Abstract……………………………………………………………………………………………ii Resumé……………………………………………………………………………………………iv Acknowledgements…………………………………………………………………………….....vi Introduction………………………………………………………………………………………..1 Chapter One: Medieval Sacraments: Immanence and Transcendence in The Pearl-poet and Chaucer………...23 Chapter Two: Southwell’s Mass: Sacrament and Self…………………………………………………………..76 Chapter Three: Herbert’s Eucharist: Giving More……………………………………………………………...123 Chapter Four: Donne’s Communions………………………………………………………………………….181 Chapter Five: Communion in Two Kinds: Milton’s Bread and Crashaw’s Wine……………………………. 252 Epilogue: The Future of Presence…………………………………………………………………………325 Works Cited…………………………………………………………………………………….330 ii Abstract This dissertation argues that in early modern England the primary theoretical models by which poets understood how language means what it means were applications of eucharistic theology. The logic of this thesis is twofold, based firstly on the cultural centrality of the theology and practice of the eucharist in early modern England, and secondly on the particular engagement of poets within that social and intellectual context. My study applies this conceptual relationship, what I call “eucharistic poetics,” to English religious and -
Ruth Connolly St John's College, Cambridge, MS S.23
1 Ruth Connolly St John’s College, Cambridge, MS S.23 St John's, MS S.23 is a miscellany of fifty-seven poems, consisting of lyrics, odes, elegies, dialogues, songs and a brief epithalamium, a variety of forms linked thematically by its compiler’s interest in works which are in dialogue with both other poems and other people. These are social poems, intended to persuade, delight, commemorate or denigrate their addressees, and to initiate a conversation with their wider audience. Several mingle the rivalries of writers with a contemplation of the bonds forged between men as close friends or as fathers and sons (both biological and adoptive). Almost all are composed in the idiom of dialogue and mimic in their forms and themes the social rituals of conversation and exchange. This is a small miscellany, its writing block measuring 17.5cm x 14.5cm, bound in paper covered in thin vellum, a standard practice in the sixteenth and seventeenth centuries, which made use of recycled scraps of vellum to provide tough, durable and cheap covers. The presence of catchwords throughout suggest the text was copied before being folded, stitched and bound and the edges of some lines came dangerously close to being trimmed during the cutting process. Stiff sewing supports are visible in the spine and extend into the covers. The secretary hand used to enter the majority of the miscellany’s poems is intended to facilitate quick copying, but both the titles and authors of poems are carefully entered in an italic hand, revealing a concern with attribution that is not always found in miscellanies from this period. -
George Herbert Walk from Salisbury Cathedral to St Andrew's Church, Lower Bemerton, 2
© 2010 George Herbert Walk Salisbury Cathedral to St Andrew’s Church, Lower Bemerton (2¼ miles of easy walking) We start our walk at the West end of Salisbury Cathedral, under the statue of George Herbert (1). If you face the West front, look to the right hand side of the main door. The statue of George Herbert is looking South to the left hand side of the smaller door. To attempt a detailed description of Salisbury Cathedral, one of the finest Gothic Cathedrals in Europe is beyond the scope of this walk but before starting the walk, you may wish to admire the interior of the Cathedral and see the stained glass window illustrating George Herbert’s poem ‘Love- George Herbert Statue Joy’ with vines illustrated in all three panels. The window is at the East end of the North Aisle beyond the choir. George Herbert is shown praying in the bottom left panel. Unfortunately the window is partly obscured by an undistinguished monument. George Herbert Window Returning to the West front of the Cathedral, we turn North and walk towards the High Street gate admiring the fine buildings of the Cathedral Close. Mompesson House of 1701 is open to the public and faces a green to our left as we proceed towards the High Street. As we go through the gate we can see, straight ahead of us, St Thomas’ church built for the builders of the Cathedral to worship in. Continue along the High Street looking at Mitre House (2) on the right as you reach the traffic lights. -
Metaphysical Poets
The POETRY Metaphysical Poets Including works by John Donne • Andrew Marvell and George Herbert Read by Nicholas Boulton • Jonathan Keeble and others John Donne (1572–1631) Read by Geoffrey Whitehead and Will Keen 1 The Anniversary * 2:01 2 The Good Morrow * 1:30 3 The Sun Rising + 1:56 4 The Canonisation + 2:33 5 A Valediction Forbidding Mourning * 2:01 6 A Nocturnal Upon St Lucy’s Day * 2:51 7 The Flea + 1:57 8 The Relic + George Herbert (1593–1633) Read by Jonathan Keeble 9 The Collar 1:51 10 Redemption 0:53 11 Love I 1:01 12 Love II 1:02 13 Love III 1:06 14 Jordan I 1:01 15 Jordan II 1:14 16 The Pearl 2:40 17 The Flower 2:36 * Read by Geoffrey Whitehead + Read by Will Keen 2 Andrew Marvell (1621–1678) Read by Nicholas Boulton 18 To His Coy Mistress 2:49 19 The Coronet 1:39 20 The Definition of Love 1:51 21 The Garden 4:06 22 On a Drop of Dew 2:12 Henry Vaughan (1621–1695) Read by Roy McMillan 23 The Retreat 1:50 24 The World 3:27 25 They Are All Gone Into the World of Light 2:19 Richard Crashaw (1613–1649) Read by Nicholas Boulton 26 To His (Supposed) Mistress 5:32 27 To Our Lord, Upon the Water Made Wine Thomas Carew (1595–1640) Read by Nicholas Boulton 28 Mediocrity in Love Rejected – 1:00 29 To a Lady That Desired I Would Love Her 1:59 30 The Spring 1:41 3 Edward, Lord Herbert of Cherbury (1583–1648) Read by Roy McMillan 31 Edward, Lord Herbert of Cherbury – To His Watch… 0:57 Francis Quarles (1592–1644) Read by Jonathan Keeble 32 Hoc Ego Versiculos 1:26 33 On Time 0:48 34 On the World 0:26 Katherine Philips (1632–1664) Read by -
The Sacred and the Secular
Part 3 The Sacred and the Secular Allegory of Fleeting Time, c. 1634. Antonio Pereda. Kunsthistorisches Museum, Vienna, Austria. “I write of groves, of twilights, and I sing L The court of Mab, and of the Fairy King. I write of hell; I sing (and ever shall) Of heaven, and hope to have it after all.” —Robert Herrick, “The Argument of His Book” 413 Erich Lessing/Art Resource, NY 00413413 U2P3-845482.inddU2P3-845482.indd 413413 11/29/07/29/07 10:19:5210:19:52 AMAM BEFORE YOU READ from the King James AKG Images Version of the Bible he Bible is a collection of writings belong- ing to the sacred literature of Judaism and- TChristianity. Although most people think of the Bible as a single book, it is actually a collec- tion of books. In fact, the word Bible comes from the Greek words ta biblia, meaning “the little books.” The Hebrew Bible, also called the Tanakh, contains the sacred writings of the Jewish people and chronicles their history. The Christian Bible was originally written in Greek. It contains most of the same texts as the Hebrew Bible, as well as twenty-seven additional books called the New Testament. The many books of the Bible were written at different times and contain various types The Creation of Heaven and Earth (detail of writing—including history, law, stories, songs, from the Chaos), 1200. Mosaic. Monreale proverbs, sermons, prophecies, and letters. Cathedral, Sicily. Protestants living in Switzerland; and the Rheims- “I perceived how that it was impossible Douay Bible, translated by English Roman to establish the lay people in any truth Catholics living in France.