DOCSLIB.ORG

Selected Poems of Henry Vaughan, Arranged Chronologically, with an Introduction, Critical Commentary, and Explanatory Notes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Selected Poems of Henry Vaughan, Arranged Chronologically, with an Introduction, Critical Commentary, and Explanatory Notes Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1961 Selected Poems of Henry Vaughan, Arranged Chronologically, With an Introduction, Critical Commentary, and Explanatory Notes. James Dudley Simmonds Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Simmonds, James Dudley, "Selected Poems of Henry Vaughan, Arranged Chronologically, With an Introduction, Critical Commentary, and Explanatory Notes." (1961). LSU Historical Dissertations and Theses. 716. https://digitalcommons.lsu.edu/gradschool_disstheses/716 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been 62-1236 microfilmed exactly as received SIMMONDS, James Dudley, 1933- SELECTED POEMS OF HENRY VAUGHAN, ARRANGED CHRONOLOGICALLY, WITH AN INTRODUCTION, CRITICAL COMMENTARY, AND EXPLANATORY NOTES. Louisiana State University, Ph.D., 1961 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan SELECTED POEMS OF HEMRI VAUGHAN ARRANGED CHRONOLOGICALLY, WITH AH INTRODUCTION, CRITICAL COMMENTARY, AND EXPLANATORY NOTES A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in martial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English James D* Simmonds M. A., Melbourne University, 1958 August, 1961 PREFACE The present study had its inception in 1957 when, dismayed hy the absence in critical writing on Vaughan of any concerted effort to discriminate the great frow the mood and the good from the medi­ ocre or worse, I conceived the idea of nutting together what seemed best in his poetry and of sunporting thi s choice by means of a conscientious analysis of each selection. I was encouraged to oer- sist with the project by the enthusiastic resnon.se initially ac­ corded it by Hr. S. L. Goldberg of the University of Melbourne and his colleague Mr, W. A. G, Scott, now Professor of English at Monash University. The task of interpreting and evaluating secular poems has been enormously lightened by the apooarance of Professor E. L. M arilla's thoroughly annotated edition, The Secular Poems of Henry Vaughan (Uppsala: Lundeouistska Bokhandeln; 1958), which has been of inestimable value in my treatment of the secular pieces in­ cluded here. Projected discussions of four major religious roerns have been largely anticipated by Professor E. C, Pettet, whose Of Paradise and Light (Cambridge: At the University Press,960 i ) represents a significant attempt to treat Vaughan's sacred verse as literature. Important precursors of his study are E. L. M arilla's "The Secular and Religious Poetry of Henry Vaughan," MLQ, IX (De­ cember, 19*fS) , 39^11, and Professor Frank Kermode's "The Private Imagery of Henry Vaughan," RES, New Series I (July, 1950), 206-225* But the undertaking of the present study seems sufficiently vindi­ cated by the fact that in the case of only one poem, "The Night," have I had to confess that my projected analysis has in effect been completely forestalled by the discussions of previous commen- P + A T ' O t U V V 4 *-» a This volume is in no sense an edition, and the reader should not take the inclusion of a substantial proportion of Vaughan's poems as implying assertion of a claim to novelty or independent authori­ ty in the text. In this portion of the study I am. to be credited with no more than the exercise of critical .judgment involved in making a selection (though this, of course, has been guided to some extent by the canons of general taste exemplified in numerous an­ thologies), and with the risky combination of inference and con­ jecture required by the attempt to achieve a chronological arrange­ ment (see "Note on the Chronology," below). The poems are included solely for the reader’s convenience, and since the text of Vaughan's work seems to be now satisfactorily established, I have used the most authoritative texts available—of the secular poems, that in E. L. M arilla's edition mentioned above, and of the religious poems, that in Professor L. C, Martin's second edition of his well known The Works of Henry Vaughan (Oxford: At the Clarendon Press, 1957). Both volumes are indispensable aids in the study of Vaughan, and, anticipating that they w ill be the close companions of anyone using this selection, I have in general refrained from duplicating the editors' valuable notes unless the matter has substantial sig­ nificance for my immediate argument or unless I have something to iii add to them which w ill scarcely be comprehensible without their prior quotation or summary. The main purpose of my own notes is to provide the minimum information necessary for a basic reading of th e poems. It is conventional practice for selectors to apologize for the fallibility of human judgment by pointing to the obvious unlikeli­ hood of their choice's meeting with universal approval. The present selection, of course, incorporates no formula likely to protect it from this professional hazard. It is obvious that in making choices and especially in the mournful task of reconciling those choices with inevitable restrictions of soace, time, and labor, the se­ lector will be guided to some extent by personal tastes and prefer­ ences, Therefore I make no claim to include here all of Vaughan's best poetry. For one thing, I include only whole poems, thinking it a more valid proceeding to base a critical estimate of Vaughan on poems which exemplify the fundamental requisite of unity than to excerpt others for the sake of a few oumle passages which, though admirable in isolation, bear little congruence to their poetic contexts. This principle lias excluded several religious poems which, because of their recrudescent beauties of phrase or image, have received much favorable notice from other commentators —e. g. , "Distraction," "The Dawning," "The Bird," "The Timber," "Childe-hood," "L1Envoy." My commitment to the reader can therefore be comparatively simple: to have included only such poems as can be defended as inherently valuable artistic works according to generally understood and accepted principles of poetic excellence. Let me emphasize that I do not believe that as strong a case as iv can be made for these selections could not likewise be made for many poems which the considerations already mentioned have vari­ ous].:,'- impelled me to exclude--e. p., "To Amoret, of the difference . "To th e R iver I s c a , 11 "Monsieur Oonbauld, 11 "To th e b e s t, and most accomplish'd Couple—— "The Earle," "To Etesia (for Timander,) the first Sigh t," "Isaacs Marriage," "Peace," "The Re­ solve," "Easter-day"Ascension-Hymn," "The Garland," "Begging," "The Daughter of Heredias,11 "Tears," "looking back." Lexington, Kentucky J• B • S, July ?, 1961 ACKNOTLEDGMTS My thanks are due to the respective editors and publishers for graciously rem itting my use of materials in L. 1. Martin's The forks of Henry Vaughan and in 3, L, M arilla's The Secular Poems of Henry Vaughan. My greatest single debt in this work is to Professor E, L. Manilla of Louisiana State University who, during our association in the oast three years, has fostered all my scholarly pursuits through warn oersonal interest and perceptive advice. It was through our conversations on Vaughan that the format of this volume mainly took shape, and during r.y work on it he has assisted me con­ tinuously by carefully reading over the manuscript, catching some mistakes and malcing many valuable sty listic improvements, I am similarly indebted to Professor V/. J. Olive and Dr. L. A. Sasek, both of Louisiana State University, who have helped by subjecting the manuscript to further close scrutiny. My thanks are due like­ wise to the staff of the Margaret I. King Library, University of Kentucky, who have been most helpful and co-operative in making books available, and to Miss Martha Grange, Secretary in the English Department, University of Kentucky, who has enabled me to progress faster by kindly typing the manuscripts of various articles and notes which cropped up during the execution of this project. TABIE OF CONTENTS INTRODUCTION ............................................................................................. x i i i SELECTED POEMS An Elegy ...... • i • 2 FIDA: Or The C ountry-beauty: to Lysimachus • * • 2 The Character, to Etesia a * • 4 To Etesia m rted from him, and looking back a a a 5 Etesia absent ..... a a • 5 A Rhapsodis ..... • * * 6 To Lysimachus, the Author being with him in London . 7 To Amoret. The Sigh .... a a a 8 To Amoret, Walking in a Starry Evening . a a « 9 To Amoret gone from him . « i *10 A Song to Amoret .... 10 To Amoret xreeping .... • • •11 UPON THE PRIORIE GROVE, H is u s u a ll Retyrem ent. 12 The Charnel-house .... * t •13 To his friend------ . • • •14 To his retired friend, an Invitation to Brecknock . 16 Uoon a Cloke lent him by Mr. J. Ridsley a a t18 The King Disguis'd .... 10 To his Learned Friend and Loyal Fellow-Prisoner, Thomas Powel of Cant. Doctor of Divinity . • • •21 The imoortunate Fortune, written to Doctor Powel of Centre . ... 22 To rw worthy friend Master T. Lewes . * ♦ •2k Regeneration ..... • « •25 Death. A Dialogue .... • • •26 R elig io n ...... * ♦ a2? The B rittish Church .... 29 The Lampe ...... * * *29 The Showre. ..... a a •30 The Pursuits ..... • t t31 Mount of Olives ..... • • •31 The Incarnation, and Passion a a •32 Vanity of Spirit. .... a a a32 The Retreate ..... • a *33 /Joy of my life! while left me here/ • * a34 The Storm .....
Load more

Recommended publications
  • Llansantffraed-Juxta-Usk Newsletter April 2019
    LLANSANTFFRAED-JUXTA-USK NEWSLETTER APRIL 2019 Welcome to our fourth annual Newsletter. The Newsletter is mainly intended for members of our Church congregation, for Friends of Llansantffraed Church and for visitors to the Church. We hope that you find news items of interest to you. Editorial It has been an extremely busy 12 months at Llansantffraed. Since the last newsletter more Friends have joined our group, and we have held some successful fund raising Concerts in the Church as well as opening the church for visitors and Walking groups. More is given about these items elsewhere in this newsletter. However, due to our rural location and now very small local congregation and Church Committee, keeping this church open and available for services, visitors and special events is becoming increasingly difficult unless we can get more people actively involved. So it’s not simply a matter of fundraising! Do read about our consultation on the Future of Llansantffraed Church overleaf. Thank you for whatever support you have given in the past year or can give to Llansantffraed Church in the future. Sandra Briskham, Church Warden, [email protected] Mervyn Bramley, Brecknock Society and Church Friend, [email protected] CHURCH WARDEN TO RETIRE Sandra Briskham retires as Church Warden later this year after 10 years in the post. Under her care and perseverance, the leaking church roof was renewed in 2008, the rotting church floor was retiled in 2014, the failing churchyard wall along the A40 was rebuilt in 2016, and this year the boundary wall at the back of the churchyard was completely rebuilt (see report elsewhere in this newsletter).
    [Show full text]
  • Thomas Merton's Projected Anthology of Religious Poetry
    20 Thomas Merton's Projected Anthology of Religious Poetry By Patrick F. O'Connell During the summer of 194 l, having fini shed his fust year teaching English at St. Bonaventure College, Thomas Merton was busy about many things: he was working on his novel, Journal of My Escape from the Nazis, writing numerous poems, keeping two versions of his journal. reading Dante, Lorca and Graham Greene, teaching a summer school bibliography course, spending two weeks working at Catherine de Hueck's Friendship House in Harlem, worrying about the war, thinking about the Trappists. 1 In the midst of all this activity he also managed Lo find time for another project, one that reflected his own deepening interest, as writer and reader, in religious verse. On July 27, he records in his journal: I think of making an Anthology of Poems, Religious or nearly Religious. So far I have got Donne's "Hymn to Christ at the Author"s Last Going into Gennany," "At the Round Earth's Imagin'd Comers," ·'Nocturnal on Saint Lucy's Day," "'What If This Present were the World 's Last Night?," and Herbert's "Aaron" and Vaughan's "The Seed Growing Secretly" and Hopkins' "Felix Randal." Also Tthink Hopkins' "Leaden and Golden Echo" - "Bugler's First Communion,.. "Candle indoors."' "Wreck of the Deutschlancf' and despair poems. Then Blake's ·'How Sweet I Roamed," "Lillie Girl Lost.'' "Auguries of Innocence." '·Mental Traveler." ''Holy Thursday" (Innocence), a lot more Vaughan (e.g., "Night"). plenty Traherne - Southwell's " Burning Babe."' ln all maybe 150 poems - or half that- 75 would be a better number (RM 380-8 1).
    [Show full text]
  • Quam Oblationem : the Act of Sacrifice in the Poetry of Saint Robert Southwell
    INFORMATION TO USERS This manuscript )las been reproduced from the microffim master. UMI films the text directly from the original or copy submitted Thus, some thesis and dissertation copies are in eypewriter face, while others may be from any m>e of computer printer. The quality or this reproduction is dependent upon the quality or the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and hnpzoper alignment can adversely affect reproduction. In the unlikely_ event that the author did not send UMI a complete ma.DllSCl'ipt and there are missing pages, these will be noted. Also, if unauthorized copy.right material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and co• '' i• •• ,; ng from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6"' x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell tnformat10n Company 300 North Zeeb Road. Ann Amor. M! 48106-1346 USA 313!761-4700 800.'521-QSOO OYAM OBI.ATIONEM: THE A<::r OF SACRIFICE IN THE POETRY OF SAINT ROBERT SOUTHWELL by Mary O'Donnell A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina in Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Greensboro 1994 Approved by OMI Number: 9520540 Copyright 1994 by 0 • Donnell, Mary Al~ rights reserved.
    [Show full text]
  • Concepts of Harmony in Five Metaphysical Poets Disertační Práce
    Univerzita Karlova v Praze Filozofická fakulta Ústav anglistiky a amerikanistiky Mgr. Tomáš Jajtner Concepts of Harmony in Five Metaphysical Poets Disertační práce studijní program: anglická literatura vedoucí práce: Prof. PhDr. Martin Hilský, CSc. rok podání: 2006 IJIII/1111*2551145195* ll ll Filozofická fakulta Univerzity Karlovy v Praze Prohlašuji, že JSem disertační práci vykonal samostatně a s využitím uvedených pramenů a literatury. i ___-""<' .• ~ I (c l"~L .._ / /·'t '-'-''-<- I '1 l I / 2 Contents Acknowledgements 5 Introduction 7 PARTONE 13 I. The Conceit of Harmony: Harmony as the Principle of Cosmos 14 1.1. Heraclitus and Pythagoras: towards a concept of harmony 14 1.1.1. Introduction 14 1.1.2. The hidden harmony ojHeraclitus 14 1.1.3. The overwhelming harmony ofthe Pythagoreans 21 1.2. Socrates and Plato- the aspiration to song 32 1.3. Aristotle and the notion of mimesis (}líJ.111mc;) 35 1.4. Platonism and Neoplatonic frenzy- the commonplaces and the shifters 37 II. The Conceit of English Renaissance Poetics -how harmonies blend together 43 11.1. lntroduction 43 11.2. The problem of conceit 43 11.2.1. Types ojconceit 48 11.3. The problem of metaphor in Pythagorean scheme 52 11.4. Pre-modem self and the act of poetry 55 III. Towards the concept of metaphysical poetry 58 111.1. lntroduction 58 111.2. The rhetorical problem 58 111.3. The problem ofwit in early modem English theory 62 111.4. Metaphysical wit 69 IV. Breaking the Circle of Perfection 76 PARTTWO 84 I. John Donne- provocation of the metaphysical style 85 1.1.
    [Show full text]
  • A Teenth Century Richard Crashaw, George Her- Bert, and Henry Vaughan Form a Group Apart
    HENRY VAUGHAN MONG the “ metaphysical poets ” of the seven- A teenth century Richard Crashaw, George Her- bert, and Henry Vaughan form a group apart. They were writers of purely devotional poetry in an age when licentious love-poems and “ epithalamiums ”- what Dr. Johnson styled “ amorous ditties ”-were the prevailing fashion. They were united by the. immense spiritual debt which, as they both acknow- ledge, Crashaw and Vaughan owed to “ holy Herbert.” And their chief poems were written within the space of twenty years, for Herbert wrote “ The Temple ” in 1632 ; Crashaw, “ Steps to the Temple ” in 1648 ; and Vaughan, “ Silex Scintillans ” in 1654. Johnson’s use of the word “ metaphysical ” in his Essay on Cowley is a curious instance of how a quite inappropriate epithet may fairly describe a certain peculiarity of poetic style. For, although it has no relation whatever to any philosophical matter in the poetry, it is by no means difficult to see what was in the great critic’s mind. An appearance of profundity of thought produced by cryptic language was what he noted, and he used the word “ metaphysical ” in much the same way as some modern writers use the word “ mystical,” without regard to its exact connotation, as a general term for that which is not easily under- stood because its meaning does not lie upon the surface. Herbert, Crashaw, and Vaughan were thus, to a certain extent, “ metaphysical ” poets, like Cowley and Donne. Herbert, indeed, explains, and partly justifies, his use of this form in the poem strangely entitled “ Jordan ” : When first my lines of heav’nly joyes made mention, Such was their lustre, they did so excell, That I sought out quaint words, and trim invention ; My thoughts began to burnish, sprout, and swell, 599 Blackfriars Curling with metaphors a plain intention, Decking the sense, as if it were to sell.
    [Show full text]
  • Too. 97 Ì a POET's TEMPORAL CONSOLATION: HENRY
    too. 97 ì A POET'S TEMPORAL CONSOLATION: HENRY VAUGHAN'S MORAL AND METAPHYSICAL PHILOSOPHY Richard M. Summers "Sk. A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY June 1970 ABSTRACT Most critics of Henry Vaughan have strongly emphasized the mystical element in his sacred poetry but neglected his concern for the physical world, which he expresses in both the sacred and secular poems. That such neglect does less than justice to his work is evident from an examination of the com­ plete canon of his poetry, with particular regard to his meta­ physics, as it relates to classical thought and to his ethical awareness. A study of Vaughan's relationship to classical thought helps to clarify and to define his metaphysics, which largely informs his ethics. The conception of the single source from which all flows and to which all returns, for example, empha­ sizes the soul's descent to this world and ascent to the world beyond; that of dualistic worlds points up the instability and imperfection of the one and the absoluteness of the other; that of emanations, the most significant, stresses the importance of the soul's sojourn on earth to gain a limited perfection in preparation for ascent. Conduct, therefore, becomes a point of serious concern. Indeed, much of Vaughan's poetry attempts to bring this world into closer conformity with the other. His moral consciousness involves both personal and social ethics: in the one case, a preoccupation with moderation, temperance, order, courage, and justice; in the other, a fear of anarchy and oppression as well as a call for submission to the proper authority.
    [Show full text]
  • Metaphysical Poets 1 Metaphysical Poets
    Metaphysical poets 1 Metaphysical poets The metaphysical poets is a term coined by the poet and critic Samuel Johnson to describe a loose group of British lyric poets of the 17th century, whose work was characterized by the inventive use of conceits, and by speculation about topics such as love or religion. These poets were not formally affiliated; most of them did not even know or read each other. Origin of the name In the chapter on Abraham Cowley in his Lives of the Most Eminent English Poets (1779-81), Samuel Johnson refers to the beginning of the seventeenth century in which there "appeared a race of writers that may be termed the metaphysical poets". This does not necessarily imply that John Donne, one of the most famous he intended metaphysical to be used in its true sense, in that he was metaphysical poets. probably referring to a witticism of John Dryden,[1] who said of John Donne: "He affects the metaphysics, not only in his satires, but in his amorous verses, where nature only should reign; and perplexes the minds of the fair sex with nice speculations of philosophy, when he should engage their hearts, and entertain them with the softnesses of love. In this . Mr. Cowley has copied him to a fault." Probably the only writer before Dryden to speak of a certain metaphysical school or group of metaphysical poets is Drummond of Hawthornden (1585–1649), who in one of his letters speaks of "metaphysical Ideas and Scholastical Quiddities."[2] Nor was Johnson's assessment of 'metaphysical poetry' particularly flattering, since he wrote: The metaphysical poets were men of learning, and, to show their learning was their whole endeavour; but, unluckily resolving to show it in rhyme, instead of writing poetry, they only wrote verses, and, very often, such verses as stood the trial of the finger better than of the ear; for the modulation was so imperfect, that they were only found to be verses by counting the syllables..
    [Show full text]
  • The Library of Robert Ball Part I
    The library Of Robert Ball Part I BERNARD QUARITCH LTD. BERNARD QUARITCH LTD. 40 SOUTH AUDLEY ST, LONDON W1K 2PR Tel: +44 (0)20-7297 4888 Fax: +44 (0)20-7297 4866 e-mail: [email protected] web site: www.quaritch.com Bankers: Barclays Bank plc, 50 Pall Mall, P.O. Box 15162, London SW1A 1QB Sort code: 20-65-82 Swift code: BARCGB22 Sterling account: IBAN: GB98 BARC 206582 10511722 Euro account: IBAN: GB30 BARC 206582 45447011 U.S. Dollar account: IBAN: GB46 BARC 206582 63992444 VAT number: GB 840 1358 54 MasterCard, Visa, and American Express accepted Recent Catalogues: 1431 Travel, Exploration and Natural History 1430 Philosophy, Politics and Economics 1429 Continental Books 1428 In the Scribe’s Hand – Islamic Manuscripts 1427 Travel Recent Lists: 2015/4 Autograph letters and manuscripts of economists, philosophers, statesmen etc. 2015/3 From the Library of Alexander Cosmo Gordon 2015/2 English Books, New Acquisitions, Spring 2015 2015/1 Money: an Idea transformed by Use List 2015/5 Cover image taken from item 105 (Southwell, Saint Peters Complaint , 1602-9?) Title-page image taken from item 24 (Chaucer, The Workes , 1602) © Bernard Quaritch 2015 The Library of Robert Ball English Literature 1500-1900, an American Journalist’s Collection Collecting rare books is a selfish pastime. It is about possession, about ownership. After all, the texts are universally available. Even the books themselves are often accessible in public libraries. But that is not the same as having them in one’s own bookcase. I have been an active collector for most of a long life.
    [Show full text]
  • A Critical Study of Some Famous Metaphysical Poets
    VEDA’S JOURNAL OF ENGLISH LANGUAGE AND LITERATURE (JOELL) Vol.5 Issue 1 An International Peer Reviewed Journal 2018 http://www.joell.in RESEARCH ARTICLE A CRITICAL STUDY OF SOME FAMOUS METAPHYSICAL POETS Mastan Singh (Assistant Professor of English, Shaheed Udham Singh PU Constituent College, Guruharsahai.) Email: [email protected] ABSTRACT The poets whom we describe as ‘the metaphysical poets’ are those who wrote during 17th century under the influence of John Donne. There are a large number of poets of the 17th century who are regarded as metaphysical poets. Dr Johnson extended the term metaphysical to designate the group of poets. The work of these poets is characterised by the use of paradoxes, elaborated conceits and abstruse terminology. John Donne is the most prolific metaphysical poet among all. The metaphysical poems sometimes take the form of argument. These poems link intense emotion with intellectual ingenuity. Cleveland, Marvell and Cowley are famous for their secular poetry. Herbert, Vaughan and Crashaw are known for their religious poetry. The primary focus of this paper is to bring out the chief characteristics of metaphysical poets. Keywords: Intellectual, Collection, Metaphysical, Romantic. Citation: APA Singh, M. (2018). A critical study of some famous Metaphysical Poets.Veda’s Journal of English Language and Literature-JOELL, 5(1), 266-268. MLA Singh,Mastan. “A critical study of some famous Metaphysical Poets.”Veda’s Journal of English Language and Literature JOELL, Vol.5, no.1, 2018, pp.266-268. .Author(s) retain the copyright of this article Copyright © 2018 VEDA Publications Author(s) agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License .
    [Show full text]
  • A PLAIN WATCH a Study of Henry Vaughan's Use of Time in Silex
    A PLAIN WATCH A Study of Henry Vaughan's Use of Time in Silex Scintillans by Helen Bell Submitted as an Honors Paper in the Department of English Woman's College of the University of North Carolina Greensboro 1962 Approved by Director fcamiti.njmg ^Congiittee X C . fa-\_^-o-£v*y-o— TABLE OF CONTENTS Chapter Page I. INTRODUCTION L Henry Vaughan: The Man in His Time Important Works on Vaughan Vaughan's Major Themes: With Emphasis on the Theme of Time Resume II. THE THEME OF TIME II The Timelessness of God Time as a Looking-Glass for Man Man's Ignoring Time Man as a Part of Time Time as an Agent of Separation Man Going Back in Time Time As an Aging and Destroying Agent Silence of Time Time III. THE THEME OF DAY 25 Dawning The Evil of Day Day Rids Fears of Night Day As Time of God's Influence Time of Man's Awakening Day As God's Shadow: A Lesser Light Day As a Guide to God Time of Youth and Resurrection of the World Day As a Symbol for Heaven Day Thoughts IV. THE THEME OF NIGHT 36 The Night Night As a Veil Symbol of Ignorance and Apathy Symbol of Death Time of Silence Time of Rest ii iii Time of the Spirit Time of Retreat Time of God's Visit Time of Less Error Time of Integration with God Night V. VAUGHAN AND TIME 52 VI. BIBLIOGRAPHY . 56 A PLAIN WATCH A Study of Henry Vaughan's Use of Time in Silex Scintillans PREFACE An honors paper is a year-long venture into a whole new world of scholarship for most honors students.
    [Show full text]
  • Materials Sidney Gottlieb Sacred Heart University, [email protected]
    Sacred Heart University DigitalCommons@SHU School of Communication and Media Arts Faculty Communication and Media Arts (SCMA) Publications 1990 Materials Sidney Gottlieb Sacred Heart University, [email protected] Follow this and additional works at: http://digitalcommons.sacredheart.edu/media_fac Part of the Curriculum and Instruction Commons, and the Literature in English, British Isles Commons Recommended Citation Gottlieb, Sidney "Materials." Approaches to Teaching the Metaphysical Poets. Ed. S. Gottlieb. New York: Modern Language Association, 1990. This Book Chapter is brought to you for free and open access by the Communication and Media Arts (SCMA) at DigitalCommons@SHU. It has been accepted for inclusion in School of Communication and Media Arts Faculty Publications by an authorized administrator of DigitalCommons@SHU. For more information, please contact [email protected]. Part One MATERIALS Sidney Gottlieb Editions Many teachers find the choice of books for a course covering John Donne, George Herbert, Henry Vaughan, Richard Crashaw, and Andrew Marvell an agonizing decision, in part because of the inevitable compromises re­ quired. Teachers generally agree that the reading material in such a course should be comprehensive (either complete or including a substantial and representative selection of poems); well edited, with reliable texts, useful notes, and supplementary matter; and modernized (if at all) according to principles that are defensible and consistent and that do not disregard the shape, the arrangement, and the visual disposition or structure of the poems. That those high ideals are frequently met in individual volumes on each ofthe metaphysical poets is the cause for some celebration, but instruc­ tors cannot ask undergraduates to buy a full set of those increasingly expen­ sive texts, especially for a course in which other books may be required.
    [Show full text]
  • Eventeenth- Entury
    EVENTEENTH- ENTURY EWS FALL - WINTER 2003 Vol. 61 Nos. 3&4 Including THE NEO-LATIN NEWS Vol. 51, Nos. 3&4 SEVENTEENTH-CENTURY NEWS VOLUME 61, Nos. 3&4 FALL-WINTER, 2003 SCN, an official organ of the Milton Society of America and of the Milton Section of the Modern Language Association, is published as a double issue two times each year with the support of the English Departments of: University of Akron Concordia University, Wisconsin Oklahoma State University Texas A&M University SUBMISSIONS: Though primarily a review journal, SCN publishes shorter articles and scholarly notes (3000 words). Manuscripts should be submitted in duplicate (with the author’s name and institutional affiliation on the cover page only), accompanied by a stamped, self-addressed envelope. As a service to the scholarly community, SCN also publishes news items. SUBSCRIPTIONS, Domestic and International. $15.00 ($20.00) for one year; $28.00 ($37.00) for two years; $40.00 ($52.00) for three years. Checks or money orders are payable to Seventeenth-Century News. A current style sheet, announcements, previous volumes’ Tables of Contents, advertising rates, and other information all may be obtained via our home page on the World Wide Web. Books for review and queries should be sent to: Prof. Donald R. Dickson English Department 4227 Texas A&M University College Station, Texas 77843-4227 E-Mail: [email protected] WWW: http://www-english.tamu.edu/pubs/scn/ ISSN 0037-3028 SEVENTEENTH-CENTURY NEWS EDITOR DONALD R. DICKSON Texas A&M University EDITOR EMERITUS Harrison T. Meserole Texas A&M University ASSOCIATE EDITORS James Egan, University of Akron Gene Edward Veith, Concordia University, Wisconsin Jeffrey Walker, Oklahoma State University Michele Marrapodi, University of Palermo Patricia Garcia Ocañas, Our Lady of the Lake University EDITORIAL ASSISTANTS Christopher E.
    [Show full text]