The Shadow of Eternity: Belief and Structure in Herbert, Vaughan, and TraherneUniversity Press of Kentucky, 2014/10/17 - 200 ページ The poetry of Herbert, Vaughan, and Traherne represents "an attempt to shape their lives and verse around the fact of divine presence and influence," writes Sharon Seelig. The relationship between belief and expression in these three metaphysical poets is the subject of this deeply perceptive study. Each of these poets held to some extent the notion of dual reality, of the world as indicative of a higher reality, but their responses to this tradition vary greatly—from the ongoing struggle between God and the poet of The Temple, which finally transforms the materials of everyday life and worship; to the more difficult unity of Silex Scintillans, with its tension between illumination and resignation; to the ecstatic proclamations of Thomas Traherne, whose sense of divine reality at first seems so strong as to destroy the characteristic metaphysical tension between this world and the next. Seelig's study proceeds from individual poems to the whole work, exploring the relation of cosmology and religious experience to poetic form. |
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... heart of this poem that ponders the relative postures of body and spirit, finding them now in harmony, now in opposition, there is a stunning expression of the link between them, and of the link between the worlds of nature and of grace ...
... heart, on the artistic and spiritual discipline required of him, on the sacrifice he makes to serve God and to write poetry in his praise.” It comes as something of a shock, then, to realize that “The Sacrifice” deals not with the ...
... heart does not participate; he depicts naïveté of the spirit, sometimes manifested as arrogance, or expressed in the belief that God's gifts can be matched by man's endeavors. Surely I will revenge me on thy love, And trie HERBERT ll.
... heart of The Temple;” it also strikes a key note, dramatically representing the tension between will and performance, between pattern and participation, basic to the whole work. “The Altar,” like “Paradise,” and like that other shaped ...
... HEART alone Is such a stone, As nothing but Thy pow'r doth cut. Wherefore each part Of my hard heart Meets in this frame, To praise thy Name. (lines 5–12) The first four lines of this passage, though choppy and awkward, are metrically ...