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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... move in it, and wee see it not. It is then most invisible; when most present. Henry Vaughan's translation of Nieremberg, Of Temperance and Patience Introduction IN the years following the rediscovery of metaphysical poetry.
... moves, devotion is"—he appears to be stating only a tentative hypothesis, good for the duration of the poem. But the poem at last forces the reader to acknowledge the hypothesis as truth, by playing on the variety of relationships that ...
... move from the first to the second person and declare man “The glory, jest, and riddle of the world!” But it is the metaphysical poets who make us feel what it is like to be such a creature and it is to the relationship between belief ...
... moves them so much to a reverence, which they forget againe, when they come to pray, as a devout behaviour in the very act of praying. (Works, p. 231) In this passage from The Country Parson Herbert stresses the parson's physical ...
... move somewhat more confidently as he addresses his lute. Just as the heart moves in imitation of Christ, so the inanimate object of wood and strings moves in sympathy with his rising. Herbert does not stress here, as Vaughan was to do ...