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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... prayers most: Praying's the end of preaching. Obe drest; Stay not for th' other pin: why, thou hast lost A joy for it worth worlds. Thus hell doth jest Away thy blessings, and extreamly flout thee, Thy clothes being fast, but thy soul ...
... praying. (Works, p. 231) In this passage from The Country Parson Herbert stresses the parson's physical posture as a ... prayer with its physical submission as a preparation for and means to his own spiritual activity. If this is true of ...
... been taught its art by the divine creator. Even so, man and his instrument are not solely responsible for music, as the prayer with which the song ends indicates: “O let thy blessed Spirit bear a part, / 18 Between Two Worlds.
... prayers, he assumes that God is deaf to his appeals. But the synecdoche—“silent eares”—indicates his own ... prayer for harmony between God and his soul (“O cheer and tune my heartlesse breast,” “Deniall,” line 26) is met in ...
... prayer: “Kill me not ev'ry day, /Thou Lord of life” (lines 1–2); which leads to an explicit statement: “as thou art/All my delight, so all my smart” (lines 12–13). “Affliction III” goes further, not only to see God as the source of pain ...