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. |
この書籍内から
検索結果1-5 / 21
... simple little poems that begin in man's world and lead to God's. The Temple also presents us with a bewildering variety of voices, by no means all of them to be identified with Herbert's own. Of course there are such obvious uses of ...
... simple piety, too good to be true, too simple to be convincing; he represents formal adherence to patterns in which the heart does not participate; he depicts naïveté of the spirit, sometimes manifested as arrogance, or expressed in the ...
... simple yet essential truth: “Perhaps great places and thy praise/Do not so well agree” (“Submission,” lines 15–16). Such discoveries may make us smile at as well as judge the persona. Among the most amusing of Herbert's voices is that ...
... simple and barren activities in declarative clauses that remain unsubordinated to and unconnected with other clauses (“I go to Church"); he attempts to force connections by juxtapositions, as in lines 5–6 or in the subordinating ...
... simple and regular, as if his were the voice of purest innocence. But the grammatical superlative—"Sweetest Saviour"—is not matched by the ultimate response, for while affirming his love for his Savior, the speaker hides behind claims ...