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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... sweet youth and early hopes inhance Thy rate and price, and mark thee for a treasure; Hearken unto a Verser, who may chance Ryme thee to good, and make a bait of pleasure. A verse may finde him, who a sermon flies, And turn delight into ...
... sweet,” “treasure,” “pleasure,” “bait,” “sacrifice”—that will dominate the rest of The Temple and be redefined by it. “Sweet,” with its biblical echoes of the “sweet savor of sacrifice,” as applied to the crucifixion of Christ must have ...
... sweet art” (lines 17–18). The second shaped poem of the passion sequence, “Easter-wings,” although moving like “The Altar” from long to short to long lines, moves much more freely and easily. It tells the story not of deliberate and ...
... sweet and most divine” (line 17) we must realize that it is “that juice, which on the crosse a pike/Did set again abroach” (lines 14–15). The structure we have been trying to grasp is now clear: stanza 1 states the subject; stanza 2 ...
... sweet relief? (lines 5–8) The need for oxymoron—“the grief/Of pleasures”—suggests that there is something wrong with our perception of reality and our use of language, that our pleasures are griefs, our griefs pleasures. This moment of ...