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Jane Hirshfield, the award-winning author of THE OCTOBER PALACE and editor of WOMEN IN PRAISE OF THE SACRED, presents a scintillating new volume of poems to be published to coincide with the hardcover release of NINE GATES, the author's primer on the reading and writing of poetry.
English devotional poets of 17c set in a wider European and Catholic context.
This perceptive, carefully documented study challenges the traditional assumption that the supernatural virtually disappeared from eighteenth-century poetry as a result of the growing rationalistic temper of the late seventeenth century. Mr. Morris shows that the religious poetry of eighteenth-century England, while not equaling the brilliant work of seventeenth-century and Romantic writers, does reveal a vital and serious effort to create a new kind of sacred poetry which would rival the sublimity of Milton and of the Bible itself. Tracing the major varieties of religious poetry written throughout the century—by major figures and by their now vanished contemporaries—the author explains how later poets and critics made significant departures from the established norms. These changes in religious poetry thus become a valuable means of understanding the shift from a neoclassical to a Romantic theory of literature.
First published in 1967, Poets of the Early Seventeenth Century is a representative selection of shorter poems written during the first half of the seventeenth century by principal poets of this period. Of these poets, only Ben Jonson in the strict sense was a professional author, writing as a means of livelihood. Milton and probably Browne at this stage of their careers, were independent. The others pursue different professions, as courtiers, diplomats, tutors, clerics, and in case of Vaughan, as a physician. Most of these poems were probably fruits of their writers’ leisure hours and some at least were intended rather for private circulation than for early publication. The editors have added brief critical comments on each poet and biographies in the notes and this book is a must read for students of English literature and English poetry.
The first comprehensive and integrated critical survey of colonial American poetry, this book focuses on the New England Puritans, who produced the most notable poets, relating them contextually to writers of the Middle Atlantic and Southern colonies and to their European forebears. Following a general introduction by the editor, the book's three parts present: first, the social and aesthetic context in which the poets worked; second, the individual achievements of nine of the most successful poets; thin the varied forms the poets used sacred and profane, serious and humorous, formal and informal.
First published in 2005, this title provides extensive knowledge on seventeenth-century music.
Poetic Priesthood reads seventeenth-century devotional verse as staging a surprising competition between poetry and the established church. The work of John Donne, George Herbert, Richard Crashaw, John Milton, and Thomas Traherne suggests that the demands of faith are better understood by poets than by priests—even while four of these authors were also ordained. While recent scholarship has tended to emphasize the shaping influence of the liturgy on the poetry of this period, this book argues that verse instead presents readers with a mode of articulating piety that relies on formal experimentation, and that varies from the forms of the church rather than straightforwardly reproducing them. In crafting this poetic aid to devotion, these authors practiced an alternative and even more ample form of ministry than in their ecclesiastical activities. In the wake of the Reformation, the liturgy of the English church centered on rituals of communal prayer and praise, but the poetry considered in this study suggests that such rituals in fact risk distracting worshippers from the pleasures and challenges of navigating an individual relationship with God. Yet these poets do not make this suggestion by rejecting communal rituals outright. Their verse invokes ecclesiastical practice as a basis for formal innovation that suggests how intimacy with the divine might look, feel, and sound, connecting humans with their God more precisely and more individually than the liturgy can. As they shift between explicit comment on the liturgy and more subtle departures from it in the interplay of verse form and denotation, these authors claim the work of priesthood for poetry.