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This volume presents the work of two poets linked by the tribute of creative imitation gratefully paid by Vaughan to Herbert. Read side by side, as this one volume collection makes possible, the artists' verse fully reveal their individual powers, even as the complex nature of Vaughan's use of Herbert's imaginative example is thrown into greater relief. The book contains the complete English poetry of Herbert, his prose treatise, The Country Parson, the complete text of Vaughan's Silex Scintillans, including all material in both the 1650 and 1655 editions, plus a selection from Vaughan's early secular poetry. Louis Martz's introduction and commentary help bring the religious controversies of the age into focus, and the text also features chronologies of the lives of the two men, and suggestions for further readings.
Written by one of the editors of the new complete works of Henry Vaughan, Keeping the Ancient Way is the first book-length study of the poet by a single author for twenty years. It deals with a number of key topics that are central to the understanding and appreciation of this major seventeenth-century writer. These include his debt to the hermetic philosophy espoused by his twin brother (the alchemist, Thomas Vaughan); his royalist allegiance in the Civil War; his loyalty to the outlawed Church of England during the Interregnum; the unusual degree of intertextuality in his poetry (especially with the Scriptures and the devotional lyrics of George Herbert); and his literary treatment of the natural world (which has been variously interpreted from Christian, proto-Romantic, and ecological perspectives). Each of the chapters is self-contained and places its topic in relation to past and current critical debates, but the book is organized so that the biographical, intellectual, and political focus of Part One informs the discussion of poetic craftsmanship in Part Two. A wealth of historical information and close critical readings provide an accessible introduction to the poet and his period for students and general readers alike. The up-to-date scholarship will also be of interest to specialists in the literature and history of the Civil War and Interregnum.
This volume presents the major works of five poets--George Herbert, Richard Crashaw, Andrew Marvell, Henry Vaughan, and Thomas Traherne. While most of the selections are religious poetry, the important secular verse of Marvell and Crashaw is also included. Eighty poems by Herbert have been selected form The Temple, and two early poems from Issak Walton's Lives are also included.
Includes such masterpieces as Donne's "Death, Be Not Proud"; Marvell's "To His Coy Mistress"; plus works by George Herbert, Henry Vaughan, Richard Crashaw, Francis Quarles, and others. Includes two selections from the Common Core State Standards Initiative.
This book explores early modern debates over prayer and liturgy from Anglican and Puritan perspectives, highlighting the poetic representation of prayer on both sides of the controversy.
John Milton, Thomas Carew, Sir William Davenant, Henry Vaughan, Andrew Marvell, George Herbert, Sir Walter Ralegh, Robert Southwell, John Donne, Richard Crashaw form part of the 17th century poets who became known as metaphysical. In this anthology Dame Helen Gardner has collected together those poets who although never self consciously a school, did possess in common certain features of argument and powerful persuasion.
Robert Ellrodt's study of seven poets--springing from his wide-ranging three-volume work, Les Poètes métaphysiques anglais--challenges the postmodernist assumption that no definite or constant self can be traced in the works of a writer. Distinct modes of self-awareness, different emphases in the perception of time and space, and various ways of grasping the sensible and the spiritual, the human and the divine, jointly or separately characterize the minds of Donne and George Herbert, Crashaw and Vaughan, Lord Herbert, Marvell, and Traherne. Fundamental mental structures affect their attitudes to love, death, and God, and dictate their privileged modes of composition and expression. Without neglecting the relations between these individual traits and the general evolution of thought from classical antiquity to the Renaissance, or the immediate cultural environment in which each poet wrote, this critical study maintains the primacy of individual choice, of the "unchanging self." The book is not based on a theory, but on a close scrutiny of the characteristic interplay of personal modes of thought and sensibility.