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This book uses textual and material evidence -- in poetry, prayers, physiologies, sermons, church buildings and monuments, manuscript diaries and notebooks -- to explore how material things held spiritual meaning in George Herbert's poetry, and to reflect on scholarly approaches to matter and form in devotional poetry.
This “powerfully absorbing” biography of 17th century Welsh poet George Herbert brings essential personal and social context to his immortal poetry (Financial Times). Though he never published any of his English poems during his lifetime, George Herbert has been celebrated for centuries as one of the greatest religious poets in the language. In this richly perceptive biography, author and theologian John Drury integrates Herbert’s poems fully into his life, enriching our understanding of both the poet’s mind and his work. As Drury writes in his preface, Herbert lived “a quiet life with a crisis in the middle of it.” Beginning with his early academic success, Drury chronicles the life of a man who abandons the path to a career at court and chooses to devote himself to the restoration of a church in Huntingdonshire and lives out his life as a country parson. Because Herbert’s work was only published posthumously, it has always been difficult to know when or in what context he wrote his poems. But Drury skillfully places readings of the poems into his narrative, allowing us to appreciate not only Herbert’s frame of mind while writing, but also the society that produced it. He reveals the occasions of sorrow, happiness, regret, and hope that Herbert captured in his poetry and that led T. S. Eliot to write, “What we can confidently believe is that every poem . . . is true to the poet’s experience.” “It is hard to imagine a better book for anyone, general reader or seventeenth-century aficionado or teacher or student, newly embarking on Herbert.”—The Guardian, UK
George Herbert (1593-1633) was an Anglican priest, poet and essayist--truly one of the most profound spiritual masters in the English tradition. His spirituality was a synthesis of Evangelical and Catholic piety.
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.
This international and interdisciplinary volume investigates Protestant devotional identities in sixteenth- and seventeenth-century England. Divided into two sections, the book examines the ‘sites’ where these identities were forged – the academy, printing house, household, theatre and prison – and the ‘types’ of texts that expressed them – spiritual autobiographies, religious poetry and writings tied to the ars moriendi – providing a broad analysis of social, material and literary forms of devotion during England’s Long Reformation. Through archival and cutting-edge research, a detailed picture of ‘lived religion’ emerges, which re-evaluates the pietistic acts and attitudes of well-known and recently discovered figures. To those studying and teaching religion and identity in early modern England, and anyone interested in the history of religious self-expression, these chapters offer a rich and rewarding read.
George Herbert has always been regarded as a man of singular piety and a poet of uncommon technical ability. Until recent times, however, he was usually thought to have written prosodically ingenious but conceptually thin verse. Mary Ellen Rickey, through a close examination of Herbert's poetry, reveals the high concentration of ideas in his verse and the richness of his imagery.
"A collection of essays on poetry and the experiences that influenced poet Robert Hayden. Contents include "The History of Punchinello: A Baroque Play in One Act," Hayden's introductory remarks to volumes like Kaleidoscope: Poems by American Negro Poet and The New Negro, and interviews with Hayden."
In this extensive study of two of the most celebrated seventeenth-century religious poets, Robert Whalen examines the role of sacrament in the formation of early modern religious subjectivity. For John Donne and George Herbert, sacramental topoi became powerful conceptual tools with which to explore both the intersection of spiritual and material aspects of human experience and their competing claims to Christianity. Whalen's argument builds upon his central idea of 'sacramental Puritanism, ' or the effort to cultivate a Calvinist sense of interiority through a fully ceremonial apparatus, and thereby to reconcile the potentially disparate imperatives of sacrament and devotion. Unique in its combination of current historiography and informed analysis, its attention to the sacramental features of Donne's 'secular' lyrics, and its advancement of sacramental thought as an important element of Renaissance English culture, The Poetry of Immanence illuminates a crucial dimension of the work of two major Stuart writers. In his comprehensive critical readings, Whalen offers a substantial contribution to the increasing study of religious themes and devotion in the literature of the early modern period.
Sacramental Poetics at the Dawn of Secularism asks what happened when the world was shaken by challenges to the sacred order as people had known it, an order that regulated both their actions and beliefs. When Reformers gave up the doctrine of transubstantiation (even as they held onto revised forms of the Eucharist), they lost a doctrine that infuses all materiality, spirituality, and signification with the presence of God. That presence guaranteed the cleansing of human fault, the establishment of justice, the success of communication, the possibility of union with God and another, and love. These longings were not lost but displaced, Schwartz argues, onto other cultural forms in a movement from ritual to the arts, from the sacrament to the sacramental. Investigating the relationship of the arts to the sacred, Schwartz returns to the primary meaning of "sacramental" as "sign making," noting that because the sign always points beyond itself, it participates in transcendence, and this evocation of transcendence, of mystery, is the work of a sacramental poetics.