Henry Vaughan and George Herbert

2021 ◽  
pp. 193-224
Keyword(s):  
Author(s):  
Paul Cefalu

The sixth chapter takes a closer look at the influence of Johannine discipleship misunderstanding (particularly the Johannine rhetoric of dramatic irony) on the poetry of George Herbert and Henry Vaughan. Through close readings of Herbert’s “The Bag,” “The Bunch of Grapes,” and “Love unknown,” as well as Vaughan’s “The Night,” the chapter argues that both poets rely on Johannine-inspired dramatic irony in order to express some of the key features of Johannine devotion, especially a high Christology that glorifies rather than abases Jesus. In most cases, especially in Herbert’s poetry, dramatic irony leads not to instability or paradox but to a clarification and heightened understanding of some of the deepest mysteries of Johannine Christology.


Author(s):  
Paul Cefalu

The fourth chapter describes the extent to which Augustine as well as a broad group of early modern homilists and poets were influenced by the ontological conception of love described in John’s First Epistle: “God is love, and hee that dwelleth in love, dwelleth in God, and God in him” (1 John 4: 16). For John, responsive love expressed toward God is achieved fundamentally through an embrace of Christ’s Word, particularly because God’s love for Christ is expressed eternally for the Son prior to the Incarnation. This chapter addresses the unique ways in which three early modern English poets—George Herbert, Henry Vaughan, and Thomas Traherne—appropriate the Johannine understanding of agape and an ontological conception of God’s love.


1992 ◽  
Vol 21 (2) ◽  
pp. 167-179
Author(s):  
Geoffrey Rowell

Between 1845 and 1850 Manning, as Archdeacon of Chichester, published four volumes of collected sermons. They are not his only published sermons as an Anglican, but they are the ones with which this article will be concerned. They were published by the firm of William Pickering, whose list included the liturgical works of the Revd. William Maskell, chaplain to the High Church Henry Phillpotts, Bishop of Exeter, sermons by Manning’S nephew, W. H. Anderdon, and reprints of Bishop Wilson’s Sacra Privata and Lancelot Andrewes’ Preces Privatae, as well as Jeremy Taylor, George Herbert and Henry Vaughan. In 1882 as a Catholic Manning claimed that he had never been concerned that his Anglican sermons should be re-issued. ‘£250 was offered to me for an edition of the four volumes of Sermons. But I always refused. I wished my past, while I was in the twilight, to lie dead to me, and I to it.’ Yet, as Purcell points out, in 1865 he had consulted Dr. Bernard Smith in Rome about their re-issue. Smith’s verdict was negative. ‘These were the works of Dr. Manning, a Protestant. They were the fruits of the Anglican not of the Catholic Church.’ He was, nonetheless, impressed. ‘What I admired most in the perusal of these volumes was not the many strong Catholic truths I met with, but that almost Catholic unction of a St. Francis de Sales, or of a St. Teresa, that breathes through them all.’


Tekstualia ◽  
2019 ◽  
Vol 1 (5) ◽  
pp. 151-158
Author(s):  
Małgorzata Ślarzyńska

The article focuses on Cristina Campo’s poetry translations in the context of her literary choices infl uenced by her predilection to metaphysical literature. The category of metaphysical literature can be understood, fi rst of all, as related to metaphysical English poets like John Donne, George Herbert, Richard Crashaw, and Henry Vaughan. Metaphysical were also those authors whose writings defi ed the categories of space and time, and transcended the temporal and geographical limits. One of the greatest Campo’s fascinations from that perspective was the poetry of William Carlos Williams, as well as other authors that entered in her category of imperdonabili. Campo’s translational activity followed a well-delineated path related strictly to her metaphysical inclinations and manifested certain traits of the tendency to establish the personalized canon of real and worthwhile literature that at the same time opposed the mainstream literary choices of that time


Author(s):  
Kate Armond

This chapter aims to offer an overview of those resurgences of the baroque that are most significant for my study – Germany’s rediscovery of the Trauerspiel and allegory, the colourful legacy of the Italian commedia dell ‘arte and the monist philosophy of Baruch Spinoza that informs Ernst Haeckel’s evolutionary science at the turn of the century. Anglo-American modernism’s debt to the baroque has already been discussed in some detail in the context of English metaphysical poetry, and this interest stemmed from T. S. Eliot’s essay ‘The Metaphysical Poets’ (1921). The essay is a review of Herbert J. C. Grierson’s anthology Metaphysical Lyrics and Poems of the Seventeenth Century: Donne to Butler (1921), and between them the two works were responsible for a reappraisal of the poetry of John Donne, George Herbert, Andrew Marvell, Richard Crashaw, Henry Vaughan and Abraham Cowley during the 1920’s and 1930s.


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