Download The Shadow of Eternity: Belief and Structure in Herbert, by Sharon C. Seelig PDF
By Sharon C. Seelig
The poetry of Herbert, Vaughan, and Traherne represents "an try and form their lives and verse round the truth of divine presence and influence," writes Sharon Seelig. the connection among trust and expression in those 3 metaphysical poets is the topic of this deeply perceptive study.
Each of those poets held to some degree the suggestion of twin truth, of the area as indicative of a better truth, yet their responses to this practice differ greatly―from the continuing fight among God and the poet of The Temple, which ultimately transforms the fabrics of lifestyle and worship; to the more challenging team spirit of Silex Scintillans, with its stress among illumination and resignation; to the ecstatic proclamations of Thomas Traherne, whose feel of divine truth in the beginning turns out so robust as to spoil the attribute metaphysical stress among this international and the following. Seelig's examine proceeds from person poems to the complete paintings, exploring the relation of cosmology and spiritual event to poetic shape.
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Extra info for The Shadow of Eternity: Belief and Structure in Herbert, Vaughan, and Traherne
Example text
Here Herbert carefully distinguishes man's powers from God's, yet links the two inseparably. In contrast to his position in the passion poems, the speaker no longer hopes for a significant change in his own accomplishments and merits, but rather for a change in the way God regards him: My Master, shall I speak? O that to thee My servant were a little so, Asfleshmay be; That these two words might creep & grow To some degree of spicinesse to thee! (lines 11-15) HERBERT 39 Herbert's expression of his desire, though heartfelt, is extremely cautious and modest: flesh cannot be what it is not; it can at best be in "some degree" pleasing to God.
In trying to grapple with Vaughan, the reader may at first be struck most forcefully by his acknowledged and deeply felt debt to Herbert himself, "whose holy life and verse," says Vaughan, "gained many pious Converts, (of whom I am the least)" (Works, p. 391). 2 In "The Match," Vaughan explicitly answers Herbert's hope, expressed in "Obedience," that "some kind man would thrust his heart / Into these lines" and join him in resigning all to God. Indeed, Silex Scintillans as a whole is a response to The Temple; even the subtitle, "Sacred Poems and Private Ejaculations," is VAUGHAN 45 borrowed from that work.
The title leads us to expect a definition or perhaps a picture of agony, whereas the first lines offer nothing of the sort. They begin calmly enough in the world of reason, philosophers, and objective inquiry. " Only in the slower pace of line 4 and in the language of line 6 is there a hint that the swinging, balanced meter does not mark the straight and narrow way that leads to life but rather the broad and easy way to destruction. Philosophers have measur'd mountains, Fathom'd the depths of seas, of states, and kings, Walk'd with a staffe to heav'n, and traced fountains: But there are two vast, spacious things, The which to measure it doth more behove: Yet few there are that sound them; Sinne and Love.