In structuring the poems of "The Church" as a sequence, Herbert leaves little doubt in the reader's mind as to where the dutiful man ends. The closing poem, "Love" (III), has rightly received a great deal of attention for the exquisitely subdued way in which it details man's final union with God. But perhaps the preceding poem, "Heaven," also deserves such careful attention, focusing on exactly how it helps Herbert conclude "The Church" with the peace and rest that have been so elusive up until this point. Much more than simply describing the final resting place, "Heaven" also presents a remarkable solution to a stylistic problem that Herbert faces again and again in his poems. A brief survey of the questions Herbert asks regarding the almost impossible task of the sacred poet provides a useful introduction to "Heaven," which answers those questions subtly and persuasively.
{"title":"George Herbert's \"Heaven\": The Eloquence of Silence","authors":"P. S. Weibly","doi":"10.1353/GHJ.1981.0011","DOIUrl":"https://doi.org/10.1353/GHJ.1981.0011","url":null,"abstract":"In structuring the poems of \"The Church\" as a sequence, Herbert leaves little doubt in the reader's mind as to where the dutiful man ends. The closing poem, \"Love\" (III), has rightly received a great deal of attention for the exquisitely subdued way in which it details man's final union with God. But perhaps the preceding poem, \"Heaven,\" also deserves such careful attention, focusing on exactly how it helps Herbert conclude \"The Church\" with the peace and rest that have been so elusive up until this point. Much more than simply describing the final resting place, \"Heaven\" also presents a remarkable solution to a stylistic problem that Herbert faces again and again in his poems. A brief survey of the questions Herbert asks regarding the almost impossible task of the sacred poet provides a useful introduction to \"Heaven,\" which answers those questions subtly and persuasively.","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130886158","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Vaughan's religious verse is reflective in at least three senses of the term: his stance is thoughtful and traces his meditations on biblical passages and elements of Christian doctrine; his imagery holds a mirror up to his Welsh country environment and the biblical scenes he has internalized; and his poems explicitly imitate and convey the influence of his most acknowledged predecessor, Herbert.' An immediately recognizable aspect of Vaughan's reflection of Herbert is the variety and complexity of Vaughan's verse forms, in a few instances precisely imitating Herbert's formal inventions.2 Yet as Jonathan Post has shown, "more often . . . the formal resemblances do not constitute exact parallelisms, but are of a more general kind," including varied line lengths, combined stanzaic patterns, and a tendency to follow the high orderliness of Herbert's attempt to reflect God's glory.3
{"title":"Vaughan's Reflective Versification","authors":"Susanne Woods","doi":"10.1353/GHJ.1983.0013","DOIUrl":"https://doi.org/10.1353/GHJ.1983.0013","url":null,"abstract":"Vaughan's religious verse is reflective in at least three senses of the term: his stance is thoughtful and traces his meditations on biblical passages and elements of Christian doctrine; his imagery holds a mirror up to his Welsh country environment and the biblical scenes he has internalized; and his poems explicitly imitate and convey the influence of his most acknowledged predecessor, Herbert.' An immediately recognizable aspect of Vaughan's reflection of Herbert is the variety and complexity of Vaughan's verse forms, in a few instances precisely imitating Herbert's formal inventions.2 Yet as Jonathan Post has shown, \"more often . . . the formal resemblances do not constitute exact parallelisms, but are of a more general kind,\" including varied line lengths, combined stanzaic patterns, and a tendency to follow the high orderliness of Herbert's attempt to reflect God's glory.3","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130952080","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"George Herbert: His Religion and Art (review)","authors":"L. Martz","doi":"10.1353/GHJ.1981.0021","DOIUrl":"https://doi.org/10.1353/GHJ.1981.0021","url":null,"abstract":"","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"457 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115621748","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Unlike the works of Donne and Jonson. the poetry of George Herbert tends to reveal a limited and casual acquaintance with alchemy. Scattered references to the art that occur in The Temple are, though precise and effective, usually uncomplex and obviously derived from commonplaces of alchemical thought The Sinner complains, tor example, that in comparison to the "quarries of pil'd vanities" within his heart, the quantity of "quintessence" and "good extract" is distressingly small; Christ's death "calcined" the speaker's heart to dust, but the promise of its transmutation into gold is contained in His resurrection; the Christian's recognition of his obligation to God is both purifying "tincture" and "the famous stone / That turneth all to gold"; and, similarly, the Virgin Mary is figured forth as "the holy mine, whence came the gold, / The great restorative for all decay / In young and old."1 In contrast to such familiar and non-specialized uses of alchemical ideas, the imagery of the third stanza of "Vanitie" (I) appears to be based on an obscure and previously unnoticed figure which nonetheless occurs frequently in seventeenth-century alchemical and medical treatises as well as in works calling for general educational reform:
{"title":"Herbert and the Unveiling of Diana: Stanza Three of \"Vanitie\" (I)","authors":"S. J. Linden","doi":"10.1353/GHJ.1978.0002","DOIUrl":"https://doi.org/10.1353/GHJ.1978.0002","url":null,"abstract":"Unlike the works of Donne and Jonson. the poetry of George Herbert tends to reveal a limited and casual acquaintance with alchemy. Scattered references to the art that occur in The Temple are, though precise and effective, usually uncomplex and obviously derived from commonplaces of alchemical thought The Sinner complains, tor example, that in comparison to the \"quarries of pil'd vanities\" within his heart, the quantity of \"quintessence\" and \"good extract\" is distressingly small; Christ's death \"calcined\" the speaker's heart to dust, but the promise of its transmutation into gold is contained in His resurrection; the Christian's recognition of his obligation to God is both purifying \"tincture\" and \"the famous stone / That turneth all to gold\"; and, similarly, the Virgin Mary is figured forth as \"the holy mine, whence came the gold, / The great restorative for all decay / In young and old.\"1 In contrast to such familiar and non-specialized uses of alchemical ideas, the imagery of the third stanza of \"Vanitie\" (I) appears to be based on an obscure and previously unnoticed figure which nonetheless occurs frequently in seventeenth-century alchemical and medical treatises as well as in works calling for general educational reform:","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123559613","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Marvell's "The Coronet," Herbert's "Jordan" (II) and "A Wreath," Vaughan's "The Garland" and "The Wreath," and Donne's "La Corona" weave a "vile crowne of fraile bayes" of human praise for an ineffable God.1 Describing a circle of poets copying each other's form is one way to open up their enclosure by theology in previous criticism of these poems. This article will suggest that the poems' own governing metaphor should be taken literally: they are florilegia of past reading and writing, not only a description of the dilemma of solofidianism. A.D. Nuttall has summed up the theological debate over Herbert's "Jordan" poems:
{"title":"Seventeenth-Century Wreath Poems","authors":"C. Sullivan","doi":"10.1353/GHJ.1995.0020","DOIUrl":"https://doi.org/10.1353/GHJ.1995.0020","url":null,"abstract":"Marvell's \"The Coronet,\" Herbert's \"Jordan\" (II) and \"A Wreath,\" Vaughan's \"The Garland\" and \"The Wreath,\" and Donne's \"La Corona\" weave a \"vile crowne of fraile bayes\" of human praise for an ineffable God.1 Describing a circle of poets copying each other's form is one way to open up their enclosure by theology in previous criticism of these poems. This article will suggest that the poems' own governing metaphor should be taken literally: they are florilegia of past reading and writing, not only a description of the dilemma of solofidianism. A.D. Nuttall has summed up the theological debate over Herbert's \"Jordan\" poems:","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124634219","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The chief question about the Bodleian manuscript (Tanner MS. 307, referred to as B) must be its relationship to the text the author finally intended. As Hutchinson unpretentiously put it: "An editor's business is to present the text as near to the author's intention as he has the means of judging; but this is not identical . . . with a mere reproduction of a copy which the author never saw ... or of the first edition, however much care was bestowed upon it by the original editor and by a scholarly printer."1
{"title":"The Bodleian Manuscript and the Text of Herbert's Poems","authors":"Mario A. Di Cesare","doi":"10.1353/ghj.1983.0005","DOIUrl":"https://doi.org/10.1353/ghj.1983.0005","url":null,"abstract":"The chief question about the Bodleian manuscript (Tanner MS. 307, referred to as B) must be its relationship to the text the author finally intended. As Hutchinson unpretentiously put it: \"An editor's business is to present the text as near to the author's intention as he has the means of judging; but this is not identical . . . with a mere reproduction of a copy which the author never saw ... or of the first edition, however much care was bestowed upon it by the original editor and by a scholarly printer.\"1","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"2674 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124737109","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Herrick's Cultural Materialism","authors":"M. Crane","doi":"10.1353/GHJ.1990.0015","DOIUrl":"https://doi.org/10.1353/GHJ.1990.0015","url":null,"abstract":"","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128757777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Superior texts for courses in seventeenth-century English literature have been hard to find. The standard anthologies have generally printed too many minor writers, with consequent neglect of those major figures who would actually be taught. One is not likely, for exam pie, to get around to teaching Wotton, Sandys, Corbett, and Townshend, admirable though these people may be, but one would like to have both of Donne's Anniversaries and all the Holy Sonnets, all of Jonson's "Celebration of Charis" and all the poems in 77»· Foreet. Herbert's "The Sacrifice," Herrick's "Farewell to Sack" and also the "Welcome," Marvell's "Upon Appleton House," and so forth. Often, however, major works such as these are either omitted or given in excerpts so as to make room for items of far less significance.
{"title":"George Herbert and the Seventeenth-Century Religious Poets (review)","authors":"R. French","doi":"10.1353/GHJ.1979.0005","DOIUrl":"https://doi.org/10.1353/GHJ.1979.0005","url":null,"abstract":"Superior texts for courses in seventeenth-century English literature have been hard to find. The standard anthologies have generally printed too many minor writers, with consequent neglect of those major figures who would actually be taught. One is not likely, for exam pie, to get around to teaching Wotton, Sandys, Corbett, and Townshend, admirable though these people may be, but one would like to have both of Donne's Anniversaries and all the Holy Sonnets, all of Jonson's \"Celebration of Charis\" and all the poems in 77»· Foreet. Herbert's \"The Sacrifice,\" Herrick's \"Farewell to Sack\" and also the \"Welcome,\" Marvell's \"Upon Appleton House,\" and so forth. Often, however, major works such as these are either omitted or given in excerpts so as to make room for items of far less significance.","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128630967","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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