{"title":"The Emotive Image: Jesuit Poetics in the English Renaissance (review)","authors":"T. P. Roche","doi":"10.1353/GHJ.1985.0009","DOIUrl":"https://doi.org/10.1353/GHJ.1985.0009","url":null,"abstract":"","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"11238 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":"130101666","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":"The Orator's Church and the Poet's Temple","authors":"D. Young","doi":"10.1353/GHJ.1989.0005","DOIUrl":"https://doi.org/10.1353/GHJ.1989.0005","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":"130114708","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}
ions — "Anger," "Jealousy," "Love," "Justice," and so on. I said to him, "Oh, just like George Herbert!" "Really?" he said, "I've never got around to reading Herbert." But he had re-invented Herbert's notion, and has since written those poems. The Herbert of today would chew the cud of past expression and story; nothing pleased Herbert more than ruminating on something he had read — an adage, a story, a parable: "My God, I read this day," he begins, and tells us what he read ("Affliction" [V]); or he re-does the topic of the happy man in "Constancie" — "Who is the honest man?" Or he interprets inadvertent words of his own: when he exclaims, "O God," he says, "By that I knew that Thou wast in the grief" ("Affliction" [III]). One misses this sense of re-interpretation of a past story or word in some contemporary poets; but, as Professor Sacks points out, many others, Bidart and Graham and Gluck among them, reinterpret Augustine or Greek myth, Christian matins or the School of Athens, in order to attain, like Herbert, the transpersonal. Our Herbert of today would be above all musical in Herbert's way, which is almost always the way of seduction. Herbert is often ironic in his thematics (as in the contemplation of the deceived self by the enlightened self in "Affliction" [I]) but he is not ironic in his music: in "Affliction" (J) the deceived self has music as sweet as — sometimes sweeter than — the music of the enlightened self. Even Herbert's sternest moments have a sonic lilt: "Who would be more, / Herbert and Modern Poetry: A Response87 Swelling through store, / Forfeit their paradise by their pride" ("The Flower"). This is of course Herbert's greatest charm of style, as it is Merrill's. Herbert's greatest charm of substance — and here I return to both Professor Summers' and Professor Sacks's insistence on thematic seriousness — is the seriousness with which he regards moral effort, the effort to be one's own best self. That effort was immensely difficult for him because of his exhaustions and illnesses, and I wonder if our present-day Herbert would not have to be someone with a wasting disease or a chronic illness. Herbert's tuberculosis was probably contracted fairly early, and his consequent mental and physical frustrations are a major force in the poetry. Of course, such frustrations would only be felt by one with the highest conception of a life striving toward saintliness, a saintliness originally conceived by Herbert as a parallel case to aesthetic concord. Herbert's greatest aesthetic leap, as Joyce Brewster in her unpublished Yale dissertation ("The Music of George Herbert's 'Temple' " [1973]) showed us, was to recognize the aesthetic possibilities of "discord," that groans themselves could be "music for a king." Our present-day Herbert would admix discord with concord, as in that tantalizing move, familiar in The Temple, by which a poem of anger slows into a sudden peace. The amplitude of the conceivable moral self in Herbert is his ste
{"title":"Herbert and Modern Poetry: A Response","authors":"H. Vendler","doi":"10.1353/GHJ.1995.0019","DOIUrl":"https://doi.org/10.1353/GHJ.1995.0019","url":null,"abstract":"ions — \"Anger,\" \"Jealousy,\" \"Love,\" \"Justice,\" and so on. I said to him, \"Oh, just like George Herbert!\" \"Really?\" he said, \"I've never got around to reading Herbert.\" But he had re-invented Herbert's notion, and has since written those poems. The Herbert of today would chew the cud of past expression and story; nothing pleased Herbert more than ruminating on something he had read — an adage, a story, a parable: \"My God, I read this day,\" he begins, and tells us what he read (\"Affliction\" [V]); or he re-does the topic of the happy man in \"Constancie\" — \"Who is the honest man?\" Or he interprets inadvertent words of his own: when he exclaims, \"O God,\" he says, \"By that I knew that Thou wast in the grief\" (\"Affliction\" [III]). One misses this sense of re-interpretation of a past story or word in some contemporary poets; but, as Professor Sacks points out, many others, Bidart and Graham and Gluck among them, reinterpret Augustine or Greek myth, Christian matins or the School of Athens, in order to attain, like Herbert, the transpersonal. Our Herbert of today would be above all musical in Herbert's way, which is almost always the way of seduction. Herbert is often ironic in his thematics (as in the contemplation of the deceived self by the enlightened self in \"Affliction\" [I]) but he is not ironic in his music: in \"Affliction\" (J) the deceived self has music as sweet as — sometimes sweeter than — the music of the enlightened self. Even Herbert's sternest moments have a sonic lilt: \"Who would be more, / Herbert and Modern Poetry: A Response87 Swelling through store, / Forfeit their paradise by their pride\" (\"The Flower\"). This is of course Herbert's greatest charm of style, as it is Merrill's. Herbert's greatest charm of substance — and here I return to both Professor Summers' and Professor Sacks's insistence on thematic seriousness — is the seriousness with which he regards moral effort, the effort to be one's own best self. That effort was immensely difficult for him because of his exhaustions and illnesses, and I wonder if our present-day Herbert would not have to be someone with a wasting disease or a chronic illness. Herbert's tuberculosis was probably contracted fairly early, and his consequent mental and physical frustrations are a major force in the poetry. Of course, such frustrations would only be felt by one with the highest conception of a life striving toward saintliness, a saintliness originally conceived by Herbert as a parallel case to aesthetic concord. Herbert's greatest aesthetic leap, as Joyce Brewster in her unpublished Yale dissertation (\"The Music of George Herbert's 'Temple' \" [1973]) showed us, was to recognize the aesthetic possibilities of \"discord,\" that groans themselves could be \"music for a king.\" Our present-day Herbert would admix discord with concord, as in that tantalizing move, familiar in The Temple, by which a poem of anger slows into a sudden peace. The amplitude of the conceivable moral self in Herbert is his ste","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"83 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":"131142434","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}
It seems obligatory to see George Herbert's famous "Coloss. 3.3" as a deliberate experiment, one that may or may not fully succeed: the ten-line poem contains an italicized, capitalized statement running obliquely or diagonally through the text. The poem is made up of three statements; the italicized line adds a fourth statement. I suspect that the typical reader reads the italicized statement both before and after he
{"title":"A Note on Herbert's \"Coloss. 3.3\"","authors":"W. Bache","doi":"10.1353/GHJ.1982.0007","DOIUrl":"https://doi.org/10.1353/GHJ.1982.0007","url":null,"abstract":"It seems obligatory to see George Herbert's famous \"Coloss. 3.3\" as a deliberate experiment, one that may or may not fully succeed: the ten-line poem contains an italicized, capitalized statement running obliquely or diagonally through the text. The poem is made up of three statements; the italicized line adds a fourth statement. I suspect that the typical reader reads the italicized statement both before and after he","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"36 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":"121334775","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}
Despite the fact that George Herbert was a graduate of Trinity College, Cambridge, the doctrine of the Trinity does not seem to have been of any great literary or devotional interest to the poet. He employs it to some effect in "The Starre" and "Ungratefulnesse," but his only other recourse to it, in the poems "Trinity Sunday" and "Trinitie Sunday," has elicited little critical interest, and that somewhat censorious in nature. "Trinity" is from the Williams MS, and, together with five other poems, was excluded from the Bodleian MS and hence from the printed text of The Temple.' It is usually assumed by critics who like their poems to be simple, sensuous, and passionate, that "Trinity" was discarded by Herbert in favor of "Trinitie" because he was dissatisfied with it, but this may well be a post hoc rationalization.2 "Trinitie Sunday" is self-evidently a poem about triads:
{"title":"Number Theory in George Herbert's \"Trinity Sunday\" and \"Trinitie Sunday\"","authors":"D. Ormerod","doi":"10.1353/GHJ.1989.0000","DOIUrl":"https://doi.org/10.1353/GHJ.1989.0000","url":null,"abstract":"Despite the fact that George Herbert was a graduate of Trinity College, Cambridge, the doctrine of the Trinity does not seem to have been of any great literary or devotional interest to the poet. He employs it to some effect in \"The Starre\" and \"Ungratefulnesse,\" but his only other recourse to it, in the poems \"Trinity Sunday\" and \"Trinitie Sunday,\" has elicited little critical interest, and that somewhat censorious in nature. \"Trinity\" is from the Williams MS, and, together with five other poems, was excluded from the Bodleian MS and hence from the printed text of The Temple.' It is usually assumed by critics who like their poems to be simple, sensuous, and passionate, that \"Trinity\" was discarded by Herbert in favor of \"Trinitie\" because he was dissatisfied with it, but this may well be a post hoc rationalization.2 \"Trinitie Sunday\" is self-evidently a poem about triads:","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"2 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":"121230938","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 relationship of George Herbert's lyrics to the Psalms has often been acknowledged, but until recently has usually been taken for granted. Although editors' notes, for example, are full of references to the Psalms, there have been relatively few attempts to deal with the significance of these references in Herbert criticism. There are studies of St. Augustine's commentaries and the five poems called "Affliction"' and of the links between images in the Psalms and Herbert's language of love.2 Coburn Freer, in Music fora King, examines Herbert's affinities with the metrical psalmistsand proposes a number of Psalms as "analogues" to his poems.3 One of the best and also one of the earliest discussions of Herbert and the Psalms is in The Poetry of Meditation, where Louis Martz says of "The Church" that it is "hardly too much" to call it "a book of seventeenth-century psalmody."4 But Martz's comments are all too brief and, as valuable as they are, only underscore the need for a fuller study of the subject. Barbara Kiefer Lewalski's recent Protestant Poetics and the Seventeenth-CenturyReligious Lyric goes a very long way towards satisfying that need and provides a strong basis and justification for a still closer look at the ways in which Herbert makes use of the Psalms as an "important generic resource."5 Three of these ways are of particular interest and will be considered here: the use of Psalm structures, the use of allusions to individual Psalm verses, and, finally, the adaptation of particular Psalms as the basis of otherwise highly original poems.
{"title":"Notes on the Psalms in Herbert's The Temple","authors":"Noel J. Kinnamon","doi":"10.1353/GHJ.1981.0015","DOIUrl":"https://doi.org/10.1353/GHJ.1981.0015","url":null,"abstract":"The relationship of George Herbert's lyrics to the Psalms has often been acknowledged, but until recently has usually been taken for granted. Although editors' notes, for example, are full of references to the Psalms, there have been relatively few attempts to deal with the significance of these references in Herbert criticism. There are studies of St. Augustine's commentaries and the five poems called \"Affliction\"' and of the links between images in the Psalms and Herbert's language of love.2 Coburn Freer, in Music fora King, examines Herbert's affinities with the metrical psalmistsand proposes a number of Psalms as \"analogues\" to his poems.3 One of the best and also one of the earliest discussions of Herbert and the Psalms is in The Poetry of Meditation, where Louis Martz says of \"The Church\" that it is \"hardly too much\" to call it \"a book of seventeenth-century psalmody.\"4 But Martz's comments are all too brief and, as valuable as they are, only underscore the need for a fuller study of the subject. Barbara Kiefer Lewalski's recent Protestant Poetics and the Seventeenth-CenturyReligious Lyric goes a very long way towards satisfying that need and provides a strong basis and justification for a still closer look at the ways in which Herbert makes use of the Psalms as an \"important generic resource.\"5 Three of these ways are of particular interest and will be considered here: the use of Psalm structures, the use of allusions to individual Psalm verses, and, finally, the adaptation of particular Psalms as the basis of otherwise highly original poems.","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"46 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":"116125319","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}
"Love" (III) is the final and climactic poem in "The Church," the central section of George Herbert's Tho Temple. One of Herbert's most admired and complex lyrics, "Love" (III) identifies the love between man and God with the sacrament of communion and with the soul's reception into heaven. But it also compares that love to human sexual love, an analogy that some readers seem to find unnerving in the context of Herbert's devotional verse. Chana Bloch, for example, remarking on the debt Herbert's imagination owes to the Song of Songs, implies that he used erotic language almost reluctantly in this poem: "It is possible that in his presentation of this situation Herbert has been unconsciously guided by the memory or imagination of a human sexual encounter; it is unlikely that he would have intended an explicitly sexual scene. At all events, I hardly think Herbert would have used the sexual metaphor here without the precedent of the Song of Songs. I would suggest that in this respect the Bible has freed his imagination to more direct expression than he would otherwise have attempted."1
{"title":"George Herbert's Revisions in \"The Church\" and the Carnality of \"Love\" (III)","authors":"Janis Lull","doi":"10.1353/GHJ.1985.0007","DOIUrl":"https://doi.org/10.1353/GHJ.1985.0007","url":null,"abstract":"\"Love\" (III) is the final and climactic poem in \"The Church,\" the central section of George Herbert's Tho Temple. One of Herbert's most admired and complex lyrics, \"Love\" (III) identifies the love between man and God with the sacrament of communion and with the soul's reception into heaven. But it also compares that love to human sexual love, an analogy that some readers seem to find unnerving in the context of Herbert's devotional verse. Chana Bloch, for example, remarking on the debt Herbert's imagination owes to the Song of Songs, implies that he used erotic language almost reluctantly in this poem: \"It is possible that in his presentation of this situation Herbert has been unconsciously guided by the memory or imagination of a human sexual encounter; it is unlikely that he would have intended an explicitly sexual scene. At all events, I hardly think Herbert would have used the sexual metaphor here without the precedent of the Song of Songs. I would suggest that in this respect the Bible has freed his imagination to more direct expression than he would otherwise have attempted.\"1","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"65 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":"126959486","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}
Calvinism, according to Samuel Taylor Coleridge, is "a lamb in wolf's skin" — "horrible for the race, but full of consolation to the suffering individual." Taking Coleridge's formulation as his slogan, Gene Edward Veith offers still another portrait of George Herbert as a Protestant Poet, a poet who both embraces and illuminates the perplexing but ultimately consoling doctrines of Calvin. While such an approach to Herbert through Protestant theology is now widespread enough to no longer merit the label "revisionist," Veith's book is singular in its attempt to explain Calvin through Herbert and Herbert through Calvin as well as to reconstruct "phenomenologically" the spiritual experience of the Reformation. The attempt proves successful in many respects, particularly in justifying Calvin's ways to man. But as Veith's title suggests, one should not approach Reformation Spirituality: The Religion of George Herbert hoping to find particularly compelling, original, or authoritative readings of Herbert's poetry.
根据塞缪尔·泰勒·柯勒律治的说法，加尔文主义是“披着狼皮的羔羊”——“对整个种族来说是可怕的，但对受苦的个人来说却充满了安慰。”以柯勒律治的提法为口号，Gene Edward Veith提供了乔治·赫伯特作为新教诗人的另一幅肖像，他信奉并阐释了加尔文令人困惑但最终令人安慰的教义。虽然这种通过新教神学来解释赫伯特的方法现在已经广为流传，不再配得上“修正主义者”的标签，但维特的书在试图通过赫伯特解释加尔文，赫伯特通过加尔文解释加尔文以及重建“现象学”改革的精神体验方面是独一无二的。这一尝试在许多方面证明是成功的，特别是在证明加尔文对人的方式。但正如维特的标题所暗示的那样，人们不应该去读《宗教改革的灵性:乔治·赫伯特的宗教》，希望找到赫伯特诗歌特别引人注目的、原创的或权威的解读。
{"title":"Reformation Spirituality: The Religion of George Herbert (review)","authors":"J. Ottenhoff","doi":"10.1353/ghj.1985.0000","DOIUrl":"https://doi.org/10.1353/ghj.1985.0000","url":null,"abstract":"Calvinism, according to Samuel Taylor Coleridge, is \"a lamb in wolf's skin\" — \"horrible for the race, but full of consolation to the suffering individual.\" Taking Coleridge's formulation as his slogan, Gene Edward Veith offers still another portrait of George Herbert as a Protestant Poet, a poet who both embraces and illuminates the perplexing but ultimately consoling doctrines of Calvin. While such an approach to Herbert through Protestant theology is now widespread enough to no longer merit the label \"revisionist,\" Veith's book is singular in its attempt to explain Calvin through Herbert and Herbert through Calvin as well as to reconstruct \"phenomenologically\" the spiritual experience of the Reformation. The attempt proves successful in many respects, particularly in justifying Calvin's ways to man. But as Veith's title suggests, one should not approach Reformation Spirituality: The Religion of George Herbert hoping to find particularly compelling, original, or authoritative readings of Herbert's poetry.","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"61 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":"126736508","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}
Addressing his "chief good," the Christ to whom he owes his salvation, Herbert asks how he can respond in his poetry to Christ's sacrifice. Within this rhetorical context, that of a speaker at a loss for words before the magnitude of another's act, the problem of response becomes a problem of economic transaction, as we can see from the puns on the words "measure," "count," and "tell." These are countinghouse terms; but they also belong to the technical vocabulary of poetry or refer to its intentions. The word "measure" means here to ascertain an amount or quantity; it also refers to a specific unit in prosody or music. The word "count" has three senses: to enumerate, to give an account of. or to scan a verse of poetry. The word "tell" can mean to enumerate or, simply, to speak. Herbert's "Lovely enchanting language" ("The Forerunners,"!. 19), by means of catachresis, can make economics, in the sense of symbolic exchange, a metaphor for poetry, for Herbert another system of symbolic exchange. The un-
{"title":"The Economy of Praise in George Herbert's \"The Church\"","authors":"Parker H. Johnson","doi":"10.1353/GHJ.1981.0004","DOIUrl":"https://doi.org/10.1353/GHJ.1981.0004","url":null,"abstract":"Addressing his \"chief good,\" the Christ to whom he owes his salvation, Herbert asks how he can respond in his poetry to Christ's sacrifice. Within this rhetorical context, that of a speaker at a loss for words before the magnitude of another's act, the problem of response becomes a problem of economic transaction, as we can see from the puns on the words \"measure,\" \"count,\" and \"tell.\" These are countinghouse terms; but they also belong to the technical vocabulary of poetry or refer to its intentions. The word \"measure\" means here to ascertain an amount or quantity; it also refers to a specific unit in prosody or music. The word \"count\" has three senses: to enumerate, to give an account of. or to scan a verse of poetry. The word \"tell\" can mean to enumerate or, simply, to speak. Herbert's \"Lovely enchanting language\" (\"The Forerunners,\"!. 19), by means of catachresis, can make economics, in the sense of symbolic exchange, a metaphor for poetry, for Herbert another system of symbolic exchange. The un-","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"22 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":"126757812","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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