{"title":"The Problem of Circularity in Herbert's Wreath","authors":"G. Klawitter","doi":"10.1353/GHJ.1982.0003","DOIUrl":"https://doi.org/10.1353/GHJ.1982.0003","url":null,"abstract":"","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"38 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":"133439513","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":"Words Within the Word: The Melodic Mediation of \"To all Angels and Saints\"","authors":"E. Richey","doi":"10.1353/GHJ.1992.0028","DOIUrl":"https://doi.org/10.1353/GHJ.1992.0028","url":null,"abstract":"","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"42 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":"115140446","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}
George Herbert built his Temple out of three general categories of sacred poetry. The hortatory didacticism of "The Church-porch" expands through seventy-seven stanzas outlining a strenuous moral code of self-discipline. The quasiepic narrative of "The Church Militant," written in heroic couplets, traces the providentially plotted course of Religion from the beginning to the end of time. Between these poems are the more than 1 50 lyrics of "The Church." Their subjective focus stands out in sharp relief, framed between the Churchporch Verser's impersonal catalogue of rules for conduct and the omniscient detachment of the Church Militant's chronicler, writing from the secure vantage point of "Almightie Lord, who from thy glorious throne / Seest and rulest all things ev'n as one" (II. 1-2).'
乔治·赫伯特将他的神庙建立在三大类神圣诗歌之上。《教堂门廊》的训导式说教通过七十七节展开，概述了自律的严格道德准则。《好战的教会》(The Church Militant)的半史诗式叙事，以英雄般的对联写成，追溯了上帝精心策划的宗教历程，从始至终。在这些诗之间是《教堂》的150多句歌词。他们的主观焦点鲜明地凸显出来，夹在《教堂门廊》(Churchporch Verser)关于行为准则的客观目录和《教会战士》(Church Militant)编年者的无所不知的超然之间，从一个安全的优势角度写作:“全能的主，你从你荣耀的宝座上/看到并统治万物，甚至作为一个整体”(II。1 - 2)。
{"title":"Speakers and Hearers in The Temple","authors":"Marion Meilaender","doi":"10.1353/GHJ.1981.0000","DOIUrl":"https://doi.org/10.1353/GHJ.1981.0000","url":null,"abstract":"George Herbert built his Temple out of three general categories of sacred poetry. The hortatory didacticism of \"The Church-porch\" expands through seventy-seven stanzas outlining a strenuous moral code of self-discipline. The quasiepic narrative of \"The Church Militant,\" written in heroic couplets, traces the providentially plotted course of Religion from the beginning to the end of time. Between these poems are the more than 1 50 lyrics of \"The Church.\" Their subjective focus stands out in sharp relief, framed between the Churchporch Verser's impersonal catalogue of rules for conduct and the omniscient detachment of the Church Militant's chronicler, writing from the secure vantage point of \"Almightie Lord, who from thy glorious throne / Seest and rulest all things ev'n as one\" (II. 1-2).'","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"109 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":"133441312","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":"Anamnesis: The Power of Memory in Herbert's Sacramental Vision","authors":"W. Bonnell","doi":"10.1353/GHJ.1991.0007","DOIUrl":"https://doi.org/10.1353/GHJ.1991.0007","url":null,"abstract":"","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":"133515964","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}
Given its status as a hardy perennial of the anthologies, "The Pulley" has received surprisingly little sustained critical attention. What there is has centered, unequally, on two issues: the word play on rest;'1 and the question of the relation between title and poem. It is the latter with which I am concerned here. Nineteenth-century readers evidently found this problem sufficiently baffling that two important editors felt free to substitute titles of their own choosing.2 In more recent times, following Rosemary Freeman's pioneering demonstration of Herbert's indebtedness to the emblem books, it has been accepted that "The Pulley" is one of several emblem titles evoking an image not present in the poem and, therefore, standing as a metaphor of its meaning.3 Not that an understanding of the titling procedure eliminates the interpretative dilemma. Such emblematic titles, as John Hollander has remarked, "can be so deeply implicit, as in The Collar' and 'The Pulley." that they can no longer be said to be standing in for the missing pictured object; one is tempted to say that the emblem exists only outside the poem and is itself being adduced in a peculiarly puzzling and thereby helpful way, as a gloss."4
{"title":"The Title Image of Herbert's \"The Pulley\"","authors":"Raymond B. Waddington","doi":"10.1353/GHJ.1986.0002","DOIUrl":"https://doi.org/10.1353/GHJ.1986.0002","url":null,"abstract":"Given its status as a hardy perennial of the anthologies, \"The Pulley\" has received surprisingly little sustained critical attention. What there is has centered, unequally, on two issues: the word play on rest;'1 and the question of the relation between title and poem. It is the latter with which I am concerned here. Nineteenth-century readers evidently found this problem sufficiently baffling that two important editors felt free to substitute titles of their own choosing.2 In more recent times, following Rosemary Freeman's pioneering demonstration of Herbert's indebtedness to the emblem books, it has been accepted that \"The Pulley\" is one of several emblem titles evoking an image not present in the poem and, therefore, standing as a metaphor of its meaning.3 Not that an understanding of the titling procedure eliminates the interpretative dilemma. Such emblematic titles, as John Hollander has remarked, \"can be so deeply implicit, as in The Collar' and 'The Pulley.\" that they can no longer be said to be standing in for the missing pictured object; one is tempted to say that the emblem exists only outside the poem and is itself being adduced in a peculiarly puzzling and thereby helpful way, as a gloss.\"4","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":"133368709","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 Historical Renaissance: New Essays on Tudor and Stuart Literature and Culture, and: \"The Muses Common-Weale\": Poetry and Politics in the Seventeenth Century (review)","authors":"C. Hill","doi":"10.1353/ghj.1989.0002","DOIUrl":"https://doi.org/10.1353/ghj.1989.0002","url":null,"abstract":"","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"59 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":"116237608","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}
In a tradition stretching from Edmund Gosse to Gordon Braden, critics have intimated that something major and male is absent from Herrick's erotic verse. Although he believed that "Julia" was an actual mistress, and observed that Herrick wrote "so much that an English gentleman, not to say clergyman, had better left unsaid," Gosse also noted the "total want of passion in Herrick's language about women."1 F.W. Moorman, writing around the electric word "passion," complained of a "lack of the genuine fire of love."2 Something is obviously missing in these descriptions of what is missing. It was left to Braden to elevate this tradition to the standards of twentieth-century candor: "The emphasis on foreplay and nongenital, especially oral, gratifications, the fixation on affects (smells, textures) and details (Julia's leg), and the general voyeuristic preference of perception to action ... are all intelligible as a wide diffusion of erotic energy denied specifically orgastic focus and release. What is missing in the Hesperides is aggressive, genital, in other words, 'adult' sexuality."3 Herrick was practicing a discipline, attempting to confine libido to artistic imagination, and the result is a "selfcontained lyric world whose principal activity is the casual permutation of its own décor."4 In Braden we have an observation about the poetry and a supposition about the man. The poetry specializes in obstructed desire. "Jocund his Muse was, but his life was oast." Ovid and Martial said the same thing, but there is a better case on purely internal grounds for believing the Renaissance poet: his verses are not as jocund as theirs. The man, Braden supposes, was probably living under a self-imposed sexual prohibition, using the poems to make up the deficit and simultaneously to channel his erotic feeling away from intercourse.
{"title":"Kiss Fancies in Robert Herrick","authors":"William Kerrigan","doi":"10.1353/GHJ.1990.0014","DOIUrl":"https://doi.org/10.1353/GHJ.1990.0014","url":null,"abstract":"In a tradition stretching from Edmund Gosse to Gordon Braden, critics have intimated that something major and male is absent from Herrick's erotic verse. Although he believed that \"Julia\" was an actual mistress, and observed that Herrick wrote \"so much that an English gentleman, not to say clergyman, had better left unsaid,\" Gosse also noted the \"total want of passion in Herrick's language about women.\"1 F.W. Moorman, writing around the electric word \"passion,\" complained of a \"lack of the genuine fire of love.\"2 Something is obviously missing in these descriptions of what is missing. It was left to Braden to elevate this tradition to the standards of twentieth-century candor: \"The emphasis on foreplay and nongenital, especially oral, gratifications, the fixation on affects (smells, textures) and details (Julia's leg), and the general voyeuristic preference of perception to action ... are all intelligible as a wide diffusion of erotic energy denied specifically orgastic focus and release. What is missing in the Hesperides is aggressive, genital, in other words, 'adult' sexuality.\"3 Herrick was practicing a discipline, attempting to confine libido to artistic imagination, and the result is a \"selfcontained lyric world whose principal activity is the casual permutation of its own décor.\"4 In Braden we have an observation about the poetry and a supposition about the man. The poetry specializes in obstructed desire. \"Jocund his Muse was, but his life was oast.\" Ovid and Martial said the same thing, but there is a better case on purely internal grounds for believing the Renaissance poet: his verses are not as jocund as theirs. The man, Braden supposes, was probably living under a self-imposed sexual prohibition, using the poems to make up the deficit and simultaneously to channel his erotic feeling away from intercourse.","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"299 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":"121729705","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}
In The Temple, George Herbert's sonnet "Prayer" (I) immediately precedes "The H. Communion." The full significance of this arrangement has not been realized, since "Prayer" (I) has generally been regarded as a sublime effusion of appositives dealing exclusively with the Christian act of prayer. Gene Edward Veith, Jr. has come closest to realizing the essential link between "Prayer" (I) and "The H. Communion": he sees them as separate parts in a series, along with "Faith" and the three poems following "The H. Communion," which describe the various modes of communion with God.' Prayer is indeed such a mode, but Herbert's "Prayer" (I) is about the closest communion between God and hisfaithful on earth, the Holy Communion. Both "Prayer" (I) and "The H. Communion," each in its own mode, find their substance in the Eucharist.'
在《圣殿》中，乔治·赫伯特的十四行诗《祈祷》(I)紧接在《圣餐》之前。这种安排的全部意义还没有实现，因为“祈祷”(一)一般被认为是一个崇高的溢美之词处理专门与基督教的祈祷行为。小吉恩·爱德华·维特(Gene Edward Veith, Jr.)最接近于意识到《祈祷》(1)和《圣餐》之间的本质联系:他把它们看作是一个系列的独立部分，还有《信仰》(Faith)和《圣餐》(H. Communion)之后的三首诗，它们描述了与上帝交流的各种方式。祈祷确实是这样一种模式，但赫伯特的“祈祷”(1)是关于上帝和他在地球上的信徒之间最亲密的交流，圣餐。“祈祷”(1)和“圣餐”(H. Communion)都有各自的模式，在圣餐中找到了它们的实质。
{"title":"The Eucharistic Substance of George Herbert's \"Prayer\" (I)","authors":"W. Bonnell","doi":"10.1353/GHJ.1986.0016","DOIUrl":"https://doi.org/10.1353/GHJ.1986.0016","url":null,"abstract":"In The Temple, George Herbert's sonnet \"Prayer\" (I) immediately precedes \"The H. Communion.\" The full significance of this arrangement has not been realized, since \"Prayer\" (I) has generally been regarded as a sublime effusion of appositives dealing exclusively with the Christian act of prayer. Gene Edward Veith, Jr. has come closest to realizing the essential link between \"Prayer\" (I) and \"The H. Communion\": he sees them as separate parts in a series, along with \"Faith\" and the three poems following \"The H. Communion,\" which describe the various modes of communion with God.' Prayer is indeed such a mode, but Herbert's \"Prayer\" (I) is about the closest communion between God and hisfaithful on earth, the Holy Communion. Both \"Prayer\" (I) and \"The H. Communion,\" each in its own mode, find their substance in the Eucharist.'","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"86 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":"130081591","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}
This is a contextual study after the manner of Rosemond Tuve and in the tradition of Rosemary Freeman. Its aim is "to establish the intended meaning of certain poems by George Herbert," its method the application of historical information about pattern poems and Renaissance emblematics to "The Altar," "Easter-wings," "The Pilgrimage," and "Love" (III). Westerweel seems fully aware of the special accidents that can befall imprudent contextual studies, and indeed he objects to the way in which "Tuve's scholarly method, however useful as a means of transmitting information, has a tendency to crush the poem through sheer weight of annotation." He even invokes an article in which F.R. Leavis, almost furiously attacking the New Scholarship that Tuve represented, had dismissed A Reading of George Herbert as a species of book that was "inimical to criticism, that is, to intelligence" (Scrutiny, 19 [1953], 162-83). "Relevance," says Westerweel, "would seem to be a key term here." The sage contextual scholar must avoid irrelevance, and vigilantly "sift evidence that clarifies the poem's meaning from material that does not."
{"title":"Patterns and Patterning: A Study of Four Poems by George Herbert (review)","authors":"Michael Piret","doi":"10.1353/ghj.1985.0001","DOIUrl":"https://doi.org/10.1353/ghj.1985.0001","url":null,"abstract":"This is a contextual study after the manner of Rosemond Tuve and in the tradition of Rosemary Freeman. Its aim is \"to establish the intended meaning of certain poems by George Herbert,\" its method the application of historical information about pattern poems and Renaissance emblematics to \"The Altar,\" \"Easter-wings,\" \"The Pilgrimage,\" and \"Love\" (III). Westerweel seems fully aware of the special accidents that can befall imprudent contextual studies, and indeed he objects to the way in which \"Tuve's scholarly method, however useful as a means of transmitting information, has a tendency to crush the poem through sheer weight of annotation.\" He even invokes an article in which F.R. Leavis, almost furiously attacking the New Scholarship that Tuve represented, had dismissed A Reading of George Herbert as a species of book that was \"inimical to criticism, that is, to intelligence\" (Scrutiny, 19 [1953], 162-83). \"Relevance,\" says Westerweel, \"would seem to be a key term here.\" The sage contextual scholar must avoid irrelevance, and vigilantly \"sift evidence that clarifies the poem's meaning from material that does not.\"","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"95 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":"129190154","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}
Certain events ettend the existence of en eerly end incomplete menuscript of Herbert's religious lyrics. Known es the Williems menuscript (W) from its current piece in Dr. Williems's Library in London, it beers no title end contains only 69 of the 164 poems in The Temple (Cambridge, 1633). The handwriting is thet of en amanuensis with corrections and emendations by George Herbert himself.1 Like the Bodleien menuscript (B), it elso came from Little Gidding, where it passed into the hands of the Mapletoft family, Judith Mapletoft being e niece of Nicholes Ferrer, founder of the religious community.
{"title":"The Williams Manuscript, Edmund Duncon, and Herbert's Quotidian Fever","authors":"F. L. Huntley","doi":"10.1353/GHJ.1986.0004","DOIUrl":"https://doi.org/10.1353/GHJ.1986.0004","url":null,"abstract":"Certain events ettend the existence of en eerly end incomplete menuscript of Herbert's religious lyrics. Known es the Williems menuscript (W) from its current piece in Dr. Williems's Library in London, it beers no title end contains only 69 of the 164 poems in The Temple (Cambridge, 1633). The handwriting is thet of en amanuensis with corrections and emendations by George Herbert himself.1 Like the Bodleien menuscript (B), it elso came from Little Gidding, where it passed into the hands of the Mapletoft family, Judith Mapletoft being e niece of Nicholes Ferrer, founder of the religious community.","PeriodicalId":143254,"journal":{"name":"George Herbert Journal","volume":"126 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":"127970661","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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