martes, 30 de septiembre de 2014

Garcialandia

Este periódico sobre mi propia temática se publica en Paper.li, un sitio de Amazon según creo. En esta versión limitada es gratuito... y automático también. Más vale, que si no, me faltarían manos para actualizarlo. Esto de aquí es sólo el widget; pinchen el título para llegar a la sustancia de la cosa.


'Metaphysical' Religious Poetry: Herbert, Crashaw, and Vaughan


From The Short Oxford History of English Literature, by Andrew Sanders:

The picturesque emotionalism of continental baroque art was a central feature of the Counter-Reformation crusade to win back the hearts and souls of those lost to the Roman Church by the fissures of the Reformation. Protestant England remained largely untouched by the more heady pictorial and architectural styles sponsored by the Pope's main agents in the campaign, the Jesuits, but, despite gestures of resistance and disapproval, a degree of Jesuit spirituality left its mark on English literature. The martyred missionary priest, Robert Southwell (?1561-95, canonized in 1970), managed to work secretly for nine perilous years in England before his execution; his books circulated far less secretly. The prose meditation, Marie Magdalens Funeral Teares, which was published in 1591, ran through some seven further editions by 1636, and the two collections of verse, Saint Peters complaynt, with other Poems  and Moeoniae: or, Certaine excellent Poems and Spiritual Hymnes, both of which contain poems written during his three-year imprisonment, were printed in London in the year of his death. Southwell's poems were respected both by Roman Catholics and byAnglicans, the extraordinarily contrived Christmas meditation, 'The Burning Babe', being particularly admired by Ben Jonson. Donne, the author of the scurrilous anti-Jesuit tract Ignatius His Conclave of 1611 and who eight years later feared for his safety at the hands of 'such adversaries, as I cannot blame for hating me' when he travelled across Germany, was none the less influenced by the kind of meditative religious exercises recommended to the faithful by the founder of the Society of Jesus. St. Ignatius Loyola's Spiritual Exercises had been approved by the Pope in 1648 as a manual of systematic devotion which employed sense impressions, the imagination, and the understanding as a means of prompting the spirit to consider the lapsed human and the glorious divine condition. The Ignatian method was not unique (it drew on late medieval precedents and it was developed by later Spanish and French churchmen) but its currency was assured by the missionary and educational work undertaken by the Jesuits. The fact that such regulated guides to meditation could be used privately meant that they appealed, with varying degrees of excision, to secluded Recusants, devout Anglicans, and soul-searching Puritans alike.

A similar spiritual cross-fertilization is evident in the popularity of emblem books in seventeenth-century England. The emblem consisted of three interrelated parts—a motto, a symbolic picture, and an exposition—each of which suggested a different means of vconsidering and apprehending a moral or religious idea. The form had had a certain currency as a learned, and generally secular, educational device in the sixteenth century, but its renewed applivation to private relisious study and its intermixture of Latin motto, biblical quotation, engraved and ostensibly enigmatic picture, and English poem made for a widespread influence which readily cut across confessional barriers. Francis Quarles's Emblemes, Divine and Morall (1635) proved to be the most popular book of verse of its age. Quarles (1592-1644) and his engraver took and, where Protestant occassion demanded, adapted plates from Jesuit emblem books; only the disappointingly pedestrian accompanying poems were original. Emblemes and its successor Hieroglyphicks of the Life of Man (1638) demand that the reader interpret and gradually unwind an idea which is expressed epigrammatically, visually, and poetically. 'The embleme is but a silent parable', quarles insisted in his address to the user of his books, and he goes on to suggest the importance of the linkage of word and picture: 'Before the knowledge of letters, God was knowne by Hieroglyphicks; And indeed, what are the Heavens, the Earth, nay every Creature, but Hieroglyphicks and Emblemes of his Glory?' The moral message is, however, predominantly one which stresses a conventionally Christian contempt for the world ('O what a crocodilian world is this / Compos'd of treach'ries, and insnaring wiles', 'O whither will this mad-brain world at last / Be driven? Where will her restless wheels arrive?'), and the pictures variously show children confusing a wasps' nest for a beehive in a globe, fools sucking at a huge earth-shaped breast, and a figure of vanity smoking a pipe while perched perilously on a tilting orb.

The intellectual demands made on a reader by an emblem book were paralleled by the wit, the imaginative picturing, the compression, the often crytic expression, the play of paradoxes, and the juxtapositions of metaphor in the work of Donne and his immediate followers, the so-called 'metaphysical poets'. The use of the term 'metaphysical' in this context was first given critical currency by Samuel Johnson in the eighteenth century and it sprang from an unease, determined by 'classical' canons of taste, with the supposed contortions of the style and imagery of Donne and Cowley. Johnson had a particular distaste for the far-fetched strained 'conceits' (witty and ingenious ideas) in which Donne's poetry abounds. This prejudice against the distinct 'metaphysical' style had earlier been shared by Quarles, who in 1629 complained of 'the tyranny of strong lines, which . . . are the meere itch of wit; under the colour of which many have ventured . . . to write non-sense'. The work of Donne's friend, admirer, and fellow-priest, George Herbert (1593-1633), possesses a restrained and contemplative rapture which is paralleled less by the extravagances of southern European baroque art than by the often enigmatic paintings of his French contemporary, Georges de la Tour. Herbert's own 'itch of wit' can none the less find its expression in playing with the shapes and sounds of words: he puns in his title to 'The Collar' and with the name 'Jesu' in the poem of that name he teases letters in his 'Anagram of the Virgin Marie'; in 'Heaven' he exploits echo-effects as delightedly as did his Venetian musical contemporaries, and he gradually reduces words to form new ones in 'Paradise'. His relationship to the emblem book tradition is evident in his printing of certain of his poems as visual designs (the shapes of 'The Altar' and the sideways printed 'Easter Wings' make patterns which suggest their subjects). If he is a less frenetic and startling poet than Donne, he is a far more searching and inventive one than Quarles. The two poems called 'Jordan' (from the fount of their inspiration' describe the act of writing a sacred poetry which eschews a structural 'winding stair' and the 'curling with metaphors' of a 'plain intention'. As with his most influential models, the parables of Jesus, Herbert's illustrations of the central mysteries of God and his creation take the form of sharply observed but 'plain' stories drawn from, and illuminated by, everyday experience.

The elegance of Herbert's poetry is as much the result of art as it is an expression of a cultivated, but not forced, spiritual humility. He had been nborn into a distinguished and cultured noble family but his decision to take deacon's orders in 1626, and his ordination to the priesthood and appointment as rector of a country parish in 1630 struck many of his grand contemporaries as a deliberate turning of his back on secular ambition. According to Izaak Walton, Herbert responded to a friend who taxed him with taking 'too mean an employment, and too much below his birth' that 'the Domestick Servants of the King of Heaven, should be of the noblest Families on Earth'. He would, he insisted, make 'Humility lovely in the eyes of all men'. Herbert's work is permeated with reference to service and to Christ as the type of the suffering servant, but his poetry is equally informed by a gentlemanly grasp of the chivalric code of obligation. Society, as we glimpse it in this world and the next, is hierarchical and ordered, and the human response to God's love can be expressed in terms of an almost feudal obligation. In 'The Pearl', for example, the poet insists that he knows 'the wayes of Honour, what maintains / The quick returns of courtesie and wit'. In the first of the poems called 'Affliction' he describes a changing understanding of service to a liege-lord, a service which at first gives rich satisfaction ('Thy glorious household-stuffe did me entwine') and brings rewards('thou gav'st me milk and sweetness; I had my wish and way'); as a process of disillusion sets in, the poem allows a sense of betrayal to surface, but this in turn is transformed by the final  insistence on an obligation shaped not by duty but by the more pressing demands of love ('Ah my deare God! though I am clean forgot, / Let me not love thee, if I love thee not'). 'Redemption' describes a tenant's search for his 'rich Lord' only to find him mortally wounded amid 'a ragged noise and mirth / Of theeves and murderers'; the magnanimity of the Lord is proved in a dying gesture of assent to the tenant's request. In 'The Collar' the remarkable evocation of impatient resistance to service ens as the 'raving' protests subside in response to the steady call of Christ. The call to the 'Child' (perhaps here both the disciple and a youth of gentle birth) evokes the willing reply 'My Lord'.

Herbert's vocation as a priest of the Church of England, and his loyalty to its rituals, calendar, and discipline is central both to his prose study of the ideal country parson, A Priest to the Temple (published in The Remaines of that Sweet Singer of the Temple George Herbert in 1652), and to his Latin sequence Musae Responsariae (1633) (poems which assert the propriety of Anglican ceremonial and orders in the face of Puritan criticism). It is however, in The Temple, the influential collection of his English poems published posthumously in 1633, that Herbert most fully expresses his aspirations, failures, and triumphs as a priest and as a believer. Sections of The Temple are shaped according to the spiritual rhythms and the ups and downs of religious experience. More significantly, the volume as a whole possesses both an architectonic and a ritual patterning which derives from the shape of an English parish church and from the festivals and feasts celebrated within its walls. The whole work is prefaced by a gnomic poetic expression of conventional moral advice to a young man. The title of this preliminary poem, 'The Church-Porch', serves as a reminder not only of a preparatory exercise before worship but also of the physical importance of the porch itself (once the setting of important sections of certain church services). The titles of poems in the body of the volume ('The Church') imply both a movement through the building noting its features ('The Altar', 'Chruch Monuments', 'Church-lock and key', 'The Church-floore', 'The Windows') and the significance of its liturgical commemorations ('Good Friday', 'Easter', 'H. Baptisme', 'The H. Communion', 'Whitsunday', 'Sunday', 'Christma'). Interspersed are meditations on Christian belief and the varied expeerience of the Christian life. The 'sacramental' poems have a particular importance. By means of repeated words and phrases 'Aaron' establishes a balanced contrast between the ceremonially vested Jewish priest and his spiritually defective modern Christian counterpart. The poem's debate is determined by an exploration of the import of the words 'Holiness to the Lord' engraved on Aaron's ceremonial mitre. It is only when Christ himself is recognized as the true sanctifier of the parish priest that all unworthiness falls away and the vested minister can properly present himself to his congregation, ready to celebrate the Holy Communion: 'Come people; Aaron's drest'. The theology and typology of eucharistic celebration are also explored in 'The Agonie' and the concluding poem of the volume, 'Love III'. 'The Agonie' takes as its central issue the human study of Sin and Love. The effect of Sin is revealed in an agonized Christ 'so wrung with pains, that all his hair, / His skinne, his garments bloudie be'. The very hyperbole here allows for the conceit on which the poem turnes; Sin is a wine-press painfully proving the worth of Love and when in the concluding stanza the crucified Christ's blood flows from his side it is mystically perceived as sacramental wine: 'Love is that liquour sweet and most divine, / Which my God feels as bloud; but I, as wine'. Bitterness is transubstantiated into sweetness. 'Love' takes the form of a colloquy in which the Lord, personified as Love, welcomes the sinner to his feast, insistently answering each protest of unworthiness with a gentle assertion of his grace:


And know you not, sayes Love, who bore the blame?
      My deare, then I will serve.
You must sit downe, sayes Love, and taste my meat:
      So I did sit and eat.

The uneasy guest and the would-be servant are entertained as equals.

Throughout The Temple the quakings of fear, the doubts, and the attempts at rebellion are subsumed in a quiet loyalty inspired by the love of a generous God. Restlessness, as seen in the deftly argued parable of free will, 'The Pulley', prompts the soul to seek heavenly comfort. In 'Affliction III' the very utterance of the heaved sigh 'O God!' is interpreted as a barely recognized sign of redemption and as an admission of shared sorrow ('Thy life on earth was grief, and thou art still / Constant unto it'). Even the figure of Death, in the poem of that name, loses its skeletal terrors by being transformed by the sacrifice of Christ into something 'fair and full of grace, / Much in request, much sought for as a good'. Herbert's 'Prayer before Sermon', appended to A Priest to the Temple, addresses a God who embodies 'patience, and pity, and sweetness, and love', one who has exalted his mercy above all things and who has made salvation, not punishment, his glory.






Continuará..

Le Cœur de la Rose


Le Coeur de la Rose

MLA Handbook for Writers of Research Papers

Me avisa un compañero de que aparezco en la séptima edición del MLA Handbook for Writers of Research Papers: "Estaba ojeando la séptima edición del MLA Handbook for Writers of Research Papers (...) y me encuentro que en la pág. 185 ponen tu bibliografía como ejemplo para citar material de Internet. No sólo la mencionan, sino que hay una gran ilustración de la página inicial e indicaciones para efectuar citas y referencias." ¡Albricias y otras palabras alegres!

He encontrado un PDF de este manual aquí: MLA Handbook for Writers of Research Papers, 7th ed.

Y el pantallazo es inevitable.

Doctor Faustus at The Globe

lunes, 29 de septiembre de 2014

Notas sobre VERDAD Y MÉTODO de H.-G. Gadamer

Reaparecidas ahora en Scribd. Ojo que son largas las notas.


SSRN-id2364913 by sebastianmunozt

Castilla la Vieja 2

Castilla la Vieja 2

David Daiches - The Anglo-Saxon elegiac poems



From the chapter on Anglo-Saxon literature in A Critical History of English Literature, by David Daiches.


Though some of the Anglo-Saxon religious poems, especially some of those by Cynewulf and his school, express a personal devotional feeling, none of them can be said to be really lyrical in character or to have been written primarily for the purpose of exploring personal emotion. Neither the heroic nor the religious poetry of the Anglo-Saxon tends toward the lyric, and though a note of somber elegy is sometimes struck, it is rarely developed for its own sake. There is, however, a group of Anglo-Saxon poems in which a mood of lyrical elegy predominates, and these stand somewhat apart from the poetry we have already discussed. Of these The Wanderer and The Seafarer are the most similar to each other. The Wanderer is the lament of a solitary man who had once been happy in the service of a loved lord but who now, long after his lord's death and the passing away of that earlier time of happiness and friendship, has become a wanderer journeying in the paths of exile across the icy sea. The poem ends with some conventional moralizing, but the main part of the elegy is an impressive lament for departed joys, done with a plangent tone of reminiscence and an effective use of the ubi sunt? theme—"where are the snows of yesteryear?"—that was to become such a favorite in medieval literature. The Seafarer, which has the same melancholy tone, the same mingling of regret and self-pity, is the monologue of an old sailor who recalls the loneliness and hardships of a life at sea while at the same time aware of its fascination. Some critics take it to be a dialogue, in which the old sailor urges the hardships of the seafaring life against the argument of an eager young man anxious to take to the sea and attracted by the difficulties, and the poem can indeed be read in this way; but the fluctuating moods of the poem seem more impressive if taken as the alternation of weariness and fascination in the same person. Whichever way we read it, however, it is the elegiac element that stands out from among the sometimes obscure sequence of moods, which ends, like The Wanderer, with a conventional religious sentiment. The date of both these poems is uncertain: they may be almost as old as Beowulf. Both are found in the Exeter Book.

Another poem in the Exeter Book, which is generally given the title of The Wife's Lament, can also be considered as belonging to this group of elegiac monologues. It is difficult to follow the precise situation the speaker is describing, but apparently the wife has been separated from her husband and forced to dwell in a cave in the forest by the plottings of his kinsmen. In spate of the comparative obscurity of the situation, the central emotion comes through strongly, and the note of personal passion—the love and longing for the absent husband, the curse on the enemy responsible for her present plight—rings out with remarkable clarity. Similar in many ways to this poem is The Husband's Message. Here the speaker is the piece of wood on which the letter is carved: it first tells the wife its own life story and then goes on to speak the message now carved on it. The husband reminds the wife of her earlier vows, tells her that he has been driven from her by a feud, and bids her join him across the sea. Wulf and Eadwacer is another dramatic monologue, existing only in a fragment of nineteen lines in the Exeeer Book, which, for all the obscurity of the situation described, expresses and intense romantic passion in a way quite uncharacteristic of Anglo-Saxon poetry as it has come down to us. Wulf is the woman's outlawed lover and Eadwacer her hated husband, or at least the man with whom, against her will, she is forced to live. The passionate cry of

Wulf, min Wulf,     wena me þine
seoce gedydon,      þine seldcymas
murnende mod,     nales meteliste—

Wulf, my Wulf, my longings for thee
Have made me sick, thy rare visits,
It was my sorrowful heart, not want of food—

might be Iseult calling for Tristan as conceived by some nineteenth-century romantic poet. The Wife's Lament, The Husband's Message, and Wulf and Eadwacer represent all we have of Anglo-Saxon love poetry. They have not been tampered with by cleric anxious to give a moral and religious twist to the end, but have survived in all the intensity of their original utternace. How many poems in a similar style may have been lost it is impossible to tell, nor is it esasy to see for what kind of an audience this kind of poetry was written. We know to what taste the Anglo-Saxon heroic poet catered, and we can understand the appeal of the religious poetry of the age; but these passionate renderings of personal emotion, devoid of either heroic atmosphere or religious teaching, must have appealed to a taste one is not accustomed to thinking of as at all prevalent in the Anglo-Saxon period of English culture.

There is one other interesting Anglo-Saxon poem with an elegiac tone; it is a description of a ruined city (perhaps Bath) in about fifty lines, found in the Exeter Book. It is a sad picture of desolation and decay set against an account of the earlier prosperity of the place, and, though the text is imperfect, the sense of passionate regret at the passing away of what was once lively and beautiful is conveyed with impressive eloquence. No clerical improve has tagged a religious moral on to it (or, if he has, it has not survived in the incomplete version which alone is extant) and the mood is somberly fatalistic. The Ruin is not incompatible in feeling with much of Beowulf, which has its own stern sense of fate, and we can see from it how in Anglo-Saxon poetry one kind of elegiac mood was the reverse of the medal whose obverse was heroic.

The Exeter book contains nearly a hundred Anglo-Saxon riddles, some of which seem to have been translated from Latin originals comoposed in England by clerics of the seventh and eighth century and some derived from the fourth- to fifth- century Latin writer Symphosius. This from of literary amusement has little appeal for the modern reader, though many of The Riddles—which are in regular Anglo-Saxon verse form—show considerable literary skill, particularly in descriptive passages. Their chief interest today lies in the incidental glimpses they give us of the daily life of Anglo-Saxon England and the folk beliefs of the time. Similarly, the so-called "Gnomic Verses," some of which are also in the Exeter Book, and some in a British museum manuscript, with their generalizations about morals and experience and the properties of objects encountered in daily living, are of interest to the social historian as the only group of existing Anglo-Saxon poems which are not on the whole aristocratic in origin; they reflect the manners and opinions of the peasantry of the period.

Toward the end of the Anglo-Saxon period the old heroic note, so long unheard, re-emerges finely in two poems dealing with contemporary history. The Battle of Brunanburh appears in the Anglo-Saxon Chronicleunder the date 937: it celebrates the victory of Aethelstan of Wessex and Eadmund, his brother, against the combined forces of Olaf the Norseman, Constantine, king of Scots, and the Britons of Strathclyde. There is an important difference, however, between the heroic tone of this poem and that of the older Anglo-Saxon poetry. In the older heroic poetry, emphasis was laid on the individual hero, and his national origins were of little importance—he was one of the heroes of Germania and as such claimed the admiration of all the germanic peoples without any national prejudice. But The Battle of Brunanburh shows strong patriotic sentiment. The victory is regarded as a victory of the English forces against Norse, Scots, and Welsh enemies, and though the heroism of Æthelstan and Eadmund is celebrated, the two princes appear not as heroes in their own right so much as champions of their nation. The Battle of Maldon appears in the Anglo-Saxon Chronicle under the date 991. It deals in the older epic manner with one of the many clashes between English and Danes that resulted from the latter's attacks on England, which culminated in the conquest of the country by Cnut (Canute) in 1012. The older heroic poems did not, of course, deal with historical events that had only just occurred, nor, as we have noted, did they show any trace of national patriotic feeling. Yet The Battle of Maldon is remarkably similar in spirit to the older heroic poetry. It is the story of a disastrous English defeat: Byrhtnoth, ealdorman of Essex, who led the English forces, fought and died in a recklessly courageous attempt to stem the Danes. The poem contains nine speeches, mostly of exhortation and encouragement to the English forces, delivered by seven different speakers; many of the English warriors are mentioned by name (though not one of the Danes is so singled out); the passionate loyalty of retainers to their chief is eloquently presented; and the tone of desperate courage against hopeless odds becomes more and more intense as the poem proceeds, to culminate after the death of Byrhtnoth in the final words of his old retainer Byrhtwold.

Hige sceal þe heardra,     heorte þe cenre,
mod sceal þe mare,     þe ure mægen lytlað.
Her lið ure ealdor     eall forheawen,
god on greote;     a mæg gnornian
seðe nu fram þis wigplegan     wendan þenceð,
Ic eom frod feores;      fram ic ne wille,
ac ic me be healfe     minum hlaforde,
be swa leofan men,     licgan þence.

Thought shall be the harder, heart the keener,
Courage shall be the more, as our might lessens.
Here lies our lord, all hewn down,
The good man in the dust; ever may he lament
Who now from this war-play thinks to turn.
I am old in years; from here I will not go,
But I by the side of my lord,
By the man so dear, purpose to lie.

And, in this high strain, Anglo-Saxon heroic poetry comes to an end.



Lord Edward Herbert of Cherbury

From The Oxford Companion to English Literature, ed. Margaret Drabble.

HERBERT of Cherbury, Edward, Lord (1582-1648), elder brother of G. *Herbert, born at Eyton-on-Severn, Shropshire, into one of the foremost families of the Welsh border. In 1596, aged 14, he was enrolled as gentleman commoner at University College, Oxford. That year his father died, and Herbert became ward of Sir George Moore (later *Donne's father-in-law). At 16 he was married to his cousin Mary, daughter of Sir William Herbert of St Julians, five years Edward's senior and heiress to her father's estates in England, Wales and Ireland. By the time he was 21 the couple had had, he reports, 'divers children', of whom none survived him. He was created Knight of the Bath in 1603. His adventures are recounted by Herbert in his Life, a remarkable document, not least for its unabashed presentation of its author's martial valour, success with women, truthfulness, sweetness of breath, and other virtues. Herbert aspired to a career in public service and spent much of the time from 1608 to 1618 in France, getting to know the French aristocracy and court. He also travelled in Italy and the Low Countries, fighting at the siege of Juliers (1610).

In 1619 he became ambassador to France, on *Buckingham's recommendation. His most famous philosophical work, De Veritate, was published in Paris in 1624. He was recalled to London in 1624, where he unsuccessfully petitioned for high office. Although he joined Charles's council of war in 1629, becoming Baron Herbert of Cherbury, recognition still eluded him. To attract royal notice he wrote, in 1630, The Expedition to the Isle of Rhé, which tries to justify Buckingham's calamitous generalship, and in 1632 he began a detailed 'official' history of *Henry VIII's reign, assisted by Thomas Masters, which was published in 1649. At the outbreak of the Civil War he retired to Montgomery Castle and declined to become involved. The castle was threatened by Royalists in 1644, and he admitted a parliamentary garrison, under Sir Thomas Myddleton, in exchange for the return of his books, which had been seized. He moved to his London house in Queen Street, St Giles, and dedicated himself to philosophy, supplementing his De Veritate with De Causis Errorum and De Religione Laici, both published in 1645, and writing besides De Religione Gentilium and his autobiography (begun in 1643). In 1647 he visited Gassendi in Paris.

Herbert's De Veritate postulates that religion is common to all men and that, stripped of superfluous priestly accretions, it can be reduced to five universal innate ideas: that there is a God; that he should be worshipped; that virtue and piety are essential to worship; that man should repent of his sins; and that there are rewards and punishments after this life. It gained Herbert the title of father of English *Deism. It was widely read in the 17th cent., earning the attention and disagreement of Mersenne, Gassendi, *Descartes, and *Locke. Herbert also wrote poetry which is obscure and metrically contorted, evidently influence by his friend Donne, but he also wrote some tender and musical love lyrics. (See also METAPHYSICAL POETS.)

Life, ed. S. Lee (1886, rev. 1906), and ed. J. M. Shuttleworth (1976); Poems English and Latin, ed. G. C. Moore Smith (1923); De Veritate, ed. and trans. M. H. Carré (1937); De Religione Laici, ed. and trans. H. R. Hutcheson (1944); R. D. Bedford, The Defence of Truth (1979).


George Herbert

From The Oxford Companion to English Literature, ed. Margaret Drabble:

Herbert, George (1593-1633), fifth son of Sir Richard and Magdalen Herbert and younger brother of Lord *Herbert of Cherbury, born in Montgomery into a prominent family. His father died when he was 3, and in 1608 his mother, the patron of Donne, remarried Sir John Danvers, who was 20 years her junior. Educated at Westminster School where he was named king's scholar, and Trinity College, Cambridge, George published his first poems (two sets of memorial verses in Latin) in a volume mourning Prince Henry's death in 1612. But he had already, according to his earliest biographer, I. *Walton, sent his mother at the start of 1610 a New Year's letter dedicating his poetic powers to God and enclosing two sonnets ('My God, where is that ancient heat towards thee?' and 'Sure, Lord, there is enough in thee to dry'). In 1616 he was elected a major fellow of Trinity, and in 1618 appointed reader in rhetoric. In 1620 he became public orator at the university (holding this distinguished position until his resignation in 1627). He seems at this period to have been rather pushing, keen on making the acquaintance of the great and conscious of his distinction of birth. F. *Bacon and Donne were among his friends, and the public oratorship introduced him to men of influence at court. Although he was obliged, by the terms of his fellowship, to take orders within seven years, he seems to have gravitated towards a secular career, leaving his university duties to be performed by proxies. In 1624, and again in 1625, he represented Montgomery in Parliament. This fairly brief experience of worldly ambition seems, however, to have disillusioned him. He was ordained deacon, probably before the end of 1624, and installedin 1616 as a canon of Lincoln Cathedral and prebendary of Leighton Bromswold in Huntingdonshire, near *Little Gidding, where *Ferrar, whom Herbert had known at Cambridge, had recently established a religious community. Once installed, Herbert set about restoring the the ruined church at Leighton. His mother died in 1627, and his Memoriae Matris Sacrum waas published in the volume containing Donne's commemoration sermon. In March 1629 Herbert married his stepfather's cousin, Jane Danvers, and they adopted two orphaned nieces of Herbert's. He became rector of Bemerton, near Salisbury, in April 1630, being ordained priest the following September. In his short priesthood he gained a reputation for humility, energy, and charity. He was also a keen musician, and would go twice a week to hear the singing in Salisbury Cathedral which was, he said, 'Heaven upon earth'. He died of consumption shortly before his 40th birthday. When he realized he was dying he sent his English poems to his friend Ferrar with instructions to publish them, if he though they might 'turn to the advantage of any dejected soul', and otherwise to burn them. The Temple, containing nearly all his surviving English poems, was published in 1633. Outlandish Proverbs (a collection of foreign proverbs in translation) in 1640, and Herbert's prose picture of the model country parson, A Priest to the Temple, in 1652, as part of Herbert's Remains. His translation of Luigi Cornaro's Trattato de la vita sobria appeared in 1634, and his 'Brief Notes' on Juan de Valdes's Hundred and Ten Considerations in 1638. He told Ferrar that his poems represented 'a picture of the many spiritual conflicts that have passed betwixt God and my soul'. They were much admired in the 17th cent. and 13 editions of The Temple came out between 1633 and 1679. In the 18th cent. Herbert went out of fashion, though J. *Wesley adapted some of his poems. The Romantic age saw a revival, and the appreciative note in Coleridge's Biographia Literaria (1817) enhanced Herbert's reputation. Modern critics have noted the subtlety rather than the simplicity of his poems, seeing them as an attempt to express the ultimately ineffable complications of the spiritual life. The precise nature of Herbert's relationship to Calvinism has also generated debate. See Works (ed. F. E. Hutchinson, 1941); Amy M. Charles, Life (1977).

—oOo—



Six Centuries of Verse: Metaphysical & Devotional Poets 1/4

domingo, 28 de septiembre de 2014

La bohème (2)



Y tres— le he desconectado la reducción de sonido al micro.

La Grajera

La Grajera

Descenso al Buraco do Inferno de la isla de Ons





Aquí nos asomamos, bajando un trecho por fuera, por el acantilado, el año pasado. Descolgándose por dentro es la primera vez que bajan, creo.

Juliette Gréco a los 85 - Sous les ponts de Paris





Aquí cantando con Melody Gardot:





Ignacio Martínez de Pisón: Veinticinco años después

sábado, 27 de septiembre de 2014

Presentación del libro `Comunicación y poder´ a cargo de Manuel Castells

El Evangelio de Judas y la batalla por la realidad

Este artículo mío (que ahora reaparece por Scribd) lo escribí poco después de la publicación del desaparecido y reaparecido Evangelio de Judas, todavía no leído por más de un cristiano:





Sobre esta cuestión de la ideología como una construcción social de la realidad debería habar citado a Berger y Luckmann. Bueno, aquí los cito: ¿Quién define la realidad? —para quien no los conozca, Berger y Luckmann son lectura más esencial todavía que el Evangelio de Judas.



—oOo—

Rajoy, Groucho de sí

Animated Epics: Beowulf (1998) TV Movie

Habanera (4)

Volvemos con la serie de "Nuestras Canciones Más Desconocidas" recuperando un éxito de 2010, la Habanera de Carmen:




viernes, 26 de septiembre de 2014

THE CANTERBURY TALES by Geoffrey Chaucer - FULL AudioBook | Part 1 of 2

Andando San Miguel 3

Andando San Miguel 3

Chaucer, Lesson 1: Historical Context for the Canterbury Tales

Geoffrey Chaucer: The Founder of Our Language

Cábalas y Cicatrices [Full Album] - Javier Krahe

Reading 'The Monster'

Mi fotoblog

Mi fotoblog
se puede ver haciendo clic en la foto ésta de Termineitor. Y hay más enlaces a cosas mías al pie de esta página.