14.07.2013 Views

ENG LYRIC POETRY.pdf - STIBA Malang

ENG LYRIC POETRY.pdf - STIBA Malang

ENG LYRIC POETRY.pdf - STIBA Malang

SHOW MORE
SHOW LESS

You also want an ePaper? Increase the reach of your titles

YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.

7<br />

ARENAS OF RETREAT<br />

Blood, bread, and poetry in Henry Vaughan<br />

So in this last and lewdest age,<br />

Thy antient love on some may shine.<br />

Vaughan, “White Sunday”<br />

The subtitle to this chapter is adapted from the title of an essay by the<br />

American feminist poet, Adrienne Rich. In the essay, Rich remarks how, as a<br />

student in her early twenties, she was led to believe that poetry was “the<br />

expression of a higher world view, what the critic Edward Said has termed ‘a<br />

quasi-religious wonder,’ instead of a human sign to be understood in secular<br />

and social terms.” 1 My starting place is to remark that whatever conditions<br />

underlie Rich’s sense of the opposition between poetry as transcendental<br />

expression versus poetry as a sign system to be understood in secular and social<br />

terms, the dialectic is misleading, although in interesting ways, when applied<br />

to a pre-Romantic (who is sometimes thought to be a proto-Romantic) like<br />

Vaughan, despite the fact that he is almost always remembered as the signal<br />

instance of a seventeenth-century poet who became memorable once he<br />

became a poet of transcendence: “Lord, then said I, on me one breath,/And<br />

let me dye before my death.” 2<br />

In beginning in this way, I do not mean to suggest that the difference<br />

between secular and devotional poetry is insignificant to the seventeenth<br />

century or to Vaughan. Indeed, one of the many ironies produced by the<br />

English Civil War points in just the opposite direction. The distinction Milton<br />

drew with characteristic emphasis in The Reason of Church Government Urged<br />

Against Prelaty (1642), alluded to in the previous chapter, between “vulgar<br />

amorists” in verse and poets inspired by “devout prayer to that eternal spirit<br />

who can enrich with all utterance and knowledge,” gets redrawn with new<br />

emphasis and force in the next decade by a royalist-turned-religious seer: a<br />

poet from Wales who, in the 1655 Preface to the completed Silex Scintillans,<br />

regarded himself nonetheless as a citizen of “this Kingdom” (my italics), rather<br />

than of the Commonwealth.<br />

190

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!