By Donald R. Dickson, Holly Faith Nelson, Alan Rudrum
This assortment examines intertextual intersections within the works of Henry Vaughan and John Milton and considers their aesthetic, philosophical, or political implications. The theoretical pluralism of the amount finds the range and complexity of textual relatives within the phrases of those early sleek authors. a number of the essays specialise in the author's wakeful construction of intertext, others discover the reader's negotiation of books inside books, whereas nonetheless others study the linguistic influence of textual intersections. The essays not just contemplate fabric borrowing, but in addition discover the absorption of thoughts or formal constructions from antecedent texts. the amount not just provides to the controversy on Milton's new release, duplication, and preservation of precursor texts, yet represents the 1st choice of unique essays at the poetry and prose of Henry Vaughan. Essays are authored through specialists within the box.
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Additional info for Of Paradise and Light: Essays on Henry Vaughan and John Milton in Honor of Alan Rudrum
In stark contrast to the preceding poem on “St Mary Magdalene,” “The Rain-bow” (like “Abel’s Blood”) is a study in red, not white, although one would not gather as much from the brief commentary the poem has received. Following M. M. Mahood’s early lead of comparing Vaughan to Samuel Palmer, the British Romantic landscape painter, E. C. 16 And so the first thirteen lines appear. Vaughan deliberately identifies the poem’s youthful perspective on the world with that of Noah’s eldest son, Shem: Still young and fine!
Nor did Vaughan share Herrick’s delight in disorder. There is nothing remotely “fine” about experiencing “distraction” in Vaughan’s wrenching poem of that title: “O knit me, that am crumbled dust! ” Veils are to be pierced in “Resurrection and Immortality,” seen through in “The Night,” or taken off in “Cock-Crowing”; they are not celebrated for being sweetly enticing to the eye. In the poem “Midnight,” stars send “Quick vibrations,” not Julia in her glittering CIVIL WAR CLEAVAGE 33 garments. Indeed, clothing in Vaughan is explicitly associated with human mortality (“I walked the other day”), rather than with beautiful fabric, and as such, it serves as a symbol for bodily corruption suffered by mankind after the fall.
From God’s erring but still loyal prophet in Numbers 22, he is forcefully reinterpreted, first by Peter, as an example of the false teacher who “loved the wages of unrighteousness” (2 Peter 2:15), then as an apostate by Jude, “Woe unto them! for they have gone in the way of Cain, and ran greedily after the error of Balaam for reward” (verse 11), and finally by John in Revelation, as a purveyor of false doctrine, as someone “who taught Balac to cast a stumbling block before the children of Israel, to eat things sacrificed unto idols, and to commit fornication” (2:14).