Metaphysical poets, selected poems Contents
- Social / political context
- Religious / philosophical context
- Literary context: ideas and innovations
- Aire and Angels
- A Hymn to God the Father
- A Hymn to God, my God, in my Sicknesse
- A Nocturnall upon St. Lucies day
- At the Round Earth's Imagin'd Corners
- A Valediction: Forbidding Mourning
- Synopsis of Valediction: Forbidding Mourning
- Commentary on Valediction: Forbidding Mourning
- Language and tone in Valediction: Forbidding Mourning
- Structure and versification in Valediction: Forbidding Mourning
- Imagery and symbolism in Valediction: Forbidding Mourning
- Themes in Valediction: Forbidding Mourning
- A Valediction: of Weeping
- Batter my heart
- Death be not Proud
- Elegie XIX: Going to Bed
- Elegie XVI: On his Mistris
- Good Friday, 1613. Riding Westward
- Lovers' Infiniteness
- Oh my blacke Soule!
- Satyre III: 'On Religion'
- Show me Deare Christ
- Since She Whom I Lov'd
- Song: Goe, and catche a falling starre
- The Anniversarie
- The Dreame
- The Extasie
- The Flea
- The Good-morrow
- The Sunne Rising
- This is my playes last scene
- Twicknam Garden
- What if this present
- Aaron
- Affliction I
- Death
- Discipline
- Easter Wings
- Jordan I
- Jordan II
- Life
- Love II
- Man
- Prayer I
- Redemption
- The Church-floore
- The Collar
- Vertue
- Hymn in Adoration of the Blessed Sacrament
- Hymn to St Teresa
- St Mary Magdalene, or the Weeper
- To the Countesse of Denbigh
- Ascension - Hymn
- Man
- Regeneration
- The Night
- The Retreate
- The Water-fall
- A Dialogue between Soul and Body
- On a Drop of Dew
- The Coronet
- The Definition of Love
- The Garden
- The Mower Against Gardens
- The Mower to the Glo-Worms
- The Mower's Song
- The Nymph Complaining for the Death of her Faun
- The Picture of Little T.C. in a Prospect of Flowers
- To his Coy Mistress
- Upon Appleton House, to my Lord Fairfax
- An Elegie upon the Death of the Deane of Paul's Dr John Donne
- To a Lady that Desired I would Love her
Richard Crashaw - The university scholar
There is a twenty year gap between George Herbert's birth and that of Richard Crashaw in 1613. We could view Crashaw, therefore, as being a second generation Metaphysical poet. It is possible that the publication of Herbert's poetry in 1633 whilst Crashaw was an undergraduate at Pembroke College, Cambridge, drew him towards writing religious poetry rather than love poetry.
Crashaw’s early years
- Crashaw’s father, Dr William Crashaw, was a noted Puritan preacher and writer, who was very strongly anti-Catholic. As we shall see, Richard went to the opposite extreme.
- His mother died while he was a child, and his father seems to have died before Richard became a student.
- His secondary education was at Charterhouse, which in those days was a school in the centre of London.
University
At Cambridge Crashaw was not only an excellent classicist but also became fluent in French, Spanish, and Italian. After graduating in 1634, he had a volume of Latin poems published. He decided to become a University scholar and teacher and in 1636 was made a fellow of Peterhouse college. Fellows were senior members of the college teaching staff. In those days, they had to belong to the Church of England, and remain unmarried.
Influences
Whilst at Cambridge, Crashaw made friends with Abraham Cowley, who became a well-known minor poet. He seems to have visited Little Gidding, the nearby Anglican community run by Nicholas Ferrar, whom Herbert had also known. Cambridge at this time was in reaction against Puritanism and had become quite influenced by High Church Anglicanism. Certainly, Crashaw had dropped his Puritan upbringing and was becoming High Church, as was his friend, Cowley.
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