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Journal articles on the topic 'Vaughan, Henry. Vaughan, Henry Vaughan'

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Published: 4 June 2021
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1

GARCÍA CALDERÓN, Ángeles. "Henry Vaughan." Hikma 6, no. 6 (October 1, 2007): 50. http://dx.doi.org/10.21071/hikma.v6i6.6673.

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2

Palmer, Paulina, Alan Rudrum, Robert B. Shaw, and Mary Cole Sloane. "Henry Vaughan." Yearbook of English Studies 16 (1986): 247. http://dx.doi.org/10.2307/3507792.

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3

Wilcher, Robert, and Stevie Davies. "Henry Vaughan." Yearbook of English Studies 28 (1998): 313. http://dx.doi.org/10.2307/3508787.

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4

Roy, Kaylan Kumar. "Henry Vaughan : A Divine Mystic." XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 31, no. 1 (1990): 221–33. http://dx.doi.org/10.3406/xvii.1990.1898.

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5

Seelig, Sharon C., and Jonathan F. S. Post. "Henry Vaughan: The Unfolding Vision." Modern Language Review 82, no. 1 (January 1987): 169. http://dx.doi.org/10.2307/3729929.

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6

Summers, Joseph H. "George Herbert and Henry Vaughan." George Herbert Journal 11, no. 1 (1987): 49–52. http://dx.doi.org/10.1353/ghj.1987.0007.

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7

Harrison, D. F. N. "Henry Vaughan and His MD." Journal of the Royal Society of Medicine 83, no. 4 (April 1990): 268–69. http://dx.doi.org/10.1177/014107689008300420.

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8

Dickson, Donald R. "Henry Vaughan as Country Doctor." Explorations in Renaissance Culture 33, no. 2 (December 2, 2007): 171–95. http://dx.doi.org/10.1163/23526963-90000338.

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9

Kalogeris, George. "Reciting Henry Vaughan in the MRI." Literary Imagination 20, no. 2 (July 1, 2018): 157–58. http://dx.doi.org/10.1093/litimag/imy052.

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10

LINDEN, STANTON J. "HENRY VAUGHAN: POET AND DOCTOR OF PHYSIC." Notes and Queries 45, no. 4 (December 1, 1998): 453–54. http://dx.doi.org/10.1093/nq/45.4.453.

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11

Kuchar, Gary. "Introduction: Distraction and the Ethics of Poetic Form in The Temple." Christianity & Literature 66, no. 1 (November 30, 2016): 4–23. http://dx.doi.org/10.1177/0148333116677454.

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The formal dimensions of George Herbert’s poetry, including prosody and assonance, bear important ethical and spiritual significance. This is especially true in lyrics dealing with the problem of distraction, a crucial concept in 17th-century religious culture and one with a range of historically and theologically discrete meanings. The formal strategies Herbert deploys in lyrics about distraction proved particularly consequential for subsequent poets in the period, especially those writing in the wake of the English Civil War such as Henry Vaughan. For Vaughan, as for Herbert, distraction is a somatic, social, and spiritual problem that touches on the very essence of what it is to be a fully mature Christian.
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12

KIRKHAM, MICHEAL. "Metaphor and the Unitary World: Coleridge and Henry Vaughan." Essays in Criticism XXXVII, no. 2 (1987): 121–34. http://dx.doi.org/10.1093/eic/xxxvii.2.121.

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13

LLASERA, MARGARET. "CONCEPTS OF LIGHT IN THE POETRY OF HENRY VAUGHAN." Seventeenth Century 3, no. 1 (March 1988): 47–61. http://dx.doi.org/10.1080/0268117x.1988.10555274.

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14

Matar, Nabil I. "George Herbert, Henry Vaughan, and the Conversion of the Jews." Studies in English Literature, 1500-1900 30, no. 1 (1990): 79. http://dx.doi.org/10.2307/450685.

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15

McDowell, Sean H. "Herbert as Bardd in the Imagination of Henry Vaughan." George Herbert Journal 34, no. 1-2 (2010): 102–18. http://dx.doi.org/10.1353/ghj.2010.0003.

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16

Hammond, G. "'Poor dust should lie still low': George Herbert and Henry Vaughan." English 35, no. 151 (March 1, 1986): 1–22. http://dx.doi.org/10.1093/english/35.151.1.

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17

Nelson, Holly Faith. "The Works of Henry Vaughan. Henry Vaughan. Ed. Donald R. Dickson, Alan Rudrum, and Robert Wilcher. 3 vols. Oxford: Oxford University Press, 2018. cii + 1,444 pp. $350." Renaissance Quarterly 73, no. 2 (2020): 768–70. http://dx.doi.org/10.1017/rqx.2020.113.

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18

Hutton, Clark. "Images of Time and Eternity in the Religious Poetry of Henry Vaughan." Comitatus: A Journal of Medieval and Renaissance Studies 36, no. 1 (2005): 142–56. http://dx.doi.org/10.1353/cjm.2005.0034.

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19

RUDRUM, ALAN. "HENRY VAUGHAN, THE LIBERATION OF THE CREATURES, AND SEVENTEENTH-CENTURY ENGLISH CALVINISM." Seventeenth Century 4, no. 1 (March 1989): 33–54. http://dx.doi.org/10.1080/0268117x.1989.10555288.

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20

Lyons, Bridget Gellert. "Poetry of Contemplation: John Donne, George Herbert, Henry Vaughan, and the Modern Period." George Herbert Journal 13, no. 1-2 (1990): 98–101. http://dx.doi.org/10.1353/ghj.1990.0003.

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21

West, William N. "Less Well-Wrought Urns: Henry Vaughan and the Decay of the Poetic Monument." ELH 75, no. 1 (2008): 197–217. http://dx.doi.org/10.1353/elh.2008.0002.

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22

Nelson, Holly Faith. "Historical Consciousness and the Politics of Translation in the Psalms of Henry Vaughan." Studies in Philology 104, no. 4 (2007): 501–25. http://dx.doi.org/10.1353/sip.2007.0018.

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23

Graham, Jean E. "Who “laid him in a manger”?" Explorations in Renaissance Culture 41, no. 1 (March 16, 2015): 56–74. http://dx.doi.org/10.1163/23526963-04101003.

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Although female figures from the Bible are largely absent from the poetry of George Herbert, Henry Vaughan, and Thomas Traherne, a few poems treat female biblical characters in a substantive way. Yet even in these poems, biblical women are more passive and more silent than in the Bible, and each of these poems must be considered in the context of a poetic corpus which reinforces female passivity and silence. Overall, in drawing from the biblical narrative the poets follow two patterns: the omission of biblical women, leaving the corresponding male figures; and a treatment of the remaining female figures in which they are usually rendered passive, sometimes objectified, and always silenced.
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24

Watson, Graeme J. "The Temple in "The Night": Henry Vaughan and the Collapse of the Established Church." Modern Philology 84, no. 2 (November 1986): 144–61. http://dx.doi.org/10.1086/391535.

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25

Kneidel, Gregory. "Donald R. Dickson, Alan Rudrum, and Robert Wilder (eds). The Works of Henry Vaughan." Review of English Studies 70, no. 297 (June 25, 2019): 966–69. http://dx.doi.org/10.1093/res/hgz061.

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26

Kane, Paula M. "‘The Willing Captive of Home?’: The English Catholic Women's League, 1906–1920." Church History 60, no. 3 (September 1991): 331–55. http://dx.doi.org/10.2307/3167471.

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Henry Cardinal Manning wrote in 1863 that he wanted English Catholics to be “downright, masculine, and decided Catholics—more Roman than Rome, and more ultramontane than the Pope himself.” Given this uncompromising call for militant, masculine Roman Catholicism in Protestant Victorian England, frequently cited by scholars, it may seem surprising that a laywomen's movement would have emerged in Great Britain. In 1906, however, a national Catholic Women's League (CWL), linked closely to Rome, to the English clergy, and to lay social action, emerged in step with the aggressive Catholicism outlined by Manning 40 years earlier. The Catholic Women's League was led by a coterie of noblewomen, middle-class professionals, and clergy, many of them former Anglicans. The founder, Margaret Fletcher (1862–1943), and the league's foremost members were converts; the spiritual advisor, Rev. Bernard Vaughan, was the son of a convert. A short list of the clergy affiliated with the CWL reveals an impressive Who's Who in the Catholic hierarchy and in social work in the early twentieth century: Francis Cardinal Bourne (Archbishop of Westminster from 1903 to 1935), Monsignor Robert Hugh Benson (a convert and well-known author), and influential Jesuits Bernard Vaughan, Charles Plater, Cyril Martindale, Joseph Keating, Leo O'Hea and Joseph Rickaby. The CWL was born from a joining of convert zeal and episcopal-clerical support to a tradition of lay initiative among English Catholics.
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27

Lichtmann, Maria. "Poetry of Contemplation: John Donne, George Herbert, Henry Vaughan, and the Modern Period. Arthur L. Clements." Journal of Religion 72, no. 2 (April 1992): 311–12. http://dx.doi.org/10.1086/488901.

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28

Ślarzyńska, Małgorzata. "The Metaphysical Canon in Poetry: on Cristina Campo’s Translation Activity." Tekstualia 1, no. 5 (December 31, 2019): 151–58. http://dx.doi.org/10.5604/01.3001.0014.4107.

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The article focuses on Cristina Campo’s poetry translations in the context of her literary choices infl uenced by her predilection to metaphysical literature. The category of metaphysical literature can be understood, fi rst of all, as related to metaphysical English poets like John Donne, George Herbert, Richard Crashaw, and Henry Vaughan. Metaphysical were also those authors whose writings defi ed the categories of space and time, and transcended the temporal and geographical limits. One of the greatest Campo’s fascinations from that perspective was the poetry of William Carlos Williams, as well as other authors that entered in her category of imperdonabili. Campo’s translational activity followed a well-delineated path related strictly to her metaphysical inclinations and manifested certain traits of the tendency to establish the personalized canon of real and worthwhile literature that at the same time opposed the mainstream literary choices of that time
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29

Abblitt, Virginia. "THE ROMANTIC SPIRIT IN GERMAN ART, 1790-1990. Keith Hartley , Henry Meyric Hughes , Peter-Klaus Schuster , William Vaughan." Art Documentation: Journal of the Art Libraries Society of North America 14, no. 2 (July 1995): 52. http://dx.doi.org/10.1086/adx.14.2.27948741.

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30

Rowell, Geoffrey. "‘Remember Lot’s Wife’— Manning’s Anglican Sermons." Recusant History 21, no. 2 (October 1992): 167–79. http://dx.doi.org/10.1017/s0034193200001564.

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Between 1845 and 1850 Manning, as Archdeacon of Chichester, published four volumes of collected sermons. They are not his only published sermons as an Anglican, but they are the ones with which this article will be concerned. They were published by the firm of William Pickering, whose list included the liturgical works of the Revd. William Maskell, chaplain to the High Church Henry Phillpotts, Bishop of Exeter, sermons by Manning’S nephew, W. H. Anderdon, and reprints of Bishop Wilson’s Sacra Privata and Lancelot Andrewes’ Preces Privatae, as well as Jeremy Taylor, George Herbert and Henry Vaughan. In 1882 as a Catholic Manning claimed that he had never been concerned that his Anglican sermons should be re-issued. ‘£250 was offered to me for an edition of the four volumes of Sermons. But I always refused. I wished my past, while I was in the twilight, to lie dead to me, and I to it.’ Yet, as Purcell points out, in 1865 he had consulted Dr. Bernard Smith in Rome about their re-issue. Smith’s verdict was negative. ‘These were the works of Dr. Manning, a Protestant. They were the fruits of the Anglican not of the Catholic Church.’ He was, nonetheless, impressed. ‘What I admired most in the perusal of these volumes was not the many strong Catholic truths I met with, but that almost Catholic unction of a St. Francis de Sales, or of a St. Teresa, that breathes through them all.’
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31

Newsome, David. "Cardinal Manning and his Influence on the Church and Nation." Recusant History 21, no. 2 (October 1992): 136–51. http://dx.doi.org/10.1017/s0034193200001540.

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There is a legend, popularised by Lytton Strachey, that Henry Manning, on becoming a Catholic, studiously resolved to expunge from his mind all memories of his Anglican past. The letters of his young wife, Caroline, who had died only four years after their marriage, were to be destroyed; her grave to be left untended; all past associations of Lavington, Oxford, Harrow, Coombe Bank, and Copped Hall at Totteridge would be too much of a burden for him to bear on his journey to a position of active influence within the Roman Church; so, like Christian in the Pilgrim’s Progress, he willed that the burden should roll from his back that he should see it no more. The truth is very different. Caroline’s letters he took with him to Rome in 1851, where he was to begin his studies at the Accademia Ecclesiastica, only to discover to his profound grief, that the bag in which they were contained, had been stolen at Avignon. So devoted to her memory was he, that—on his deathbed— he amazed his successor in the See of Westminster, Herbert Vaughan, by extracting from beneath his pillow a ‘small, worn volume’, and handing it to him, saying ‘I leave it to you. Into this little book my dearest wife wrote her prayers and meditations. Not a day has passed since her death on which I have not prayed and meditated from this book. All the good I may have done, all the good I may have been, I owe to her. Take precious care of it’.
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32

Mulder, John R. "Arthur L. Clements. Poetry of Contemplation: John Donne, George Herbert, Henry Vaughan, and the Modern Period. Albany: State University of New York Press, 1990. xvii + 306 pp. $49.50." Renaissance Quarterly 45, no. 1 (1992): 203–5. http://dx.doi.org/10.2307/2862863.

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33

Lewis, David T. R. "The Hirlas Horn of Henry Tudor – Which One?" Welsh History Review / Cylchgrawn Hanes Cymru 30, no. 1 (June 1, 2020): 46–55. http://dx.doi.org/10.16922/whr.30.1.3.

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This article explores one significant aspect of the historiography of the tradition surrounding Henry Tudor's march through Wales to Bosworth and how a Carmarthenshire family, the Vaughans of Golden Grove, enhanced and promoted their gentry status, image and loyalty to the Crown by acquiring and displaying and then later replicating what became known as the Hirlas Horn. The Vaughans thereby engaged with the history of Wales to their own advantage by retrospectively inventing their family's involvement in the Bosworth legends and traditions associated with this important part of Welsh history.
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34

Baird, J. "David Alexander Baird Henry Oswald Chisholm Terence English Ernest Christopher Bernard Hall-Craggs Gordon Tom Eric Jenkins (Jenks) John David Oriel Robert Vaughan (Roy) Roberts John Westwood Sandison Joseph Francis Smith Harold Sterndale." BMJ 322, no. 7280 (January 27, 2001): 240. http://dx.doi.org/10.1136/bmj.322.7280.240.

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35

Jasper, David. "The Artist and Religion in the Contemporary World." Text Matters, no. 1 (November 23, 2011): 216–27. http://dx.doi.org/10.2478/v10231-011-0016-5.

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Although we begin with the words of the poet Henry Vaughan, it is the visual artists above all who know and see the mystery of the Creation of all things in light, suffering for their art in its blinding, sacrificial illumination. In modern painting this is particularly true of van Gogh and J.M.W. Turner. But God speaks the Creation into being through an unheard word, and so, too, the greatest of musicians, as most tragically in the case of Beethoven, hear their sublime music only in a profound silence. The Church then needs to see and listen in order, in the words of Heidegger, to learn to "dwell poetically on earth" before God. To dwell thus lies at the heart of its life, liturgically and in its pastoral ministry, as illustrated in the poetry of the English priest and poet, David Scott. This can also be seen as a "letting go" before God and an allowing of a space in which there might be a "letting the unsayable be unsaid" and order found even over the abyss. This is what Vladimir Nabokov has called "the marvel of consciousness" which is truly a seeing in the darkness. The poet, artist and musician can bring us close to the brink of the mystery, and thus the artist is always close to the heart of the church's worship and its ministry of care where words meet silence, and light meets darkness. Such, indeed, is the true marvel of consciousness in the ultimate risk which is the final vocation of the poet and artist, as it was of Christ himself, and all his saints. The church must be ever attentive to the deeply Christocentric ministry of art and the creative power of word and image in the letting the unsayable be unsaid. With the artist we may perhaps stand on Pisgah Height with Moses with a new imaginative perception of the divine Creation. The essay concludes on a personal note, drawing upon the author's own experience in retreat in the desert, with a reminder of the thought of Thomas Merton, a solitary in the community of the Church.
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36

Lewis, David T. R. "The Hirlas Horn of Henr Tudor – Which One?" Welsh History Review / Cylchgrawn Hanes Cymru 30, no. 1 (June 1, 2020): 46–55. http://dx.doi.org/10.16922/.30.1.3.

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This article explores one significant aspect of the historiography of the tradition surrounding Henry Tudor's march through Wales to Bosworth and how a Carmarthenshire family, the Vaughans of Golden Grove, enhanced and promoted their gentry status, image and loyalty to the Crown by acquiring and displaying and then later replicating what became known as the Hirlas Horn. The Vaughans thereby engaged with the history of Wales to their own advantage by retrospectively inventing their family's involvement in the Bosworth legends and traditions associated with this important part of Welsh history.
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37

Dickson, Donald R. "Henry Vaughan's Medical Annotations." Huntington Library Quarterly 70, no. 3 (September 2007): 427–52. http://dx.doi.org/10.1525/hlq.2007.70.3.427.

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38

Horne, B. "Review: Henry Vaughan's Silex Scintillans." Journal of Theological Studies 53, no. 2 (October 1, 2002): 775–77. http://dx.doi.org/10.1093/jts/53.2.775.

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39

Gebhard, David. "Review: On the Edge of the World: Four Architects in San Francisco at the Turn of the Century by Richard Longstreth; The Almighty Wall: The Architecture of Henry Vaughan by William Morgan; Bertram Grosvenor Goodhue by Richard Oliver." Journal of the Society of Architectural Historians 44, no. 1 (March 1, 1985): 79–81. http://dx.doi.org/10.2307/990065.

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40

Rudrum, Alan. "Paradoxical Persona: Henry Vaughan's Self-Fashioning." Huntington Library Quarterly 62, no. 3/4 (January 1999): 351–67. http://dx.doi.org/10.2307/4621647.

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41

Sullivan, Ernest W. "Donald R. Dickson and Holly Faith Nelson, eds. Of Paradise and Light: Essays on Henry Vaughan and John Milton in Honor of Alan Rudrum. Newark DE : University of Delaware Press/AUP, 2004. 393 pp. index. illus. bibl. $60. ISBN: 0-87413-876-0." Renaissance Quarterly 58, no. 3 (2005): 1057–58. http://dx.doi.org/10.1353/ren.2008.0873.

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42

Shell, A. "Review: Henry Vaughan's Silex Scintillans: Scripture Uses." Review of English Studies 55, no. 219 (April 1, 2004): 275–77. http://dx.doi.org/10.1093/res/55.219.275.

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43

LINDEN, STANTON J. "WALTER CHARLETON AND HENRY VAUGHAN'S ‘COCK-CROWING’." Notes and Queries 36, no. 1 (March 1, 1989): 38–39. http://dx.doi.org/10.1093/nq/36-1-38.

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44

Dickson, Donald R. "Henry Vaughan's Knowledge (and Use) of Greek." Studies in Philology 117, no. 1 (2020): 201–24. http://dx.doi.org/10.1353/sip.2020.0006.

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45

Burrow, C. "Henry Vaughan's 'The Queer': A Note on Queries." Notes and Queries 52, no. 3 (September 1, 2005): 310–11. http://dx.doi.org/10.1093/notesj/gji306.

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46

BRATCHELL, D. F. "Ray, R. H., A John Donne Companion. Pp. x + 414 (Garland Reference Library of the Humanities, vol. 1070). Clements, A. L., Poetry of Contemplation: John Donne, George Herbert, Henry Vaughan, and the Modern Period. Pp. xvii + 306. New York: State University of New York Press, 1990." Notes and Queries 38, no. 3 (September 1, 1991): 382–84. http://dx.doi.org/10.1093/notesj/38.3.382.

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47

Nauman, Jonathan. "Henry Vaughan’s The Mount of Olives, Henry Francis Lyte, and ‘Abide With Me’." Notes and Queries 59, no. 3 (July 4, 2012): 403–5. http://dx.doi.org/10.1093/notesj/gjs126.

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48

WATSON, GRAEME J. "TWO NEW SOURCES FOR HENRY VAUGHAN'S THE MOUNT OF OLIVES." Notes and Queries 32, no. 2 (June 1, 1985): 168–70. http://dx.doi.org/10.1093/nq/32-2-168.

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49

Jonathan Nauman. "Henry Vaughan's Silex Scintillans: Scripture Uses (review)." George Herbert Journal 24, no. 1-2 (2000): 99–103. http://dx.doi.org/10.1353/ghj.2013.0021.

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50

Nauman, Jonathan. "Varying Arrangements: Observations on Some Copies of Henry Vaughan's Silex Scintillans (1655)." Huntington Library Quarterly 81, no. 3 (2018): 389–98. http://dx.doi.org/10.1353/hlq.2018.0016.

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