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• W1271183851 abstract "Rambuss, ed. The English Poems Crashaw. Minneapolis: University Minnesota Press, 2013. lxxxvi + 449 pp. + 22 illus. $39.95. Review by JOHN MULRYAN, ST. BONAVENTURE UNIVERSITY. This welcome edition The English Poems the first in more than forty years, restores the chronological sequence the poetry and allows the modern reader to monitor the changes in the canon during Crashaw's lifetime, although it is not clear whether those changes were effected by Crashaw or his publishers. Rambuss modernizes the spelling but (for the most part) leaves the original punctuation intact. The text is accompanied by a helpful introduction and judicious documentation. Personally, I wish that Rambuss had included the Latin as well as the English poetry in this edition; he offers no explanation for this omission. Although Crashaw is often described as a Catholic' (in the sense Roman Catholic) poet, almost all his works were composed while he was still in the Anglo-Catholic communion. Barbara Lewalski (Protestant Poetics and the Seventeenth-Century Religious Lyric, 1979) distorts his religious position, thereby ejecting him from the Anglo-Protestant mainstream that she here sets out to delimit (xix). In an unsavory comparison with George Herbert, H. C. Beeching (Lyra Sacra: A Book Religious Verse, 1895) associates Crashaw with tasteless Rome: If Herbert with his restrained passion represents the spirit the Anglican communion, Crashaw with his fervor and want taste may well stand for Rome (xviii-xix). One is often unsure whether the critics are attacking Crashaw or Roman Catholicism, or both! They also embrace a narrow view what constitutes Protestantism, rejecting High Anglicanism (cf. Archbishop Laud) and any attempt to maintain the religious traditions formerly associated with Catholicism. (It is worth noting that Crashaw's father was an aggressive anti-Catholic polemicist). Examining the poetry itself, one observes that much it is derivative, often coming into existence as a translation some other poet or artifact. For example, there are translations or adaptations Horace, Virgil, Heliodorus, Martial, Catullus, St. Thomas Aquinas, Grotius, Petronius, and Moschus (Out the Greek, Cupid's Crier, a famous rendition Love the Runaway, also shaped by Spenser in his Faerie Queene). Occasional poems cover the Gunpowder Plot, the birth Queen Elizabeth, the coronation Charles the First, and the deaths significant personages, as well as personal associates Crashaw. In Hope Crashaw exchanges verses with the poet Abraham Cowley. From a generic standpoint, there are epitaphs, psalms, memorial poems, epigrams (mostly derivative), emblems (On the baptized Ethiopian), poems alluding to passages and events in scripture, hymns, and one epithalamium. Crashaw has written some the best [Cf. Francis Thompson, Shelley, London, 1912] and some the worst [Cf. Edmund Gosse, Richard Crashaw, Seventeenth-Century Studies, London, 1914] lines in English literature. He has been praised by T. S. Eliot for his uniqueness (see below) and reviled for his alleged perversity by Frank K. Warnke [Metaphysical Poetry and the European Context, in Metaphysical Poetry, Stratford-upon-Avon Studies II (1970), 265]. In Sospetto d'Herode, Crashaw presents a compelling image industrious, endlessly busy Death: Swinging a huge scythe stands impartial Death / With endless business almost out breath. In contrast, in Upon Bishop Andrewes, His Picture before His Sermons, he inserts an outrageous pun on the grave aspect the picture that represents the dead Andrewes. Similarly, in a poem on the death one Mr. Herris, he puns on the period or cessation life and the full stop or period that marks the end a sentence. Thus because of a cruel stop ill placed / In the dark volume our fate/ ... the total sum man appears / And the short clause mortal breath, / Bound in the period death. …" @default.
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• W1271183851 date "2015-03-22" @default.
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• W1271183851 title "Richard Rambuss, Ed.: The English Poems of Richard Crashaw" @default.
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