A New Look at Crashaw and 'The Weeper'.
It will be the duty of this essay to explicate in detail how Tennyson’s In Memoriam functions within the Freudian economy as the. 'The Weeper', and its strong-line coda, 'The Tear' (MSS ca 1640), by the Roman Catholic and Counter-Reformatory poet Richard Crashaw. The poem disrupts the well-proportioned and by now time-worn Petrarchan comparison of eyes with fountains or orbs and tears.
Richard Crashaw, born in 1613 and trained on Giambattista Marino, was even more willing to dispense with an academic career at Cambridge within the Anglican Church hierarchy. Crashaw, a former High Churchman, turned to the Spanish mystics, converted to Catholicism and died in 1649, holding a minor church office in Loretto. His hymn 'The Weeper.
Crashaw’s poetry is uneven work. Whereas Herbert is a gentle stream, Crashaw is an impetuous torrent. He is quite undisciplined and given to moods of religious exaltation and excitement. He has a taste for daiing images and metaphysical conceits. The eyes of Mary Magdalene in The Weeper are described as.
The article concludes with a comparative analysis, of Marvell’s “Eyes and Tears” and Richard Crashaw’s “The Weeper,” that redefines Marvell as a deliberately anti-metaphysical poet.
Structures of Feeling in Seventeenth-Century Cultural Expression Susan McClary, (editor) Between the waning of the Renaissance and the beginning of the Enlightenment, many fundamental aspects of human behaviour - from expressions of gender to the experience of time - underwent radical changes.
William Empson This volume gathers some of William Empson's most passionate and controversial essays and includes previously inaccessible pieces on influential Renaissance writers and scientists. Introduced by leading Empson scholar John Haffenden, this is a book for anyone interested in the Renaissance, the history of science, and the history of literary criticism.
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