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134:, originally published anonymously in 1640, announced itself on the title page to be “in imitation of Mr George Herbert”. Their kinship was so close that subsequently the two collections were often published together. The six wing-shaped stanzas of Harvey's “Cordis Volatus” are on the same theme as Herbert's but lack his subtlety of treatment.
96:, which combines a motto with a simple symbolic picture and poetic explanation, as well as, in the case of “Easter Wings”, the example of Greek shaped poetry. The poem's two-stanzas were originally formatted sideways across opposite pages on its first publication, making the likeness to two sets of wings more obvious. Another
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15, and it is specially notable that the word ‘victory’ found in the
Biblical text is repeated in both stanzas of the poem. As well as the poem's being emblematic of the redeemed soul overall, the expansion and contraction of the lines imitates the meaning of the words. Thus in the first stanza the
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was the first
English author to take this up in his intricate “A pair of wings” in about 1500. But whereas the Classical example is shaped so that the wings rise and fall from the centre, as happens also in Herbert's “Easter Wings”, Hawes makes the lines diminish to wing tips in a crescent from the
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line “O let me rise” occurs as the wing unfurls again and is answered by the theme of climbing in the second. There is also similar imitative wording at the centre of both stanzas, “Till he became/ Most poore” in the first being answered by “That I became/ Most thinne” in the second.
124:’s “O that I had wings like a dove”, the poem was written about 1651 but not printed until 1820. The 4-stanza poem is in a radically different form, with long lines at the beginning, middle and end, punctuated by shorter lines dividing them within the stanza.
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There were three other poems in the shape of wings published later than
Herbert's. One may have been written about the same time, but as in Herbert's case was not published until after the author's death. It appeared as a lyrical insert towards the end of
65:, the god of love, but where the only hint of his wings is contained in the adjective referring to him, “swift-flying”. These poems and their like were later imitated in Renaissance
210:. It was Herbert, he maintained, who had helped revive “this obsolete kind of wit”. That disapproval was to remain in place until the revival of critical interest in the
41:(1633). It was originally formatted sideways on facing pages and is in the tradition of shaped poems that goes back to ancient Greek sources.
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at the start of the 20th century. Since then
Herbert's typography has been recognised as a significant adjunct to the poem's meaning.
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Elsky, Martin. "George
Herbert's Pattern Poems and the Materiality of Language: A New Approach to Renaissance Hieroglyphics."
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wider body of the poem's centre and backs it up with an alternative short poem lying behind the main text.
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in which the shape of the lay-out mimics the poem's sense. Among these was one in the shape of wings by
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of Jesus Christ. Its celebration of bodily and spiritual resurrection draws its theme from 1
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A copy of the manuscript written for presentation to the
Cambridge University press in 1633
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revival of interest in ancient Greek poetry brought to light a few poems preserved in the
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174:”, the new monarch of literary Nonsense is dismissed to pursue Baroque invention in
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A Year with George
Herbert: A Guide to Fifty-Two of His Best Loved Poems
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Brown, C. C., and W. P. Ingoldsby. "George
Herbert's" Easter-Wings"."
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Herbert's poetry may be referred to the 16th century tradition of the
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verse and the fashion then spread to vernacular literatures as well.
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George
Herbert's poem "Easter Wings" printed upright in modern type
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The Poem in Time: Reading George
Herbert's Revisions of The Church
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went on to name the author that Dryden had in mind in an essay in
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61:. The poem is in the form of an allusive riddle whose subject is
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Patterns and Patterning: A Study of Four Poems by George Herbert
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150:"Easter Wings" is a religious meditation that focuses on the
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Mediaeval English Lyrics, Northwestern University 1964,
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There was a reaction against this kind of writing in
37:which was published in his posthumous collection,
374:. University of Delaware Press. pp. 76–.
226:Pattern Poetry: Guide to an Unknown Literature
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194:And torture one poor word ten thousand ways.
100:appearing near the start of his collection,
297:. Wipf and Stock Publishers. pp. 35–.
180:Some peaceful province in acrostic land.
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23:"Easter Wings" in the 1633 edition of
200:And in case any doubt should remain,
80:George Herbert and his contemporaries
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229:, State University of New York, 1987
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435:The Huntington Library Quarterly
291:Jim Scott Orrick (12 May 2011).
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368:Janis Lull (1 January 1990).
481:Poems published posthumously
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328:Trivial Poems and Triolets
118:The Chaste and Lost Lovers
120:(1651). In the case of
421:no.58 (May 11, 1711),
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16:Poem by George Herbert
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404:Mac Flecknoe, a poem
358:Westerweel, pp. 90-2
344:Studies in Philology
394:Westerweel, pp.75-7
326:Scott’s edition of
164:Augustan literature
45:Literary background
281:Westerweel, pp.6-8
212:Metaphysical Poets
183:There thou may'st
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128:Christopher Harvey
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381:978-0-87413-357-8
304:978-1-61097-286-4
232:Bart Westerweel,
59:Simmias of Rhodes
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170:’s satire “
168:John Dryden
156:Corinthians
51:Renaissance
466:1633 poems
460:Categories
218:References
102:The Temple
39:The Temple
25:The Temple
152:atonement
106:The Altar
67:Neo-Latin
138:Overview
104:, was "
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348:pp.229
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191:raise,
189:altars
94:emblem
271:p.259
250:Theoi
185:wings
423:p.69
376:ISBN
332:p.44
299:ISBN
63:Eros
49:The
448:ELH
408:p.8
130:’s
116:’s
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