{"title":"乔治·赫伯特和发明的危险","authors":"Anne Boemler","doi":"10.1353/sel.2020.0002","DOIUrl":null,"url":null,"abstract":"Abstract:Where Renaissance theorists define invention either as discovering and imitating the best models for writing or as creating a better and more virtuous world, George Herbert redefines poetic invention as the usurpation of God’s creative power. In order to avoid such presumption in his own poetry, he insists that the task of the godly poet must be imitation in its most literal, letter-by-letter sense: copying God’s own language, as if by hand. The metaphor of writing as copying reaches its fullest expression in Herbert’s wordplay-heavy poems, in which the poet breaks words into their composite letters to discover God’s truth.","PeriodicalId":45835,"journal":{"name":"STUDIES IN ENGLISH LITERATURE 1500-1900","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2020-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"George Herbert and the Dangers of Invention\",\"authors\":\"Anne Boemler\",\"doi\":\"10.1353/sel.2020.0002\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract:Where Renaissance theorists define invention either as discovering and imitating the best models for writing or as creating a better and more virtuous world, George Herbert redefines poetic invention as the usurpation of God’s creative power. In order to avoid such presumption in his own poetry, he insists that the task of the godly poet must be imitation in its most literal, letter-by-letter sense: copying God’s own language, as if by hand. The metaphor of writing as copying reaches its fullest expression in Herbert’s wordplay-heavy poems, in which the poet breaks words into their composite letters to discover God’s truth.\",\"PeriodicalId\":45835,\"journal\":{\"name\":\"STUDIES IN ENGLISH LITERATURE 1500-1900\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2020-03-12\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"STUDIES IN ENGLISH LITERATURE 1500-1900\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1353/sel.2020.0002\",\"RegionNum\":3,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q2\",\"JCRName\":\"Arts and Humanities\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"STUDIES IN ENGLISH LITERATURE 1500-1900","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/sel.2020.0002","RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"Arts and Humanities","Score":null,"Total":0}
Abstract:Where Renaissance theorists define invention either as discovering and imitating the best models for writing or as creating a better and more virtuous world, George Herbert redefines poetic invention as the usurpation of God’s creative power. In order to avoid such presumption in his own poetry, he insists that the task of the godly poet must be imitation in its most literal, letter-by-letter sense: copying God’s own language, as if by hand. The metaphor of writing as copying reaches its fullest expression in Herbert’s wordplay-heavy poems, in which the poet breaks words into their composite letters to discover God’s truth.
期刊介绍:
SEL focuses on four fields of British literature in rotating, quarterly issues: English Renaissance, Tudor and Stuart Drama, Restoration and Eighteenth Century, and Nineteenth Century. The editors select learned, readable papers that contribute significantly to the understanding of British literature from 1500 to 1900. SEL is well known for thecommissioned omnibus review of recent studies in the field that is included in each issue. In a single volume, readers might find an argument for attributing a previously unknown work to Shakespeare or de-attributing a famous work from Milton, a study ofthe connections between class and genre in the Restoration Theater.