“O write in brasse”: George Herbert’s trajectory from pen to print

Acts of writing, and even more so of blotting, are well known to the reader of George Herbert’s Temple as the poet struggles to make his ink and tears a form of imitative art for Christ’s sacrifice. Less attention has been given to the ways in which Herbert participates in the history of publication...

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Main Author: Anne-Marie Miller-Blaise
Format: Article
Language:English
Published: Institut du Monde Anglophone 2012-04-01
Series:Etudes Epistémè
Online Access:https://journals.openedition.org/episteme/402
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author Anne-Marie Miller-Blaise
author_facet Anne-Marie Miller-Blaise
author_sort Anne-Marie Miller-Blaise
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description Acts of writing, and even more so of blotting, are well known to the reader of George Herbert’s Temple as the poet struggles to make his ink and tears a form of imitative art for Christ’s sacrifice. Less attention has been given to the ways in which Herbert participates in the history of publication. Such a reticence can easily be accounted for by the fact that The Temple was printed posthumously. However, renewed interest in a biographical approach of Herbert has drawn attention to his relationship to the poetical coterie formed by the Sidney-Pembroke circles and their modes of aristocratic, scribal publication. This paper will attempt to examine how, though his poetry is modeled on Philip Sidney’s both plain and reflexive style, Herbert dramatizes and gradually dissociates from the modes of publication of his milieu, turning towards the horizon of print even for his private, devotional verse. I will argue that the dissemination of the printed letter better responded to Herbert’s aesthetic and theological design.
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spelling doaj-art-a43e087161ed42cba61a758cf00fb65b2025-08-20T02:32:45ZengInstitut du Monde AnglophoneEtudes Epistémè1634-04502012-04-012110.4000/episteme.402“O write in brasse”: George Herbert’s trajectory from pen to printAnne-Marie Miller-BlaiseActs of writing, and even more so of blotting, are well known to the reader of George Herbert’s Temple as the poet struggles to make his ink and tears a form of imitative art for Christ’s sacrifice. Less attention has been given to the ways in which Herbert participates in the history of publication. Such a reticence can easily be accounted for by the fact that The Temple was printed posthumously. However, renewed interest in a biographical approach of Herbert has drawn attention to his relationship to the poetical coterie formed by the Sidney-Pembroke circles and their modes of aristocratic, scribal publication. This paper will attempt to examine how, though his poetry is modeled on Philip Sidney’s both plain and reflexive style, Herbert dramatizes and gradually dissociates from the modes of publication of his milieu, turning towards the horizon of print even for his private, devotional verse. I will argue that the dissemination of the printed letter better responded to Herbert’s aesthetic and theological design.https://journals.openedition.org/episteme/402
spellingShingle Anne-Marie Miller-Blaise
“O write in brasse”: George Herbert’s trajectory from pen to print
Etudes Epistémè
title “O write in brasse”: George Herbert’s trajectory from pen to print
title_full “O write in brasse”: George Herbert’s trajectory from pen to print
title_fullStr “O write in brasse”: George Herbert’s trajectory from pen to print
title_full_unstemmed “O write in brasse”: George Herbert’s trajectory from pen to print
title_short “O write in brasse”: George Herbert’s trajectory from pen to print
title_sort o write in brasse george herbert s trajectory from pen to print
url https://journals.openedition.org/episteme/402
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