Richard Crashaw

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""""""On Not Translating Hafiz
Dick Davis, Ohio State University
Tr. Behnam Mizababazadeh & Mostafa Hosseini
In this paper Dick Davis tries to explain the reasons behind the  difficulty in translating classical Persian poetry in general and Hafiz in  particular. He divides the problems into two categories: the linguistic  and the cultural problems. Lack of exact synonyms especially for
idioms, puns and lack of rhyme in English belong to the first category.  The lore of Shi’i Islam, the prevalence of the cult of pederasty in  Persian poetry, difference in the pattern of the poems and the language of panegyric in Persian poetry belong to the second category. Davis concludes his paper with the following sentences:  And this is why the poets who seem to develop a poetry’s capabilities most tellingly, who seem to their linguistic communities to be the most “poetic” of all, are often precisely those whom it is most difficult to bring over into  another language. Certainly, in Persian literature, the example of Hafiz, and  of the numerous poor poet-translators who metaphorically lie bleeding at  his feet, would seem to bear this out. (B. M. & M. H.)
Keywords: Hafiz, Dick Davis, classical Persian poetry, translation of
poetry, untranslatability of poetry. """"""

Poetry is capable of a great many things. Often crowned the 'King of the Arts', it can lift the spirits, it can move one to tears, it makes you know that 'your bliss and suffering is forever shared and forever all your own' to invoke the great Dylan Thomas. It is only able to do these things through its usage of language, theme and rhythm which the poet utilizes to create glorious tapestries of image and feeling, it is safe to say that none do this to such great effect as those known as the metaphysical poets. In this essay, I look at Richard Crashaw and his psychological yearning for a feminine figure through his poems.

La Riforma inglese, la crisi sacramentale, la riflessione sulle possibilità del linguaggio poetico: da questi tre elementi prende le mosse questo volume di Carmen Gallo, che propone una rilettura della poesia metafisica di John Donne, George Herbert e Richard Crashaw prestando attenzione non solo agli aspetti formali dei testi, ma anche ai loro rapporti con le speculazioni teologiche del tempo.
Partendo dalla difesa di Sidney dell’altra natura della poesia, che eleva l’uomo verso Dio, e tenendo conto degli attacchi dei puritani all’immoralità della human invention, questo saggio interpreta il wit dei metafisici come lo strumento privilegiato di una più ampia strategia di compensazione poetica della crisi linguistica, prima ancora che religiosa ed epistemologica, provocata dalla critica dei riformati alla dottrina della transustanziazione. I salti del wit, la fragilità logica delle sue associazioni, l’artificiosità metapoetica, l’ironia corrosiva della discordia concors, così come le forme svuotate e risemantizzate del discorso religioso, sono la testimonianza retorica della fatica di tenere insieme i pezzi di un mondo lacerato da dissidi teologici e nuovi paradigmi scientifici. La poesia diventa così l’unico luogo in cui è ancora possibile postulare verità capaci di competere, nonostante la loro forma provvisoria, ambigua o rovesciata, con quelle un tempo indiscusse della religione.

Richard Crashaw is the greatest English Baroque poet, and his “Bulla”, commonly translated as the “Bubble”, is one of the greatest poems in the Baroque sense. It reveals Crashaw’s literary adaptation of the New
Science of the Renaissance and the early seventeenth century for his literary/artistic concerns. Highlighting the chaotic undertones of the Baroque, “Bulla” links Crashaw’s sensibility to the new discoveries of the
period. Crashaw emphasizes the kinesthetic nonlinearity of the natural phenomena, culminated in the shape and essence of the bubble as a microcosm of the universe. Accordingly, he adapts the behavior of
non-human environments to human nature, and then changes it to poetic themes; his poem compares, through intricate metaphors and symbols, the illusory and transient state of the bubble to life and poetry.
Through his scientific outlook and interdisciplinary endeavor, Crashaw notifies humanity of the essence of the bubble as it symbolically stands for the transience of worldly pleasures and for poetry, in a universe of
dynamic change. Worldly pleasures are, like bubbles, not only alluring and wonderful, but also deceitful and transient. Poetry is also a bubble, for it is attractive and grasping only if it is read; yet it tends to escape
interpretation. And all happen in a process of becoming. The very structure and theme of the poem highlight Crashaw’s interest in such chaotic metaphors and symbols for his humanistic, literary, philosophical, and religious concerns, proving the fact that scientific thinking can convey the reality of life and stimulate spiritual thinking.

This symposium will commemorate the 400th anniversary of the birth of Richard Crashaw, poet and divine. Crashaw is renowned as a unique voice in seventeenth-century English poetry, and a central figure in the Anglican Counter-Reformation of the 1620s and 30s. His life and verse have lately enjoyed renewed scholarly attention: through his acquaintance with the community at Little Gidding, for instance, and the history of his conversion to Roman Catholicism. This symposium, taking place at Little St Mary’s Church, where Crashaw served as catechist and curate (next to Peterhouse, where he was a Fellow) will develop and enhance this interest in his work from literary, theological, philosophical, and musical perspectives.

Scholars have long recognized that "Herbert's Morals," an abecedarium included in Thomas White's A Little Book for Little Children (1702), incorporates edifying verses by George Herbert as mnemonic aids for youngsters learning their ABCs.  Only ten of the twenty-six couplets in this work come from Herbert's pen, however, and commentators have not identified the sources of the remaining verses.  This study demonstrates that seven of the other sixteen couplets derive from Randolph, one from Quarles, and two from Crashaw.  Moreover, verses by all these other poets, including Herbert, appear in books similar to White's, specifically Thomas Lye's Reading and Spelling English Made Easie (1673) and Edward Clark's The Protestant School-Master (1680).  Knowledge of the sources of this material helps elucidate the ways in which Nonconformist culture could assimilate the work of Anglican and Catholic authors.

As a metaphysical poet, Richard Crashaw (1613-1649) is recognized for his stylistic experimentation and deep religious faith. In the course of his short life, he became a fellow at Cambridge, was later introduced to Queen Henrietta Marie, Charles I's wife, in France after his exile during the Interregnum, converted to Catholicism from Anglicanism and was highly influenced by Baroque poetry and the martyrdom of St. Teresa of Avila in his style and themes. He is a poet with a "most holy, humble and genuine soul" and in the last six years of his life, which coincided with a period of great crisis in both personal and professional spheres, he worked intensively on the religious phase of his literary career (Shepherd 1914, p. 1). He reflected his devotion to St. Teresa and to God in his religious poems. Within this context, this study analyses Crashaw's two Teresian poems, "A Hymn to the Name and Honour of the Admirable Saint Teresa" and "The Flaming Heart" featuring the themes of the quest for divine love and unification with the divine along with Crashaw's divergence from other metaphysical poets, his affection for the European style(s), and his religious views concerning both his country and other countries in Europe.

“In Vulnera Dei pendentis” (“On the wounds of God hanging”) is typical of Richard Crashaw’s sacred poems in its intense attention to the wounded body of incarnate God.  As Richard Rambuss has demonstrated, “no English poet was more enraptured by the image of God enfleshed, uncovered, and rendered corporeally vulnerable than was Richard Crashaw” (Closet 26).  Indeed, the intensity of Crashaw’s gaze on the corporeal, vulnerable Christ and his wounded body has provoked responses from dis-ease to disgust.  These myriad wounds and blooming, bloody orifices have been examined by critics such as Rambuss, Ryan Netzley, and Eugene Cunnar, who have explored them as focal points for Crashaw’s Incarnational and Eucharistic imagery; I take my starting point from the effluvia that emerge from these orifices and the work that such effluvia perform.  The blood, sweat, and tears exuding from Crashaw’s poetic bodies become tangible relics of divine Passion and human affect; Crashaw imbues them with superlative value, along the way troubling notions of both aesthetic and theological decorum.  The two short lines in the above epigraph [Fixa manus ; dat, fixa : pios bona dextera rores / Donat, & in donum solvitur ipsa suum (His hand is pierced; pierced, it gives: the good right hand gives holy dews and is itself dissolved into its own gift)] contain a number of elements which recur in
Crashaw’s lyrics: the language of gift and exchange, the strangely liquid quality of the media of exchange in circulation between and among the participants in the exchange relationship, and the tendency of the gift, giver, and receiver to merge.  Through a poetics of gift exchange, Crashaw posits an ongoing reciprocal relationship between human and deity, earth and heaven; he imagines a libidinal, dynamic exchange economy from which the terrestrial and corporeal are not excluded but to which they are in fact integral.