Thomas Traherne

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Thomas Traherne
Stained glass in the cathedral - - 615756.jpg
One of the four Traherne Windows in Audley Chapel, Hereford Cathedral, created by stained-glass artist Tom Denny
Hereford, England
Died27 September 1674
Alma mater Brasenose College, Oxford
Occupation(s)Poet, author, priest, theologian
Notable workCenturies of Meditations
Style metaphysical poetry, meditations, theology

Thomas Traherne ( /trəˈhɑːrn/ ; 1636 or 1637 c.27 September 1674) was an English poet, Anglican cleric, theologian, and religious writer. The intense, scholarly spirituality in his writings has led to his being commemorated by some parts of the Anglican Communion on 10 October (the anniversary of his burial in 1674) or on 27 September.


The work for which Traherne is best known today is the Centuries of Meditations, a collection of short paragraphs in which he reflects on Christian life and ministry, philosophy, happiness, desire and childhood. This was first published in 1908 after having been rediscovered in manuscript ten years earlier. His poetry likewise was first published in 1903 and 1910 (The Poetical Works of Thomas Traherne, B.D. and Poems of Felicity). [1] His prose works include Roman Forgeries (1673), Christian Ethics (1675), and A Serious and Patheticall Contemplation of the Mercies of God (1699). [2]

Traherne's writings frequently explore the glory of creation and what he saw as his intimate relationship with God. His writing conveys an ardent, almost childlike love of God, and is compared to similar themes in the works of later poets William Blake, Walt Whitman, and Gerard Manley Hopkins. His love for the natural world is frequently expressed in his works by a treatment of nature that evokes Romanticism—two centuries before the Romantic movement.


Early life and education

Traherne's birth and baptism are not recorded in parish registers. [3] According to antiquarian Anthony à Wood (1632–1695), he was a "shoemaker's son of Hereford" born in either 1636 or 1637. [4] [5] Dobell 1903 , p. xvi identifies this shoemaker as John Traherne (born 1566). However, other sources say that Thomas was the son of Philipp Traherne (or Trehearne) (1568–1645), a local innkeeper and twice Mayor of Hereford, [6] and his third wife, Mary Lane. [3] [lower-alpha 1]

Traherne writes about his childhood, which included a natural wonder at and appreciation of the world around him, in Centuries of Meditations [7] and in his poetry. [8]

Traherne matriculated at Brasenose College, Oxford in 1652 and received his degree in 1656 Brasenose College from St Marys.jpg
Traherne matriculated at Brasenose College, Oxford in 1652 and received his degree in 1656

Traherne was educated at Hereford Cathedral School and matriculated in Brasenose College, Oxford, on 2 April 1652, receiving his baccalaureate degree on 13 October 1656. [4] [2] Five years later he was promoted to the degree of Master of Arts (Oxon.) on 6 November 1661, [4] [2] and he received a Bachelor of Divinity (B.D.) on 11 December 1669. [9]

Church ministry

After receiving his baccalaureate degree from Oxford in 1656, he took holy orders.[ citation needed ]

On 30 December 1657, he was appointed as the rector of Credenhill near Hereford, [4] [2] by the Commissioners for the Approbation of Public Preachers, although at the time he was not an ordained priest. [10] A curious note appended to the record of his appointment is that Traherne counted upon the patronage of Ambella, the widow of the Earl of Kent. [lower-alpha 2] Traherne served in this post for ten years. [2]

Following the restoration of the monarchy and the return of Charles II, Traherne was ordained priest on 20 October 1660 by the Bishop of Oxford, Robert Skinner, at Launton near Bicester. [11]

In 1667, Traherne became the private chaplain to Sir Orlando Bridgeman, 1st Baronet, of Great Lever, the Lord Keeper of the Great Seal to King Charles II, at Teddington (near Hampton Court) in Middlesex. [2] It was while residing there that Traherne died on 27 September 1674, having that day dictated a brief nuncupative will to his friend and neighbour John Berdoe, in which he made bequests to the servants who had looked after him and left his few belongings to his brother Philip and sister-in-law Susan. [12] On 10 October 1674 he was buried in St Mary's Church at Teddington, [4] [3] [2] under the church's reading desk. [13]

Character and lifestyle

Traherne was described as "one of the most pious ingenious men that ever I was acquainted with", [14] and "a man of a cheerful and sprightly Temper … ready to do all good Offices to his Friends, and Charitable to the Poor almost beyond his ability". [15] Traherne believed he suffered from the weaknesses of a sociable personality: "Too much openness and proneness to Speak are my Diseas. Too easy and complying a Nature". [16]

According to Anthony à Wood, Traherne "always led a simple and devout life; his will shows that he possessed little beyond his books ...". [17]


Facsimile of the manuscript of Thomas Traherne's poem "An Hymne upon St. Bartholomew's Day", from Bertram Dobell's 1903 edition of his poetical works Traherne-manuscript.jpg
Facsimile of the manuscript of Thomas Traherne's poem "An Hymne upon St. Bartholomew's Day", from Bertram Dobell's 1903 edition of his poetical works

Publication history during lifetime and soon after

Traherne was an inconsequential literary figure during his lifetime and his works were not known or appreciated until long after his death. As a country priest he led a devout, humble life and did not participate in literary circles. Only one of his works, Roman Forgeries (1673), was published in his lifetime. Christian Ethicks (1675) followed soon after his death, and later A Serious and Patheticall Contemplation of the Mercies of God (1699), which was published as the work of an anonymous author whose character and background were discussed in a brief introduction by the publisher.

At Traherne's death in 1674 most of his manuscripts were bequeathed to his brother Philip. [2] [18] After Philip's death they apparently passed into the possession of the Skipp family of Ledbury in Herefordshire, where they languished for almost 200 years. [2] In 1888 the family's assets were dissolved, yet the manuscripts did not re-emerge until 10 years later. [2]

Later publication history

In the winter of 1896–97, William T. Brooke of London discovered some anonymous manuscripts in a "barrow of books about to be trashed" or a "street bookstall". [18] Brooke thought that they might be lost works by Henry Vaughan and showed them to Alexander Grosart (1827–99), a Scottish clergyman and expert on Elizabethan and Jacobean literature who reprinted rare works. [18] Grosart agreed that the manuscripts were by Vaughan and planned to include them in an edition of Vaughan's works that he was preparing for publication. [18] Grosart died in 1899 and the proposed edition was never completed. [18]

Grosart's collection, including the manuscripts, was purchased by Charles Higham, a London bookseller, who asked his friend Bertram Dobell to examine them. [18] Dobell was convinced that they were not by Vaughan and soon deduced that they were by Traherne. [2] The manuscripts included poetry as well as a collection of contemplative paragraphs "embodying reflexions on religion and morals".

The Poetical Works of Thomas Traherne was published in 1903 and Centuries of Meditations in 1908. [2] Other publications followed. Eventually the Centuries were to be described as "one of the finest prose-poems in our language" [19] and passages from them were set to music almost as often as the poems.


A Traherne manuscript of "Centuries," the Dobell Folio (also called the "Commonplace Book"), "The Church's Year Book," and the "Early Notebook" (also called Philip Traherne's Notebook) is held at the Bodleian Library, Oxford, the Burney Manuscript (also known as "Poems of Felicity") at the British Library, London, and "Select Meditations" in the Osborn Collection, Beinecke Library, New Haven, Connecticut.

A manuscript discovered in 1996 in the Folger Library in Washington, DC, by Julia Smith and Laetitia Yeandle was later identified as an unfinished 1,800-line epic poem by Traherne entitled "The Ceremonial Law." [20] In 1997 Jeremy Maule, a Fellow of Trinity College, Cambridge, discovered more works by Traherne among 4,000 manuscripts in the Library of Lambeth Palace, the London residence of the Archbishop of Canterbury. [21] The Lambeth manuscripts, mostly prose, encompass four complete works and a fragment of a fifth: Inducements to Retiredness, A Sober View of Dr Twisse , Seeds of Eternity, The Kingdom of God and the fragmentary Love. [22] [23]

Reception of the poetry

Although Traherne is now counted one of the leading Metaphysical poets, the name of that "school" went unmentioned on his first publication. In his preface to The Poetical Works, Dobell linked him with "that small group of religious poets which includes Herbert, Vaughan and Crawshaw", but distinguished him as uniquely individual and "neither a follower nor imitator of any of these". [24] In the selection of his poems that followed two years later, they were accompanied in the same volume by the 'verse-remains' of Henry Vaughan's twin brother Thomas (Eugenius Philalethes) and John Norris of Bemerton. [25] The reputation of the two latter was then and remains as philosophers. Both were also clergymen and Norris was the incumbent of Herbert's former parsonage; it was not until much later that he was to be described also as "the last of the Metaphysicals". [26] Traherne, then, is being presented by propinquity as a representative of the line of 17th-century devotional poets rather than the member of a particular school.

At the time of publication, those writers whom Samuel Johnson had described dismissively as "metaphysical poets" had yet to achieve the critical prominence they were given after the appearance of Herbert Grierson's anthology, Metaphysical Lyrics and Poems of the Seventeenth Century (1921). In any case, none of Traherne's poems were included there and when he did come to the notice of T. S. Eliot, it was only to be put aside as "more a mystic than a poet". After that, it took decades before his work was given more serious scrutiny. [27]

Certainly, the mystical element is strikingly evident in Traherne, but his Metaphysical credentials are confirmed by the way in which he seeks to explain issues of truth, knowledge, and the faculties of the mind and heart by methods of theological and rational examination. [28] Typical also is the way in which these meditations are worked out as extended Baroque conceits, of which "Shadows in the Water" is a particularly striking example. [29] A further link with fellow devotional poets of his period is found in the idealisation of childish innocence and the use of Platonic themes which Traherne shares with Henry Vaughan and John Norris.


Development of personal faith

Given some of the autobiographical and confessional material in his works (notably in Centuries of Meditations), Traherne must have suffered from a lack of faith in his formative years at Oxford. He describes this as a period of Apostasy and that he later found his way back to faith:

I knew by intuition those things which since my Apostasy, I collected again by the highest reason. My very ignorance was advantageous. I seemed as one brought into the Estate of Innocence. All things were spotless and pure and glorious: yea, and infinitely mine, and joyful and precious, I knew not that there were any sins or complaints or laws. [30]

However, there is an alternative reading possible, which may be closer to the facts of Traherne's experience as he expresses them in the quote above. This is that he did not suffer a loss of faith, but rather identified his maturation away from a natural, innocent child's view of the world and his place in it, from an innate understanding of the wonder of God's creation, to a burdened grappling with the rules and expectation of church and society as an apostasy itself, which he had to overcome then by careful and disciplined study ("the highest reason"). This childlike, accepting, and joyous view of faith and religious ecstasy is at the core of the writing from which the excerpt above is drawn, and is part of the reason for Traherne's appeal. [31]


Traherne is heavily influenced by the works of Neoplatonist philosophers and several of his contemporaries who were called the Cambridge Platonists. [32] [33] The Cambridge Platonists were latitudinarians in that they argued for moderation and dialogue between the factions of Puritans and High Churchmen in the Anglican church. They believed that religion and reason could be in harmony with one another based on a mystical understanding of reason—believing that reason rose beyond mere sense perception but was "the candle of the Lord" and an echo of the divine residing within the human soul. Reason was both God-given and of God. [lower-alpha 3] [ full citation needed ] Indeed, critic K. W. Salter notes that Traherne "writes of the senses as if they were spiritual and of the spirit as if it were sensuous." [34] However, according to Gladys Wade's 1946 biography of Traherne, she distinguished that the Cambridge Platonists "wasted their energies on Hermetic and Cabalistic and Rosicrucian lore, and on incredible experiments in magic and necromancy," and remarked that Traherne's mysticism was "perfectly free from any taint of this." [35]

Theology and ethical themes

St Mary's, Credenhill, Herefordshire, where Traherne was rector St Marys Church, Credenhill (geograph 2557447).jpg
St Mary's, Credenhill, Herefordshire, where Traherne was rector

Defence of Anglican and criticism of Catholic churches

Traherne was also concerned with the stability of the Christian church in England during the period of the Restoration. In some of his theological writings, Traherne exhibits a passion for the Anglican faith and the national church that is evident in his confrontations with Roman Catholicism and Nonconformism during this time of political and religious upheaval. [36] The recent discoveries of previously unknown manuscripts further establish Traherne's reputation as an Anglican divine and his works offer fresh and comprehensive insight on ongoing theological arguments regarding the nature of divinity, ethics and morality, and the nature of sin.

For instance, Traherne passionately critiques Roman Catholicism in Roman Forgeries (1673)—the only work published during his lifetime. It is a polemical treatise in the form of a dialogue between two men—a Protestant and a Roman Catholic. Relying on the Scriptures and the pronouncements of the First Council of Nicaea to formulate the idea of a legitimate church authority, Traherne criticises the state of the contemporary Catholic Church and claims through a conspiracy theory that because the Vatican has had control over the manuscripts that the Catholic Church was in a position to corrupt, misuse or suppress documents to support its claim to authority. [13] The abusive nature of the narrator's critique of the Church of Rome is in sharp contrast to the tenor of Traherne's poetry or his other writings on theological topics. [13]

However, Traherne takes a less polemic tone in the posthumously published Christian Ethicks (1675) in which he explores theological implications of Calvinist thought on freedom and necessity. [13] In this work, Traherne refuses to define ethics as a secular phenomenon—instead pointing to a firm reliance on the will of God. Because of human limitations and failings, one cannot build a suitable and coherent moral system of beliefs—those virtues must derive from a divine source and their reward from perceiving the infinite love of God at the root of all things. [13]


Traherne dedicated considerable examination to the subject of sin and its place vis-a-vis the church doctrines. In the recently discovered work, A Sober View of Dr Twisse, Traherne discusses sin and salvation within the frame of a larger discussion of questions of election and reprobation. Traherne writes:

He was excluded the Kingdom of Heaven, where nothing can enter that hates God, and whence nothing can be excluded that loves him. The loss of that Love is Hell: the Sight and Possession of that Love is Heaven. Thus did sin exclude him Heaven. [37]

Mysticism and divine union

Traherne's works are inherently mystical in that they seek to understand and embrace the nature of God within his creation and within man's soul. Traherne seems to describe his own journey of faith in Centuries of Meditation, which was likely written when Traherne was at Credenhill—a work that is noted for its "spiritual intensity," and "the wide scope of the writer's survey" which includes "all heaven and earth he takes for the province of the pious soul". [38] Traherne's work is said to look "upon the hidden things of the soul, and, in them, he sees the image of the glory and love of God" and "the eternal theme of the goodness and the splendour of God." [38]

Traherne's poems frequently explore the glory of creation and what he perceived as his intimate relationship with God. He drew deeply on the writings of Aristotle and on the early Church Fathers for his concept of Man and human nature.

Little mention is made of sin and suffering in the works that have dominated 20th-century criticism, and some critics have seen his verse as bordering upon pantheism (or perhaps panentheism). [39]


At the core of Traherne's work is the concept of "felicity", that highest state of bliss in which he describes the essence of God as a source of "Delights of inestimable value." [40] [41]

Traherne says that 'understanding set in him' secured his felicity. [42] He argues that man can experience this felicity only by understanding the will of God and divine love and he describes the beauty of this in childlike terms. [28] Traherne seeks to explain the "Principle of Nature" in which through his inclination to love truth ("Light") and beauty seek him to identify felicity as its source and a natural experience. [28]

Other themes


Another great passion that is depicted in Traherne's work is his love of nature and the natural world, frequently displayed in a very Romantic treatment of nature that has been described as characteristically pantheist or panentheist. While Traherne credits a divine source for its creation, his praise of nature seems nothing less than what one would expect to find in Thoreau. Many scholars consider Traherne a writer of the sublime, and in his writing he seems to have tried to reclaim the lost appreciation for the natural world, as well as paying tribute to what he knew of in nature that was more powerful than he was. In this sense Traherne seems to have anticipated the Romantic movement more than 130 years before it actually occurred. [43] There is frequent discussion of man's almost symbiotic relationship with nature, as well as frequent use of "literal setting", that is, an attempt to faithfully reproduce a sense experience from a given moment, a technique later used frequently by William Wordsworth. [43]

Childlike joy and attitude

In the spirit of the gospels, [44] [45] [46] Traherne's "great theme is the visionary innocence of childhood," and his writings suggest "that adults have lost the joy of childhood, and with it an understanding of the divine nature of creation." [47] Traherne seems to convey the idea that paradise can be rediscovered and regained only through reacquiring this childlike innocence—a state which "precedes the knowledge of good and evil" and seems to be composed of a boundless love and wonder. [28] [48]

In this respect, Traherne's work is often compared to the abounding joy and mysticism found in the works of William Blake, Walt Whitman, and Gerard Manley Hopkins. [13] [47] [49] [50] According to Traherne scholar Denise Inge, Traherne's introduction of a child's viewpoint to narrate his theological and moral premises was unknown or certainly unappreciated in the literature of this time. [39]


Achieving happiness is another focus of Traherne's work. He wrote "I will first spend a great deal of time in seeking Happiness, and then a great deal more in enjoying it." [51] He wrote that many people despise happiness, [52] but that "Heaven is a place where our happiness shall be seen of all. We shall there enjoy the happiness of being seen in happiness, without the danger of ostentation." [53]

Practical philosophy

Traherne was intent that insights gained through philosophy be used in daily life. [54] [55]


Traherne's works remained largely unpublished until their publication at the start of the 20th century. Those who have acknowledged an influence since then have been the Trappist monk Thomas Merton; the Christian humanist Dorothy L. Sayers; the poet Elizabeth Jennings; and C. S. Lewis, who called Centuries of Meditations "almost the most beautiful book in English". [56]

Traherne was interred at St Mary's Church, Teddington, Middlesex. St Mary,Teddington.JPG
Traherne was interred at St Mary's Church, Teddington, Middlesex.

They also had their influence within the Anglican Communion which, though it does not create saints in the same way as in the Roman Catholic tradition, has frequently canonised people of great holiness, sometimes by a formal process and sometimes by popular acclamation or local custom. [57] Following this precedent, and in commemoration of his poems and spiritual writings, Thomas Traherne is included in the Calendar of Saints in many national churches within the Anglican Communion. He is remembered in the Church of England with a commemoration. [58]

The commemoration of Traherne is held on either 27 September (the date of his death) or 10 October (the date of his burial).

Observed on 10 October Church of England; Anglican Church of Korea; Hong Kong Sheng Kung Hui (also known as the Hong Kong Anglican Church)

A century of musical settings

It has been observed of Traherne that "more than any other form of art, if one may judge from the frequency and fervor of the references, Traherne loved music", that this was of long standing and life-long. [59] The Traherne Association has compiled a check list of some hundred composers who have recognised the lyrical power of his writing and set words by him to music. [60] Several of these are from the poet's native Herefordshire, [61] while a significant proportion come from other countries and not all from the English-speaking world. There have also been a wide variety of musical styles over the past century, from art song to devotional motets, from advanced modernism to minimalism, and there have been some purely instrumental interpretations as well.


The earliest known setting was by Welsh-born Bryceson Treharne (1879–1948). His "Invocation" of 1917 was stanza 11 of an untitled poem in Traherne's Christian Ethicks: "O holy Jesus who didst for us die", set for baritone and piano. [62] It was followed in 1924 by Rutland Boughton's "Contentment", a part-song for unaccompanied men's voices which sets Traherne's "Contentment is a sleepy thing", also from Christian Ethicks. [63] Later composers set both verse and prose for singing within the same work, of which one example from 1978 was Elizabeth Maconchy's cycle "Sun, Moon and Stars" for soprano and piano. [64] [65]

It was in the 1920s that Gerald Finzi began work on his ambitious Dies natalis , a cantata for high solo voice and string orchestra. Only completed in 1939, the work's premiere was cancelled due to the outbreak of the Second World War, and it was not performed until some months later in January 1940. Its purely instrumental "Intrada" is followed by a section of prose passages from the third in his Centuries of Meditations, and then by three poems: "The Rapture", "Wonder" and "The Salutation". The texts chosen reflect the joy and wonder of a newborn child's innocent perspective and wonderment at a world of such beauty. [66]

Given Traherne's calling and piety, many modern settings of Traherne's work have a devotional context. His poem "The Rapture" was included in the Cambridge Hymnal (1967) as Hymn 97, with music by the composer William Wordsworth. [67] Also among the largely sacred choral music of Patrick Larley has been his On Christmas Day (2002), a sequence of seven pieces, of which numbers 1, 3 and 7 incorporate verses from Traherne's poem "On Christmas-Day". [68] [69] Several other pieces were commissioned for special occasions: from Colin Matthews ("Shadows in the water", 1978/9); [70] Francis Jackson ("On Christmas Day", 1995); [71] John Casken ("A song of Chimes", 1996); Andrew Carter ("The saints of God", 2005); [72] Cecilia McDowall, ("The skies in their magnificence", 2008); [73] Francis Pott, ("The love of God is in eternity", 2011); [74] and David Sawer, ("Wonder", 2012). [75]


Sawer's choral work was written to celebrate the Diamond Jubilee of Elizabeth II. Earlier, Toivo Tulev (born 1958) had set lines from Traherne's Centuries of Meditations as "Rejoice! Rejoice! Rejoice!" for a performance in honour of the queen's state visit to Estonia in October, 2006. [76] [77] Other settings of Traherne's work have been made by Bulgarian-born Dobrinka Tabakova ("Centuries of Meditations", selections set for full choir, harp or piano and strings, 2012); [78] by the French Claude Ballif, (Poème de la félicité for three female voices, 1977); [79] and by the Finnish Jouni Kaipainen, whose "Felicity and Fullnesse" is described as a monodrama for high baritone and orchestra in which verses by Traherne alternate with verses by Hanno Eskola (2006). [80]

In North America, the Canadian composer Frederick Karam (1926–1978) wrote "From Dust I Rise", an anthem based on lines from Traherne's poem "The Salutation", first performed in 1958. [81] In the United States, Aaron Jay Kernis set the song cycle "Two Awakenings and a Lullaby" for soprano, violin, guitar and piano in 2006; [82] in 2012 Bob Chilcott set "The sun and stars are mine" for high voices and piano; [83] and most recently Garrett George composed "4 Traherne Songs" for soprano with piano accompaniment (2018). [84]

Instrumental and other formats

Two Japanese works by Satoru Ikeda (born 1961) have taken their beginning from Traherne's "The Salutation". The first was a vocalic transposition of the English text for chamber choir, accordion, tuba and harp, in which the instruments "are symbols of Heaven, Earth, and Man" (2003). [85] Later the composer wrote a purely instrumental work for alto flute which was divided into three movements (Abyss, Awakening and Apparition), inspired by three stanzas from the poem (2015). [86] Another interpretation of Traherne for full orchestra was Australian composer Nigel Butterley's Meditations of Thomas Traherne (1968), based on five prose meditations. [87]

Two organ works have been inspired by Tom Denny's Traherne windows in the Audley chapel in Hereford Cathedral. In addition, American Peter Stoltzfus Berton (born 1968) based the fifteen pieces in his "Hereford Variations" (2007) on Traherne's Centuries of Meditations. [88] Martin Bussey's organ work "Hereford Windows" followed in 2014. [89]

Traherne's writing has also contributed to two larger-scale works. Kenneth Leighton's Symphony No.2 (Sinfonia mistica, 1974) set lines from Traherne's "Thanksgivings for the Body" as its third movement (Meditation). [90] [91] Later, Harrison Birtwistle had Christ quote from "Thanksgivings for the Body" in Vision 1 of his opera The Last Supper (1999). [92] [93]

Lying outside the classical music tradition, the Incredible String Band's piece "Douglas Traherne Harding" on the Wee Tam and the Big Huge album (1968) incorporated lines from Centuries of Meditations and demonstrates the wide versatility of application of which Traherne's work has been capable. [94] [95]

Works and publications

Published during Traherne's life and times

Later compilations and editions


See also


  1. Philipp was married three times and had 10 children from these marriages. Thomas, the poet and writer, was the oldest of two sons born to Philipp's third wife, Mary (or Marie) Lane. Thomas was the second of Philipp's sons to be named Thomas—the first, the youngest son by his second wife, died in infancy. [3]
  2. Annabel or Amabel (nee Benn), widow of Henry Grey, 10th Earl of Kent
  3. For more on the Cambridge Platonists, see Patrides 1980 and Hutton 2008

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  1. Brother Tristam, SSF (2003). "Thomas Traherne, Poet, Spiritual Writer". Exciting Holiness: Collects and Readings for the Festivals and Lesser Festivals of the Calendars of the Church of England, the Church of Ireland, the Scottish Episcopal Church and the Church in Wales (2nd ed.). Norwich: Canterbury Press. p. 428. ISBN   978-1-85311-479-3 via Hymns Ancient and Modern.
  2. 1 2 3 4 5 6 7 8 9 10 11 12 Chisholm, Hugh, ed. (1911). "Traherne, Thomas"  . Encyclopædia Britannica . Vol. 27 (11th ed.). Cambridge University Press. p. 155.
  3. 1 2 3 4 Purslow, Vera E. (1979). Centuries of Traherne families. Claverdon, Warwickshire: V.E. Purslow. ISBN   978-0-9506812-7-6. OCLC   9685054.
  4. 1 2 3 4 5 Foster, Joseph (1892). "Traherne, Thomas". Alumni Oxonienses 1500–1714: The Members of the University of Oxford, their parentage, birthplace, and year of birth, with a record of their degrees. Oxford and London: Parker & Co.
  5. Wood, Anthony à; Bliss, Philip (1813). Athenae Oxonienses : an exact history of all the writers and bishops who have had their education in the University of Oxford: to which are added the Fasti, or Annals of the said University. Fasti Oxonienses. Vol. III. London: F.C. and J. Rivington. p. 1016.
  6. Dobell 1903, p. xvi.
  7. Traherne 1908, Century III.
  8. Traherne, Thomas (1903). "Wonder". Representative Poetry Online. University of Toronto. Retrieved 22 July 2019.
  9. Dobell 1903, p. xxxiii.
  10. Dobell 1903, p. xxxix: citing MS 998 in the Lambeth Palace Library
  11. Birt, Richard (2006). "Who was Traherne?". Thomas Traherne Association website. Retrieved 29 November 2012.
  12. The National Archives, Kew, England; Prerogative Court of Canterbury and Related Probate Jurisdictions: Will Registers; Class PROB 11; Piece 346; Traherne, Thomas, Teddington, Middx., clk., 22 Oct 1674, No 119
  13. 1 2 3 4 5 6 "Thomas Traherne". Poetry Foundation. Retrieved 29 November 2012.
  14. Thomas Good, Worcester Cathedral Library, MS D. 64 quoted in Smith 2010
  15. Serious and Pathetical Contemplation, sig. A4v quoted in Smith 2010
  16. Select Meditations, 3.65 quoted in Smith 2010
  17. Ward & Waller 1911, p.  43.
  18. 1 2 3 4 5 6 Slayton, Mary E. (Summer 2005). "A Poet-Cleric's 'Little Booke' : a review of Buresh, David (editor). Waking Up in Heaven: A Contemporary Edition of Centuries of Meditations, by Thomas Traherne (Spencerville, Maryland: Hesed Press, 2002)" (PDF). Modern Age. 47 (3): 266–69. Archived from the original (PDF) on 2 May 2014.
  19. Schmidt, Richard H. (2002). Glorious Companions: Five Centuries of Anglican Spirituality. William. B. Eerdmans. p. 83. ISBN   9780802822222.
  20. Smith, Julia; Yeandle, Laetitia (7 November 1997). Felicity disguisd in feiry Words: Genesis and Exodus in a Newly Discovered Poem by Thomas Traherne. Times Literary Supplement. p. 17.
  21. Ezard, John (15 October 2002). "Mystic's 350-year-old treatise to be published". The Guardian. Retrieved 3 April 2018.
  22. Inge, Denise; MacFarlane, Calum Donald (2 June 2000). "Seeds of Eternity: A New Traherne Manuscript". The Times Literary Supplement: 14.
  23. Dodd, Elizabeth S. (2015). Boundless Innocence in Thomas Traherne's Poetic Theology. Routledge. p. vii. ISBN   9781317172932.
  24. Dobell 1903, p. xiii.
  25. Traherne, Vaughn & Norris 1905, p. 5.
  26. Hoyles, John (1971). The Waning of the Renaissance 1640–1740. Martinus Nijhoff. p. 75. doi:10.1007/978-94-010-3008-3_6.
  27. Johnston, Carol Ann (2010). "Heavenly Perspectives, Mirrors of Eternity". In Bloom, Harold (ed.). John Donne and the Metaphysical Poets. Blooms Literary Criticism. pp. 48, 70. ISBN   9781438134383.
  28. 1 2 3 4 Balakier, James J. (1991). "Thomas Traherne's Concept of Felicity, the "Highest Bliss," and the Higher States of Consciousness of Maharishi Mahesh Yogi's Vedic Science and Technology" (PDF). Modern Science and Vedic Science. Maharashi International University. 4 (2): 136–175.
  29. Jaeckle, Daniel P. (Winter 1987). "Traherne's Dialectic in "Shadows in the Water". South Central Review. 4 (4): 3–13. doi:10.2307/3189023. JSTOR   3189023.
  30. Traherne 1903.
  31. Traherne 1908, 3rd century, paragraphs 1-3.
  32. Beachcroft, T. O. (1930). "Traherne and the Cambridge Platonists". The Dublin Review. 186: 278–290.
  33. Marks, C. L. (December 1930). "Thomas Traherne and Cambridge Platonism". Proceedings of the Modern Language Association. 81 (7): 521–534. doi:10.2307/461208. JSTOR   461208. S2CID   163987927.
  34. Salter, K. W. (1965). Thomas Traherne: Mystic and Poet. New York: Barnes & Noble.
  35. Wade, Gladys I. (1946). Thomas Traherne: A Critical Biography. Princeton: University Press. pp. 232–233.
  36. Inge, Denise (2007). "Thomas Traherne and the Socinian Heresy in Commentaries of Heaven". Notes and Queries. Oxford University Press. 252 (4): 412–416. doi:10.1093/notesj/gjm206. ISSN   0029-3970.
  37. A Sober View of Dr Twisse, sect. XVI, in Ross, Jan (editor). The Works of Thomas Traherne: Volume I: Inducements to Retirednes, A Sober View of Dr Twisses his Considerations, Seeds of Eternity or the Nature of the Soul, The Kingdom of God., (Melton, Suffolk, UK: D.S.Brewer, 2005) p. 133.
  38. 1 2 Ward & Waller 1911, p.  142.
  39. 1 2 Inge, Denise (2004). "A Poet Comes Home: Thomas Traherne, Theologian in a New Century". Anglican Theological Review. 86 (2): 335–348.
  40. Traherne 1908, Century V, Meditation 10.
  41. Traherne 1908, 3.60:All things were well in their proper places, I alone was out of frame and had need to be mended. For all things were God's treasures in their proper places, and I was to be restored to God's Image. Whereupon you will not believe, how I was withdrawn from all endeavours of altering and mending outward things. They lay so well, methought, they could not be mended: but I must be mended to enjoy them.
  42. Traherne 2014, p. 158, The Apprehension.
  43. 1 2 Blevins, Jacob (2007). Re-Reading Thomas Traherne: A Collection of New Critical Essays. Vol. 325 of Medieval & Renaissance Texts & Studies. Phoenix: Arizona Center for Medieval and Renaissance Studies. ISBN   9780866983709.
  44. Matthew 19:14 "But Jesus said, Suffer little children, and forbid them not, to come unto me: for of such is the kingdom of heaven."
  45. Matthew 18:3 "Truly I tell you, unless you change and become like little children, you will never enter the kingdom of heaven."
  46. But note also 1 Corinthians 14:20 "Brothers and sisters, stop thinking like children. In regard to evil be infants, but in your thinking be adults."
  47. 1 2 "Biography of Thomas Traherne". Christian Classics Ethereal Library. (Calvin College).
  48. Clements, A. L. (1969). The Mystical Poetry of Thomas Traherne . Cambridge, MA: Harvard University Press. ISBN   9780674597501.
  49. "Thomas Traherne". American Academy of Poets. Retrieved 8 October 2013.
  50. Sherrington, Alison Janet (1977). Christian Nature Mysticism in the Poetry of Vaughan, Traherne, Hopkins, and Francis Thompson. Adelaide: University of Adelaide.
  51. Traherne 1908, 4.11. and 4.7.
  52. Traherne 1908, 4.13:A man that studies happiness must sit alone like a sparrow upon the house-top, and like a pelican in the wilderness. And the reason is because all men praise happiness and despise it
  53. Traherne 1908, 4.12.
  54. Traherne 1908, 4.2: He thought it a vain thing to see glorious principles lie buried in books, unless he did remove them into his understanding; and a vain thing to remove them unless he did revive them, and raise them up by continual exercise.
  55. Traherne 1908, 4.7:For example "I came into this world only that I might be happy. And whatsoever it cost me, I will be happy. A happiness there is, and it is my desire to enjoy it.
  56. The Encyclopedia of Christian Literature. Vol. 2. Scarecrow Press. 2010. p. 607. ISBN   9780810872837.
  57. Diocese of Oxford (Anglican). History of the Diocese: Calendar of Commemoration. Retrieved 14 January 2014.
  58. "The Calendar". The Church of England. Retrieved 8 April 2021.
  59. Wade, Gladys Irene (1944). Thomas Traherne. Princeton University Press. p. 99.
  60. Each Jubilant Chord
  61. Herefordshire Composers’ Workshop
  62. Bryceson Treharne
  63. Catalog of Copyright Entries. Library of Congress. Copyright Office. 1925. pp. 394–.
  64. Programme note to the first performance
  65. YouTube performance of the first (prose) setting
  66. Russell, John, "Gerald Finzi: An English Composer"; Boyd, C.M., "Gerald Finzi and the Solo Song". Tempo 33 (Autumn 1954): pp.9–19.
  68. Traherne Association
  69. [Section 1, "Shake off thy sloth", performed on YouTube
  70. Composer’s site
  71. List of works
  72. Sheet music and excerpt
  73. Composer’s site
  74. Composer’s site
  75. David Sawer Biography
  76. Estonian Music Information Service
  77. Performance on Nicovideo
  78. Review by Richard Bratby of a May 2015 performance
  79. Classical Music Forum
  80. Words and music at Issuu
  81. Traherne Association
  82. Classical Music Sales
  83. OUP score and audio file
  84. SoundCloud performance
  85. Composer's site
  86. A performance on YouTube
  87. The Australian Broadcasting Corporation recording of 1992 on YouTube
  88. Facebook
  89. Composer’s website
  90. Classical Music Sales
  91. Naxos recording on YouTube
  92. "Birtwistle: The Last Supper's libretto explored"
  93. A 20-second excerpt at the start of a video on the opera
  94. The Headless Way
  95. The track on YouTube
  96. World Catalogue
  97. The New Cambridge Bibliography of English Literature, Volume 1 (1974), column 1235
  98. Score with words in English and German

Works cited

Further reading