Herbert and Campion Flashcards

(73 cards)

1
Q

According to Augustine’s treatise De Musica, how does music affect the listener?

A

Music draws us ‘by the ears’ and allows contemplation of eternal truths, leading from ‘the corporeal to the incorporeal’.

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2
Q

What does the Note to Reader in Two Bookes of Ayres aim to do in his airs?

A

I have chiefly aimed to couple Words and Notes louingly together, which will be much for him to doe that hath not power ouer both.’

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3
Q

How does John Milton describe voice and verse in ‘At a Solemn Music’?

A

A: As ‘Sphere-born harmonious sisters.’

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4
Q

What analogy does Thomas Campion make between the world, music, and poetry?

A

A: ‘The world is made by symmetry and proportion’, comparable to music, which in turn is compared to poetry.

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5
Q

What does Quantitative rhythm focus on?

A

prosodic rhythm in terms of longs and shorts (vs accentual)

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5
Q

Campion aimed for a proportional relationship between metrical units harmonious proportions - what happened if this was not achieved?

A

‘nothing more offensive to the eare’

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6
Q

Why is English considered harder to set to music than French or Italian?

A

French and Italian naturally suit durational metre, while English prosody is less regular in that regard.

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7
Q

What is Trudell’s concept of ‘intermediation’?

A

A: Poetry is not confined to the page but can communicate through various written or performed media.

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8
Q

What does Herbert express in ‘The Thanksgiving’ about music?

A

which ‘My musick shall finde thee … And prove one God, one harmonie’

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9
Q

What warning does Augustine give about music appealing too much to bodily pleasure?

A

A: It may draw the soul away from proper contemplation of God.
‘delight is a kind of weight in the soul’

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10
Q

How does Milton critique cloaking the Gospel? (Reason of Church Government)

A

A: He argues that to cloak the Gospel suggests it is ‘naked, uncomely’ and the Church uses masks to hide God’s glory.

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11
Q

Jordan I on plainness

A

Must all be veiled, while he that reads, divines’ ‘Nor let them punish me with loss of rhyme,/ Who plainly say, My God, My King’

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12
Q

According to Augustine, why does ‘God does not count as thou dost’?

A

A: Suggesting a difference in human vs divine perspectives or valuations.

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13
Q

For what kind of emotions is music considered better suited?

A

A: For singular, rather than mixed or ambiguous emotions.

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14
Q

In ‘When to her lute,’ how is feeling conveyed through the art?

A

A: The emotional responsiveness of artist and audience animates or devastates the instrument and listener.

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15
Q

What musical technique ‘revives’ the song in ‘When to her lute’?

A

Melisma ‘revives’ (the stretching of a syllable over multiple notes) - Orpheus

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16
Q

What is notable about the repeated sighs in ‘When to her lute’?

A

A: She sighs three times, with four quaver rests, mirroring emotional expression.

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17
Q

How does the poem use mirroring in melody and text?

A

A: The melody same for ‘her/my sighs,’ in separate verses echoing the emotional state.

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18
Q

What is the difference between musica speculativa and musica practica?

A

A: Musica speculativa is fixed, perfect number-based music, while musica practica is time-bound and performed.

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19
Q

What is the ultimate message of ‘Tune thy Musicke’?

A

A: Emphasizing simplicity, inner truth, emotional and spiritual expression, and love as the ultimate devotion over outward show.

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20
Q

What does the line ‘And as her lute doth live or die / Let by her passion, so must I’ convey?

A

Imperative ‘must’
The speaker’s emotional and existential state is entirely dependent on the woman’s feelings, as expressed through her music.

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21
Q

What musical interval is used in ‘As any challenged echo clear’, and what does it symbolize?

A

A: A perfect 4th—often associated with reaching, longing, or devotional emotion.

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22
Q

How does the phrase ‘strings do break’ reflect musically and emotionally?

A

A: It drops a triad with a dotted rhythm; the bass echoes a falling motion, contrasting with the earlier rising octave in ‘doth in highest notes appear’, signalling a shift in emotional energy.

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23
Q

What is the dominant meter of the poem, and where does it deviate?

A

A: The poem is in iambic tetrameter, but it deviates with choriambs like ‘with her sighs’ and heavy stresses in ‘the strings do break’, emphasizing emotional rupture.

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24
What was the purpose of Renaissance ‘pathetic’ art in rhetorical terms?
It appealed to logos, ethos, and pathos to educate morally and guide the soul toward spiritual truth.
25
What is musical humanism, and what role does it play in Renaissance music?
ethical and emotional power—affecting humours, persuading emotions, central = text-setting
26
What texture characterizes Tune Thy Musicke, and what does it suggest?
A: Homophonic texture, suggesting simplicity and clarity of expression.
27
How is the phrase ‘Thy Sorrow’ musically treated, and to what effect?
A: Set to a minor third and drawn out over two semibreves, emphasizing emotional weight and grief.
28
What musical feature marks the final line of each stanza, and what mood does it create?
A: Chromaticism, suggesting restraint, pain, and longing.
29
What mode is Tune Thy Musicke composed in, and what is its emotional tone?
A: Dorian mode—grave, restrained, with distinct rises, falls, and expressive range.
30
What is notable about the last line of the first stanza ‘Sometimes of the poore the rich may borrow’?
A: It contains an epigrammatic twist and an agogic accent, breaking the accentual regularity for emphasis.
31
What do the lines "Let well-tuned words amaze / with harmony divine" in Now Winter Night’s Enlarge suggest? plus musical techniques
That beauty and moral harmony must coincide—well-tuned words reflect cosmic or divine order. agogic accent - slows line for weight plagal cadence - gentle, associated with sacred music
32
What does Puttenham say about cadences in verse?
A: “The cadence which falleth upon the last syllable of a verse is sweetest and most commendable,” slowing the line for reflective weight.
33
What is the effect of the final plagal cadence in Now Winter Night’s Enlarge?
A: It provides a gentle resolution, associated with sacred music.
34
What does Come, Let Us Sound emphasize through its structure and tone?
A: Communal musical worship moving from praise to redemption to eternal rest, mirroring salvation’s journey.
35
How does Come, Let Us Sound reflect musique mesurée and humanist ideals?
A: Through rigid measured verse, aligning syllabic length with musical rhythm, echoing Baïf’s Académie de Poésie et de Musique.
36
How does Campion link divine creation and music?
A: He calls God the “Author of number” who framed the world in harmony—invoking Pythagorean and Platonic traditions.
37
Q: What theological idea is expressed in “One in all, and all still in one abiding, / Both Father and Son”? (Come let us sound)
A: Trinitarian unity: reconciling divine complexity with musical harmony.
38
Q: How does Herbert connect music and Christ’s Passion in 'Easter'?
A: Christ’s cross is imagined as an instrument, with Jesus as perfect music; the lute “taught all wood to resound his name.” Medieval trad. Christ on instrument of torture
39
Q: In Herbert’s 'Easter', what do the heart and lute symbolize when they “twist a song”?
A: Heart = feeling, Lute = artistic skill; together they form unified praise, representing spiritual and aesthetic harmony through the Holy spirit
40
What does Henry Peacham say about music’s role in life (1622)?
A: Music is a “fountaine” of human joy and divine glorification.
41
In Man how is man placed in harmony with nature’s rhythms
when at night in bed 'Musick and light attend our head’
42
Discuss man's privileged position in music vs nature in 'Man's Medley
‘Yet if we rightly measure, / Mans joy and pleasure / Rather thereafter, than in present, is.
43
How does Herbert's Deniall reflect spiritual and musical disorder?
A: The soul is described as "untuned, unstrung," with imagery of a dislocated body and absent God. The final couplet's perfect rhyme ("chime/rhyme") symbolizes restored harmony with God.
44
What does the line “And tune my breath to groans” in The Affliction I reflect, according to Clarissa Chenovick?
A: It reflects a therapeutic alignment of body and soul—physically through humoral balance, and spiritually through repentance.
45
How does Herbert critique poetic artifice in Jordan II?
A: He rejects elaborate metaphors and decorative language: “quaint words,” “trim invention,” and “curling metaphors” obscure plain spiritual intent.
46
What classical ideal of divine order underpins Herbert’s poetic philosophy?
“God made the world by number, measure, and weight” (Puttenham; Solomon 11:17), linking poetry to divine harmony.
47
Solomon 11:17
Thou hast ordered all things in measure, number and weight
48
How does Herbert combine visual and aural elements in his poetry?
A: He calls his poetry “My musick,” engaging both the ear and eye—especially through shaped or pattern poems.
49
What did Ben Jonson criticise
dismissed pattern poetry as "a pair of scissors and a comb in verse"
50
How does Easter Wings use shape to express theology?
A: Narrow lines represent spiritual contraction (“Most poore”), while wider lines symbolize resurrection and hope: “Then shall the fall further the flight in me.”
51
What is technopaegnia and how does Herbert adapt it?
A: A Greek tradition of shape poetry. Herbert revives it for spiritual, not decorative, ends
52
According to Puttenham, what limits English from adopting Greek metrical forms?
Its reliance on monosyllables makes it poorly suited for 'the fine invented feet' of classical verse.
53
How does Herbert adapt Puttenham’s shaped verse tradition?
A: While Puttenham links shaped verse to courtly wit and romantic tokens, Herbert extends it into a sacred realm for spiritual expression.
54
What does Puttenham say about geometric verse?
A: It shows "more art" by enabling brevity and subtlety by constraining the poet within visual form.
55
How does The Altar by Herbert use form symbolically?
A: The poem’s shape mimics a physical altar; phrases like "this frame," "these stones," and "this ALTAR" collapse form, body, and devotion into a unified offering.
56
How does Sidney in The Defence of Poesy describe poetry’s connection to music?
A: Poetry is made of "words set in delightful proportion" and often "accompanied with or prepared for" music—showing the harmony between the two arts.
57
What does Herbert write in The Flower about understanding God’s word?
A: “Thy word is all, if we could spell” — suggesting divine meaning is embedded and must be patiently discovered.
58
How does Herbert embed Colossians 3:3 in his poetry?
A: The line “My life is hid in him that is my treasure” is hidden diagonally, encouraging readers to uncover spiritual truth through careful reading.
59
How does Simon Jackson describe the Psalms in George Herbert’s work?
A: As “a plain, popular song in which all can join,” transcending boundaries and enabling communal spiritual expression.
60
what did Donne say of the Sidneys’ translation of the Psalms?
A: He praised them for teaching readers “why” and “how” to sing—recognizing the didactic and devotional power of their paraphrase.
61
What is the Sternhold and Hopkins Psalter and its influence?
A: A metrical psalter from Edward VI’s court, finalized in 1562; it was central to English congregational singing despite literary criticism.
62
How was the Sternhold-Hopkins Psalter received by literary figures?
A: It was popular but mocked for stylistic crudity by figures like Donne, Dryden, and Pope, prompting the creation of more refined metrical paraphrases.
63
What was the goal of the Sidney Psalter?
A: To elevate psalm translation into varied, sophisticated, and artistically accomplished poetic forms.
64
How did singing psalms act as a social leveller in early modern England?
A: It allowed people of all classes to join in shared worship through common musical and textual forms, fostering communal identity and access to devotion.
65
How does the final stanza of Herbert’s The 23 Psalme express spiritual continuity? A: “Surely thy sweet and wondrous love / Shall measure all my dayes”
reflects enduring divine love and praise, grounded in temporal language rather than abstract eternity. CONTRAST ORIGINAL
66
Final line of The 23 Psalme - And as it never shall remove, So neither shall my praise
negative terms - eternity is hard to describe self-contained subject–verb–object (ll.1-2) VS awkard syntax
67
Campion and framing
He claimed that short, skillfully 'framed' ayres are like epigrams—brief yet rich in meaning.
68
What characterizes Mary Sidney’s Psalm 51 translation?
A: It emphasizes boundless grace and mercy: “O Lord, whose grace no limits comprehend;/Sweet Lord, whose mercies stand from measure free’
69
What is meant by "Low Style with High Critique" in Herbert’s psalmic poetry?
A: He mimics the simplicity of old psalms to emphasize sincerity, but critiques false naturalness—showing that even humble style can be a sophisticated rhetorical tool.
70
How does Herbert reflect A.O. Lovejoy’s idea of “naturalness”?
A: Herbert’s poems appear artless, yet are carefully constructed, showing that true “naturalness” may be an effect of refined poetic design.
71
What does Izaak Walton say about Herbert’s use of music and prayer?
A: Walton observed that Herbert would “sing” when he should “pray,” indicating the seamless integration of music and devotion in Herbert’s life and poetry.
72
What proportion of Herbert’s The Temple concerns music directly?
A: About one quarter of the poems directly engage with music, showing its centrality to his spiritual and poetic vision.