Eschatological Alchemy in Henry Vaughan and Andrew Marvell
Eschatological Alchemy in Henry Vaughan and Andrew Marvell
复制标题
亨利·沃恩和安德鲁·马维尔的末世炼金术
DOI：
10.1080/0268117x.2020.1746925
复制
发表时间：
2020
期刊：
影响因子：
--
通讯作者：
Takashi Yoshinaka
中科院分区：
文献类型：
--
作者：
Takashi Yoshinaka
本文评价了末世论对托马斯·沃恩、亨利·沃恩和安德鲁·马维尔的炼金术意象的影响，他们的作品创作于17世纪中叶的英国末世论时期。在沃恩兄弟的作品中，末世炼金术的意象不仅反映了国家危机的当代政治局势，也揭示了他们反长老会的信仰，即除了人类之外的生物也可以得救。马维尔在费尔法克斯勋爵（Lord Fairfax）的长老会家庭中写作，以一种更遥远、更无党派的方式运用了幻想和炼金术的意象。他用玻璃化的形象把费尔法克斯家的女儿介绍给《阿普尔顿之家》，以安慰他痛苦的雇主，并鼓励他创造自己的黄金时代。通过收集间接证据，论文进一步表明，费尔法克斯的诗人在安排他的老朋友白金汉二世公爵乔治·维利尔斯和他雇主的女儿玛丽的婚姻时，自己承担了积极的责任。
This paper assesses the influence of eschatology on the alchemical imagery of Thomas Vaughan, Henry Vaughan and Andrew Marvell, who wrote their works in an apocalyptic period in mid-seventeenth-century England. In the works of the Vaughan brothers, the imagery of eschatological alchemy not only reflects the contemporary political situation of national crisis but also reveals their anti-Presbyterian belief that creatures other than mankind can be saved. Writing in the Presbyterian household of Lord Fairfax, Marvell employs the chiliastic and alchemical imagery in a much more distanced, nonpartisan way. He uses the image of vitrification to introduce the Fairfaxes’ daughter into “Upon Appleton House” to comfort his afflicted employer, and to encourage him to create his private golden age. By collecting circumstantial evidence, the paper further suggests the possibility that Fairfax’s poet took upon himself a positive responsibility for arranging the marriage between his old friend, George Villiers, Second Duke of Buckingham and his employer’s daughter, Mary.