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2 results

  • Chapter 10 - Tractarianism

  • from Part III - Religious, Theological, and Philosophical Contexts
  • Edited by Martin Dubois, University of Durham
  • Book:
    Gerard Manley Hopkins in Context
    Published online:
    16 January 2025
    Print publication:
    16 January 2025, pp 87-94

  • Summary

    This chapter reviews the influence the Tractarian Movement had on Hopkins. It provides an overview both of the ecclesiastical discussions and disputes which shaped Hopkins as a young man, and of the Tractarian literary and theological environment into which we can place his poetic output. It discusses the religious controversies Hopkins encountered in his undergraduate years, particularly around the perceived ‘Romanism’ of the Tractarian Movement. It then considers the themes of reserve and sacramentality characteristic of Tractarian poetry before turning once again to theology. Hopkins’s encounter with patristic ideas, it is suggested, proved deeply formative. The chapter ends with a brief reflection on how the Tractarian theology of participation and presence is apparent throughout Hopkins’s mature work.

  • 12 - Hegel's aesthetics and their influence

  • from III - Critical movements and patterns of influence
  • Edited by M. A. R. Habib, Rutgers University, New Jersey
  • Book:
    The Cambridge History of Literary Criticism
    Published online:
    05 February 2013
    Print publication:
    07 February 2013, pp 251-273

  • Summary

    The revolutionary philosophy of Kant and Hegel remained largely untranslated until mid-century, and much of the writings of the German Romantics, including Novalis, the Schlegels and Schleiermacher, remained so until the twentieth century. Perhaps the most unlikely German Romantic influence on critical thought in the English-speaking world was that of Johann Gottfried Herder. The most original piece of religio-poetic theory of the first half of the century, however, came from the best-selling poet of the century, John Keble. Poetry, for Keble, was the product of tension or repression, issuing in disguised or ironic utterance. Romantic historicization was never an absolute process, nor was it commonly a path to single grand-narrative interpretations. It might have delighted at least those Romantics addicted to the Middle Ages to think that it was more like a return to the polysemous narratives of that period.