J. Henry Shorthouse, the Author of John Inglesant: With Reference to T. S. Eliot and C. G. JungUniversal-Publishers, 2003 - 328 pages When J. Henry Shorthouse (1834-1903) published John Inglesant in 1881, he contributed a unique synthesis of Anglo-Catholic sensibilities to the enduring legacy of the Oxford Movement. Although his "philosophical romance" has been acclaimed "the greatest Anglo-Catholic novel in English literature" and "the one English novel that speaks immediately to human intuition without regard to the reader's own faith or philosophy", his most enduring contributions are the "religion of John Inglesant", an Anglo-Catholic synthesis of obedience and freedom, faith and reason, and the sacramental vision of "the myth of Little Gidding". Afflicted with a lifelong stammer, "the author of John Inglesant" proved himself a master of cadenced rhythms and "enspiritualised" prose in quest of "the great musical novel". Delineating parallels between sixteenth-century and Victorian England, Shorthouse integrated Quietism with Platonism into a religious aesthetic, a sacramental vision of "the Divine Principle of the Platonic Christ". Studied chronologically, Shorthouse's transition from Quaker to "Broad Church Sacramentalist" provides informing comparison with T. S. Eliot's conversion from Unitarian to Anglo-Catholic, as his myth of Little Gidding informs the historical imagination of Eliot's Christian poetry and dramas. The religious and developmental nature of the work of both artists affords analogies with C. G. Jung's psychology of Individuation. |
Contents
3 | |
32 | |
The Early and Middle Essays 71109 | 71 |
John Inglesant in England 110154 | 110 |
John Inglesant In Italy 155189 | 155 |
Shorthouse and his Public 190227 | 190 |
What We Shall Be Constance Eve | 228 |
Where Three Dreams Cross 266291 | 266 |
Bibliography 292320 | 292 |
Common terms and phrases
Analytical Psychology Anglican Anglo-Catholic anima archetypal artistic asserts audience author of John Birmingham Blanche C. G. Jung Catholic characters Christ Christian Church of England collective unconscious consciousness Countess Eve defined Divine dream Edmund Gosse English Essay Society experience express Faber and Faber Fiction Four Quartets Friends Henry Shorthouse historical human humour idea imagination Individual Talent inner intuitive J. H. Shorthouse Jesuit John Inglesant John Inglesant's Joseph Henry Shorthouse Jung's Jungian Lady Falaise Letter literary criticism literature Little Gidding Little Schoolmaster Mark living LLLR London Mary Collet metaphor mind modern mystery mystical myth narrative nature never Nicholas Ferrar novel Oxford Movement philosophical romance poet poetry psychic psychological Quaker quest readers realises religion religious Review Rome sacramental Sarah Shorthouse Selected Essays shadow Shorthouse's Sir Percival spiritual story symbol T. S. Eliot theory thought tradition truth University Press Victorian vision voice Wordsworth writing York
Popular passages
Page 74 - Is lightened ; that serene and blessed mood In which the affections gently lead us on, Until the breath of this corporeal frame, And even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul; While with an eye made quiet by the power Of harmony and the deep power of joy, We see into the life of things.
Page 79 - By thine Agony and bloody Sweat ; by thy Cross and Passion ; by thy precious Death and Burial ; by thy glorious Resurrection and Ascension ; and by the coming of the Holy Ghost, Good Lord, deliver us.
Page 276 - What happens is a continual surrender of himself as he is at the moment to something which is more valuable. The progress of an artist is a continual self-sacrifice, a continual extinction of personality.
Page 274 - The dreamcrossed twilight between birth and dying (Bless me father) though I do not wish to wish these things From the wide window towards the granite shore The white sails still fly seaward, seaward flying Unbroken wings And the lost heart stiffens and rejoices In the lost lilac and the lost sea voices...
Page 268 - Time past and time future Allow but a little consciousness. To be conscious is not to be in time But only in time can the moment in the rose-garden, The moment in the arbour where the rain beat, The moment in the draughty church at smokefall Be remembered; involved with past and future. Only through time time is conquered.
Page 19 - ... the historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of the literature of Europe from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order.
Page 182 - And what the dead had no speech for, when living, They can tell you, being dead: the communication Of the dead is tongued with fire beyond the language of the living.
Page 9 - It may partly or exclusively operate upon the experience of the man himself; but, the more perfect the artist, the more completely separate in him will be the man who suffers and the mind which creates; the more perfectly will the mind digest and transmute the passions which are its material.