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In 1962 she joined a religious Order known as the Servites or Servants of Mary and is a facilitator of the community’s ongoing spiritual growth program. As part of her work as vocation director for the Archdiocese of Omaha, she began leading retreats for high school and college-age students in 1973. Several years later she started to lead ...
The poem well illustrates Dryden's lifelong commitment to peace and political stability. [citation needed] It also shows that Dryden was looking for a royal patron. [citation needed] The name of the poem Astraea Redux is defined in The Nuttall Encyclopaedia as "an era which piques itself on the return of the reign of justice to the earth."
John Wilmot, 2nd Earl of Rochester (1 April 1647 – 26 July 1680 ) [4] was an English poet and courtier of King Charles II's Restoration court, who reacted against the "spiritual authoritarianism" of the Puritan era. [3]
The Restoration was an age of poetry. Not only was poetry the most popular form of literature, but it was also the most significant form of literature, as poems affected political events and immediately reflected the times. It was, to its own people, an age dominated only by the king, and not by any single genius.
The poem's tripartite division encompasses a contextual scene-setting, a developing theorisation of the significance of his experience of the landscape, and a final confirmatory address to the implied listener. Lines 1–49. Revisiting the natural beauty of the Wye after five years fills the poet with a sense of "tranquil restoration".
Dryden was born in the village rectory of Aldwincle near Thrapston in Northamptonshire, where his maternal grandfather was the rector of All Saints.He was the eldest of fourteen children born to Erasmus Dryden and wife Mary Pickering, paternal grandson of Sir Erasmus Dryden, 1st Barone t (1553–1632), and wife Frances Wilkes, Puritan landowning gentry who supported the Puritan cause and ...
Hirsch [46] says that the poem depicts how the "longing for Eternity does not belong to the special province of the Christian imagination but is grounded in nature itself--in the Sunflower as well as in Man". However, Hirsch sees a "spiritual balance" in the poem - "to seek the golden clime beyond is also to follow the golden sun here and now."
The poem's "band of rivals" cavorting about the "steep stone gennels" exists in an aesthetic and spiritual torpor—unable to "conceive a god whose temper-tantrums are moral/ And not to be pacified by a clever line/ Or a good lay…". Lacking inner conflict, these youth will never "separate" or produce a new kind of art.