Jesse Sharpe PhD thesis - Research@StAndrews:FullText ...

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‘Looke Downe to Heaven’ 219 fact, in the next stanza this image is expanded as we are told that ‘Every morne’ (25) a ‘briske Cherub something sips’ (26) from the river, and that the drink of milk for breakfast sates him through the day. The use of the imagery of liquid, milk, the Milky Way, and breasts cannot help but bring erotic imagery to mind. Robert Herrick even has an epigram that is erotic and uses the same imagery. Herrick’s ‘Upon Julia’s breasts’ (H-230) reads: DIsplay thy breasts, my Julia, there let me Behold that circummortall purity: Betweene whose glories, there my lips Ile lay, Ravisht, in that faire Via Lactea. 34 The breasts and their association with the heavenly stars clearly had an erotic connection, so with Magdalene’s tears becoming heavenly milk in the ‘bosome’ of heaven, we see the poet trying to also move our minds from the fallness of the sinful prostitute to a redeemed woman whose eyes weep tears that become mother’s milk, and transcend the body of ‘The Weeper’. Her eyes and breasts have been transformed. Her sight and her works are made holy as they rise from the earth in which they have been trapped, and from here, we leave terra firma, not to return to a true earth until the end of the poem. It is the final three stanzas that create a conversation between the tears and a character that may be the author or reader. The discussion begins with Say watry Brothers Yee simpering sons of those faire eyes, Your fertile Mothers. 34 J. Max Patrick (ed.). The Complete Poetry of Robert Herrick (New York, 1963).
‘Looke Downe to Heaven’ 220 What hath our world that can entice You to be borne? what is’t can borrow You from her eyes swolne wombes of sorrow. (121-6) The enquiry begins with a desire to find out why these tears, which have been described in such lavish and even gaudy terms, have their being. However, we aren’t given an answer. As the next stanza shows, the questioning of the tears continues with no place for response. Whither away so fast? O whither? for the sluttish Earth Your sweetnesse cannot tast Nor does the dust deserve your Birth. Whither hast ye then? o say Why yee trip so fast away? (127-132) The questions mount quickly, and we see mentions of the real earth again. It is a ‘sluttish Earth’. While the idealised eyes can be pure and yet ‘swolne wombes’, the earth, the very real ‘dust’, is dirty and promiscuous. This could be a reminder of who is crying the tears, but it is most certainly an argumentative stance that is taken in regards to the heavenly realms in which this devotion seems to be taking place, a world of neo-platonic existence that would be tainted by true flesh, and the actual biblical event of a prostitute crying over a holy man’s feet, and then using her hair to wash the dirt off of him. 35 And in the final stanza, we get the tears’ response to the questions, and the response does not point back to 35 Luke 7.37-8.
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‘AND THE WORD WAS MADE FLESH’:
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i ABSTRACT In using the doctrine of
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iii ACKNOWLEDGEMENTS I am deeply in
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v A NOTE ON THE TEXT In line with c
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Introduction 2 the nation reaches t
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Introduction 8 And so have we here
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Herbert Discussing the Word 128 inf
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Page 251 and 252: Postscript 244 POSTSCRIPT The parad
Page 253 and 254: Bibliography 246 BIBLIOGRAPHY Abrah
Page 255 and 256: Bibliography 248 Bush, Douglas. Eng
Page 257 and 258: Bibliography 250 Creeds of the Chur
Page 259 and 260: Bibliography 252 ----. George R. Po
Page 261 and 262: Bibliography 254 Fish, Stanley. The
Page 263 and 264: Bibliography 256 ----. ‘Fear of
Page 265 and 266: Bibliography 258 ----. ‘Altering
Page 267 and 268: Bibliography 260 Kessner, Carole.
Page 269 and 270: Bibliography 262 Liew, Warren M.
Page 271 and 272: Bibliography 264 McGrath, Alister E
Page 273 and 274: Bibliography 266 Meath, Gerard. ‘
Page 275 and 276: Bibliography 268 Netzley, Ryan. ‘
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Bibliography 270 Richards, Bernard.
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Bibliography 272 Schoenfeldt, Micha
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Bibliography 274 Siegfried, B. R.
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Bibliography 276 Tuve, Rosemond. El
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Bibliography 278 ----. ‘“All Th
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