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Christopher Smart c. 1745
Christopher Smart c. 1745

Jubilate Agno (Latin, "Rejoice in the Lamb") is a religious poem by Christopher Smart, and was written between 1759 and 1763, during Smart's confinement for insanity in St. Christopher Smart (11 April 1722 &ndash 21 May 1771 otherwise known as "Kit Smart" "Kitty Smart" and "Jack Smart" was an English poet Luke's Hospital, Bethnal Green, London. Bethnal Green is an area in the London Borough of Tower Hamlets, in the East End of London. London ( ˈlʌndən is the capital and largest urban area in the United Kingdom. The poem was first published in 1939, under the title Rejoice in the Lamb: A Song from Bedlam, edited by W. F. Stead from Smart's manuscript, which Stead had discovered in a private library.

Contents

Background

A "Commission of Lunacy" was taken out against Christopher Smart, and he was admitted in St. Luke's Hospital on May 6, 1757 as a "Curable Patient" by his wife Anna's step-father John Newbery. St Luke's Hospital for Lunatics was founded in London in 1751 for the treatment of incurable Lunatics It was the second public institution in London created to look [1] It is possible that Christopher was confined by Newbery over old debts and a poor relationship between the two. [2] Regardless, there is evidence that an incident took place in St. James’s Park in which he "routed all the company" (Jubilate Agno B89) and this incident may have provoked his being locked away. [3]

During this time, Christopher was left alone, except for his cat Jeoffrey and the occasional gawker. [4] It is very possible that he felt "homeless" during this time and surely felt that he was in a "limbo… between public and private space". [5] He had nothing else but to turn inwards and devote himself to God and his poetry. [6] No specifics are known about Christopher Smart's day to day activities, and he was released from the asylum on January 30, 1763, but his poem was not to be published until 1939. [7]

The Manuscript

"Let" side of the manuscript
"Let" side of the manuscript

Jubilate Agno is divided into four fragments labeled "A", "B", "C", and "D". The whole work consists of over 1,200 lines: all the lines in some sections begin with the word Let; those in other sections begin with For. Those in the series beginning with the word "Let," associated names of human beings, mainly biblical, with various natural objects; and those beginning with the word "For" are a series of aphoristic verses. [8]

Editing the work in 1950, W. H. Bond found that, "The poem was intended as a responsive reading; and that is why the Let and For sections [of the manuscript] are physically distinct while corresponding verse for verse. Smart's plan was to arrange the Let and For passages opposite one another antiphonally, following a practice of biblical Hebrew poetry, and that the present MS. represents less than half of Smart's original plan for the poem. "[9]

Although the original manuscript divided the "Let" and "For" verses onto opposing sides of the manuscript, Karina Williams claims that "Dr W. H. Bond then discovered that some of the LET and FOR folios were numbered and dated concurrently, and that these chronologically parallel texts were further connected by verbal links. "[10] Reinforcing this view of a parallel between the two sides is the fact that Christopher Smart's influence, Robert Lowth and his Lectures on the Sacred Poetry of the Hebrews, spends a large portion of his work exploring the :parallelism" found in "Hebrew verse. "[11] In Karina Williamson's 1980 edition, she made an editorial decision and combined the "Let" and the "For" and then justified this combining the two sides to follow each other based on Bond's claims. [10]

Using Williamson's combining of the two halves as a model, Guest claims that the "For" verses explore religion with a "personal tone" and the "Let" are "unambiguous" and deal with public matters. [12] Jeanne Walker goes further than Guest and reinforced Bond's claims that the "Let " and "For" sections are reminiscent of the Hebrew tradition when she states that the purpose of the poems, as with the Hebrew poems, is to "iterate both present and future simultaneously, that is, they redeem time. "[13]

In Jubilate Agno, Christopher describes his writing as creating "impressions". [14] To accomplish this task, he incorporated puns and onomonpoeia in order to emphasize the theological significance of his poetic language. [15] Jubilate Agno reflects an abandonment of traditional poetic structures in order to explore complex religious thought. [16] His "Let" verses join creation together as he seemingly writes his own version of Biblical poetry. [17] Christopher, in Jubilate Agno, plays on words and the meaning behind words in order to participate with the divine that exists within language. [18] This is most exemplified when the poet says, "For I pray the Lord Jesus to translate my MAGNIFICAT into verse and represent it" (B43), where the image of the Magnificat connects Christopher Smart to [[[Mary (mother of Jesus)|Mary]] and her praise of God before giving birth to Jesus, the future savior. The Magnificat (also known as the Song of Mary) is a Canticle frequently sung (or spoken liturgically in Christian church services [19]

Ark

"Fragment A" of Jubilate Agno begins by combining the Patriarchs with animals. The Patriarchs (also known as the Avot in Hebrew) according to the Judeo-Christian Old Testament are Abraham, his Son [20] The beginning lines of the poem state the function of this action when they read, "Let Noah and his company approach the throne of Grace, and do homage to the Ark of their Salvation" (A4). These two groups are combined together in order to combine the images of "Noah's Ark" and the "Ark of Salvation" in a manner that is similar to a "Baptismal Service". Noah's Ark, according to the Book of Genesis (chapters 6-9 is the story of a large vessel built at God 's command to save Noah, his family In Christianity, baptism ( Greek, "immersing" "performing Ablutions " is the ritual act with the use of water by which one is admitted [20]

For many of the pairs there is a logical or symbolic consistency. [20] Figures, such as Abraham, Balaam, and Daniel are paired with animals mentioned directly in relationship with each other in their Biblical accounts, while others, like Isaac, are slightly more obscure are paired with animals that were involved in an important aspect of their life. Abraham ( Ashkenazi   Avrohom or Avruhom; ابراهيم, {{Unicode|Ibrāhīm}}; Ge'ez: Balaam ( Hebrew: בִּלְעָם, Standard Bilʻam Tiberian Bilʻām) is a Prophet Daniel (; Persian: دانيال, Dâniyal or Danial, also Dani, داني; Arabic: دانيال [20] Biblical priests follow the Patriarchs, and their animal companions are the :unclean: animals from Deuteronomy. Deuteronomy (Greek deuteronomion, Δευτερονόμιον "second law" is the fifth book of the Hebrew Bible and of the Old Testament [20]

The pairing slowly breaks down when later figures, such as political leaders, enter into the poem. [21] Along with this transformation of pairing comes insects, legendary creatures, and finally seven birds at the end of the fragment. [21] The next section, "Fragment B" returns to the various animal pairs and, in a mixture of Old and New Testament figures, begins to rely on local animals or animals that pun off of aspects of the figure's life. [19] One such example is a pun on Salmon and Salome as a pair for John the Baptist. SALOME (pronounced in English using the French sah-loh-may is the Open Source Integration Platform for Numerical Simulation Saint John the Baptist ( heb. Jochanan ben Sacharja, arab. يحيى Yaḥyā or يوحنا Yūḥanna, aram. [19] This fish image is further expanded to play off the idea that the Apostles were originally "fishermen" along with being "fishers of men". The Twelve Apostles (Greek apostolos, "someone sent out" e [19] This pairs continue to go on until the poem turns to creatures from Pliny at B245. [22]

The pairing stops at B295 when the "For" verses become the only type remaining in the fragment. [23] However, the pairing resumes in "Fragment C" when Biblical names from the Book of Ezra and the Book of Nehemiah are combined with various plants and herbs. The Book of Ezra is a book of the Bible in the Old Testament and Hebrew Tanakh. The Book of Nehemiah is a book of the Hebrew Bible, historically regarded as a continuation of the Book of Ezra, and is sometimes called the second book [24] The last section, "Fragment D", relies on personal friends and those known by Christopher Smart to be paired with various stones, gems, minerals and a few herbs. [25]

Science

The poem contains many references to the scientific works of John Locke and Issac Newton. John Locke (29 August 1632 – 28 October 1704 was an English Philosopher. Sir Isaac Newton, FRS (ˈnjuːtən 4 January 1643 31 March 1727) Biography Early years See also Isaac Newton's early life and achievements [26] However, some have claimed that Christopher Smart is not involved with science or care about scientific principles because he relies on mythical creatures such as the "Leucrocuta" that come from works like those of Pliny the Elder. Gaius or Caius Plinius Secundus, ( AD 23 – August 25, AD 79 better known as Pliny the Elder, was an ancient Author [27] Regardless, Jubilate Agno criticizes his contemporary scientific theories, saying "Newton is ignorant for if a man consult not the WORD how should he understand the WORK?"(B220), and establishes his own natural philosophy in which he reinforces God's presence in the universe. For the current in the 19th century German idealism see Naturphilosophie Natural philosophy or the philosophy of nature (from [26]

The "new science"[26] that rewrites Newton's laws of motion to include the divine (B159-B168)[28]:

For the grosser the particles the nearer to the sink, and the nearer to purity, the quicker the gravitation. Newton's laws of motion are three Physical laws which provide relationships between the Forces acting on a body and the motion of the
For MATTER is the dust of the Earth, every atom of which is the life.
For MOTION is the quality of life direct, and that which hath not motion, is resistance.
For Resistance is not of GOD, but he-hath built his works upon it.
For the Centripetal and Centrifugal forces are GOD SUSTAINING and DIRECTING.
For Elasticity is the temper of matter to recover its place with vehemence.
For Attraction is the earning of parts, which have a similitude in the life.
For the Life of God is in the Loadstone, and there is a magnet, which pointeth due EAST.
For the Glory of God is always in the East, but cannot be seen for the cloud of the crucifixion.
For due East is the way to Paradise, which man knoweth not by reason of his fall.

The problems with Newtonian physics is, as Harriet Guest clains, "it is not based on the principles of revelation: it builds up general notions or theories from analyses of particular instances, rather than attempting to understand each instance through perceiving its relation to the whole revealed to faith. "[29] It is possible that Christopher Smart was influenced by John Hutchinson, Moses Principia being his major work on the subject, and it is Hutchinson that inspired Christopher to turn against Newtonian science as lacking a proper relationship with the divine. John Hutchinson may refer to John Hutchinson (Colonel (1615&ndash1664 leader in the 17th century Puritan revolt in Britain John Hutchinson [30] However, the poem's "new science" comes to an abrupt stop "as though," according to Curry, "[Christopher Smart] loses interest in it for a while. "[31]

Jeoffry

"For" side of the manuscript
"For" side of the manuscript

The poem is chiefly remembered today - especially among cat lovers - for the 74-line section wherein Smart extols the many virtues and habits of his cat, Jeoffry. WikipediaManual of Style (spelling, articles should conform to one overall spelling style of English typically the one most linked to the article topic (if it is geographic [32] To this Neil Curry remarks, "They are lines that most people first meet outside the context of the poem as a whole, as they are probably the most anthologized extract in our literature. "[33] Furthermore, Jeoffrey himself is the "most famous cat in the whole history of English literature. "[34]

Christopher Smart is fond of his cat and praises his cat's relationship with God when he says (B695-B768):

"For I will consider my Cat Jeoffry.
For he is the servant of the Living God duly and daily serving him.
For at the first glance of the glory of God in the East he worships in his Way.
For this is done by wreathing his body seven times round with elegant quickness.
For then he leaps up to catch the musk, which is the blessing of God upon his prayer. . .
For when his day's work is done his business more properly begins.
For he keeps the Lord's watch in the night against the adversary.
For he counteracts the Devil, who is death, by brisking about the life. . .
For he is the cleanest in the use of his forepaws of any quadruped.
For the dexterity of his defence is an instance of the love of God to him exceedingly.
For he is the quickest to his mark of any creature.
For he is tenacious of his point.
For he is a mixture of gravity and waggery.
For he knows that God is his Saviour.
For there is nothing sweeter than his peace when at rest.
For there is nothing brisker than his life when in motion. . . .
For God has blessed him in the variety of his movements.
For, tho he cannot fly, he is an excellent clamberer.
For his motions upon the face of the earth are more than any other quadrupede.
For he can tread to all the measures upon the musick
For he can swim for life.
For he can creep. "

His section of Jeoffrey is just part of his larger desire to give a "voice" to nature, and Christopher believes that nature, like his cat, is always praising God but needs a poet in order to bring out that voice. [35] As such, the themes of animals and language are merged in Jubilate Agno, and Jeoffrey is transformed into a manifestation of the Ars Poetica tradition. [36]

Critical interpretation

Many critics have focused on the unique language of Jubilate Agno. Christopher Smart's constant emphasis on the force of poetry in the poem takes on the qualities of the Ars Poetica tradition. Ars Poetica is a term meaning "The Art of Poetry" or "On the Nature of Poetry" [37] As such, Christopher is attempting to develop a poetic language that will connect him to the "one true, eternal poem" of God. [38] This poetic language connects Christopher to Orpheus and David, but also relates him to Adam's "onomathetic" tradition, or the idea that names hold significant weight in the universe and that Adam was able to join in with creation by naming objects. Orpheus ( Greek: Ὀρφεύς ˈɔrfiəs ( OHR-fee-uhs) or /ˈɔrfjuːs/ ( OHR'-fews) in English is a figure from Greek mythology born in David, Arabic: داوود or داود dawud, "beloved" was the second king of the united Kingdom of Israel according to the Hebrew Bible [39]

However, many critics have focused on the possible sexual images present in Jubilate Agno. The image of "horns" inJubilate Agnois commonly viewed as a sexual image. [40] Easton puts particular emphasis on the image of horns as a phallic image and contends that there are masculine and feminine horns throughout Christopher's poem. [41] Hawes picks up this theme and goes on to claims that the poem shows "that [Christopher Smart] had been ‘feminized’ as a cuckold. "[42] In response to this possible cuckolding, Jubilate Agno predicts a misogynistic future while simultaneously undermining this effort with his constant associations to female creation. [43]

Jubilate Agno in music

The text of Jubilate Agno is the source for Rejoice in the Lamb, a festival cantata composed by Benjamin Britten in 1943 for four soloists, SATB choir, and organ. Rejoice in the Lamb ( Op. 30 is a festival Cantata for four soloists SATB Choir, and organ composed by Benjamin Britten A cantata (derived from the Italian word 'cantare' meaning 'to sing' is a vocal composition with an instrumental Accompaniment and often Edward Benjamin Britten Baron Britten, OM CH (22 November 1913 – 4 December 1976 was an English Composer, conductor, The cantata was commissioned by Rev. Canon Walter Hussey for the celebration of the fiftieth anniversary of the consecration of St Matthew's, Northampton. Walter Hussey ( May 15, 1909 – 1985 was an Anglican Clergyman who had a great fondness for The arts, commissioning a number of musical This article is about Northampton in England for other places of the same name see Northampton (disambiguation Northampton ( is a large Market

Notes

  1. ^ Sherbo p. 112
  2. ^ Mounsey p. 181
  3. ^ Mounsey p. 200
  4. ^ Sherbo p. 130
  5. ^ Hawes p. 155
  6. ^ Mounsey p. 238
  7. ^ Mounsey p. 240
  8. ^ RPO - Christopher Smart : Jubilate Agno
  9. ^ Tillotson and Fussel
  10. ^ a b Prose Works I p. xxii
  11. ^ Curry p. 19
  12. ^ Guest p. 141-142
  13. ^ Walker p. 458
  14. ^ Liu p. 127
  15. ^ Costa p. 305
  16. ^ Guest p. 132
  17. ^ Guest p. 140
  18. ^ Guest p. 167
  19. ^ a b c d Curry p. 24
  20. ^ a b c d e Curry p. 21
  21. ^ a b Curry p. 22
  22. ^ Poetical Works p. 53
  23. ^ Poetical Works p. 60
  24. ^ Poetical Works p. 91
  25. ^ Poetical Works p. 108
  26. ^ a b c Guest p. 132
  27. ^ Curry p. 25
  28. ^ Poetical Works I p. 37-39
  29. ^ Guest p. 133
  30. ^ Prose Works p. 131
  31. ^ Curry p. 28
  32. ^ Curry p. 7
  33. ^ Curry p. 29
  34. ^ Curry p. 18
  35. ^ Curry p. 8
  36. ^ Ennis p. 16
  37. ^ Ennis p. 8
  38. ^ Ennis p. 10
  39. ^ Costa p. 296
  40. ^ Liu p. 121
  41. ^ Easton p. 234
  42. ^ Hawes "Bawdy" p. 4
  43. ^ Hawes "Bawdy" p. 16

References

External links

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