Et In Arcadia Ego: Sweeney's Southwell

As Gary Bouchard comments in his recently published study of St. Robert Southwell, SJ, it is sad that Anne R. Sweeney died too soon (of cancer) to continue her work on Southwell's life and poetry. She alludes to her illness in the Introduction of this book, Robert Southwell: Snow in Arcadia: redrawing the English lyric landscape, 1586-1595, published by Manchester University Press but distributed by Oxford University Press, which describes Sweeney's achievement in this book thus:

It has traditionally been held that Robert Southwell's poetry offers a curious view of Elizabethan England, one that is from the restricted perspective of a priest-hole. This book dismantles that idea by examining the poetry, word by word, discovering layers of new meanings, hidden emblems, and sharp critiques of Elizabeth's courtiers, and even of the ageing queen herself.

Using both the most recent edition of Southwell's poetry and manuscript materials, it addresses both poetry and private writings including letters and diary material to give dramatic context to the radicalisation of a generation of Southwell's countrymen and women, showing how the young Jesuit harnessed both drama and literature to give new poetic poignancy to their experience.

Bringing a rigorously forensic approach to Southwell's 'lighter' pieces, Sweeney can now show to what extent Southwell engaged exclusively through them in direct artistic debate with Spenser, Sidney, and Shakespeare, placing the poetry firmly in the English landscape familiar to Southwell's generation. Those interested in early modern and Elizabethan culture will find much of interest, including new insights into the function of the arts in the private Catholic milieu touched by Southwell in so many ways and places.

The contents of the book:

Preface and acknowledgements

Introduction: Ben Jonson's admiration for Southwell's 'Burning Babe'
1. Rome: the discernment of angels
2. The 'Spiritual Exercises': the 'inward eie'
3. Hidden ways and secret veins: into England
4. The flight of angels: England's altered confidence
5. Snow in Arcadia: rewriting the English lyric landscape
6. Southwell's war of words
7. The 'performing Word': Southwell's sacralised poetic
8. Conclusion

Bibliography 

Index

Sweeney comments in her preface on her limitations and those who helped her overcome them:

Stonyhurst College kindly made its Library available to my studies, its late librarian, Father Turner, S.J., and the late Bishop Foley, contributing much at the outset to a project that I was so very less qualified than they to embark upon. I am also very grateful that Father Thomas McCoog, S.J., of Mount Street, took the time to look over and comment on aspects of the work, which has, in any case, called much upon his expertise in this area. If I have committed any solecisms against the belief systems of the bodies represented by these gentlemen, it is unintentional, and regretted. I have been acutely aware from the outset that, in discussing a saint from outside the boundaries of religious studies, I was on the thinnest of ice. I hope it is evident that I am addressing discoursal and literary issues only: St. Robert Southwell is beyond all comment spiritually, but as a poet and an Englishman he earned his garlands, I believe. 'Muse not,' as he said, 'to see some mud in cleerest brooke / They once were brittle mould, that now are Saintes.'

Notwithstanding her statement, as I read her study of Southwell I appreciated his religious faith and spirituality more and more. His great efforts to comfort Catholics, reach out to those who had fallen away, confront the state authorities, and challenge other poets to greater things, as Sweeney explicates them, made his love for Jesus and His Church so clear. Because she consults and references his journals and letters as well as his poetry, the reader can see Southwell's struggles in his formation in Rome and his frustrations during his mission in England, sometimes with his Jesuit authorities on the Continent and their decisions. Although this may have been beyond her intent, Sweeney's study made him real to me, not just his poetry, his martyrdom, or his garlands.

Sweeney chose an appropriate motto for the book:

"To live at peace among . . . those who oppose us, is a great grace, and a most commendable and manly achievement." (from Thomas a Kempis, The Imitation of Christ, translated and introduction by Leo Sherley-Price (Harmondsworth: Penguin, 1952, repr. 1979), p. 71)

Southwell's formation as a Jesuit, his experience living in Counter-Reformation Rome, his vocation as priest and avocation as poet, graced him with that peace even in the midst of torture and imprisonment, as reports of his trial and execution attest.

One of the parts of the book that impressed me the most was Sweeney's exploration of the effects of art in Rome on Southwell while he was studying there in combination with his formation with the Spiritual Exercises of St. Ignatius of Loyola--referencing Between Renaissance and Baroque: Jesuit Art in Rome, 1565-1610 by Gauvin Alexander Bailey (University of Toronto Press, 2003). She elucidates how Southwell's formation influenced the brilliant imagery of his poetry, translating ideas into pictures, describing images to symbolize concepts, expressing the transcendent through earthly things in the imagination.

I highly recommend Snow in Arcadia to anyone interested in the era, Southwell, the English mission, Southwell's poetry, the situation of Catholics in England during Elizabeth I's reign, an understanding of the Jesuits in Rome, etc. 

As Gary M. Bouchard said, it is sad that Anne R. Sweeney died before she could continue developing her insights into St. Robert Southwell's poetry and his place in English literature. May she rest in the peace of Christ.

My review of Bouchard's Southwell's Sphere: The Influence of England's Secret Poet is forthcoming.

UPDATE: note that I purchased my copy of Snow in Arcadia.

Sweeney on St. Robert Southwell, Poet

I'm reading this book because of another book I've received to review; the author of that other book referred to the late Anne Sweeney's work on St. Robert Southwell's poetry and its place in the English poetic milieu of the sixteenth century. According to Oxford University Press which distributes the book published by Manchester University Press:

It has traditionally been held that Robert Southwell's poetry offers a curious view of Elizabethan England, one that is from the restricted perspective of a priest-hole. This book dismantles that idea by examining the poetry, word by word, discovering layers of new meanings, hidden emblems, and sharp critiques of Elizabeth's courtiers, and even of the ageing queen herself.

Using both the most recent edition of Southwell's poetry and manuscript materials, it addresses both poetry and private writings including letters and diary material to give dramatic context to the radicalisation of a generation of Southwell's countrymen and women, showing how the young Jesuit harnessed both drama and literature to give new poetic poignancy to their experience.

Bringing a rigorously forensic approach to Southwell's 'lighter' pieces, Sweeney can now show to what extent Southwell engaged exclusively through them in direct artistic debate with Spenser, Sidney, and Shakespeare, placing the poetry firmly in the English landscape familiar to Southwell's generation. Those interested in early modern and Elizabethan culture will find much of interest, including new insights into the function of the arts in the private Catholic milieu touched by Southwell in so many ways and places.

I'm just a couple of chapters in and Sweeney provides an insight connected to Elizabeth Lev's book about Catholic Restoration art: the poetry Southwell wrote was inspired by the art he was seeing in the churches of Rome during his studies. Sweeney even notes the painting that may have inspired his best known poem, "The Burning Babe": The Vision of St. Ignatius at La Storta.

Part of her thesis on St. Robert Southwell's poetic method is that his shorter poems are filled with visual imagery, not Petrarchan repetition and elaboration. Therefore, the art that he lived with in Counter-Reformation Rome, especially the art in the Jesuit churches of Il Gesu, Sant'Andrea al Quirinale, and others influenced his poetry.  He transferred the impact of clear and expressive visual representations of sacred and spiritual things on the viewer to descriptive, concrete language.

As Sweeney notes, her book began because she wondered why Ben Jonson admired "The Burning Babe" so much. She believes it's the imagery, the sense of seeing something as you read the poem that elicited Jonson's admiration:

As I in hoary winter’s night stood shivering in the snow,
Surpris’d I was with sudden heat which made my heart to glow;
And lifting up a fearful eye to view what fire was near,
A pretty Babe all burning bright did in the air appear;
Who, scorched with excessive heat, such floods of tears did shed
As though his floods should quench his flames which with his tears were fed.
“Alas!” quoth he, “but newly born, in fiery heats I fry,
Yet none approach to warm their hearts or feel my fire but I!
My faultless breast the furnace is, the fuel wounding thorns,
Love is the fire, and sighs the smoke, the ashes shame and scorns;
The fuel Justice layeth on, and Mercy blows the coals,
The metal in this furnace wrought are men’s defiled souls,
For which, as now on fire I am to work them to their good,
So will I melt into a bath to wash them in my blood.”
With this he vanish’d out of sight and swiftly shrunk away,
And straight I called unto mind that it was Christmas day.

It's not just the image that comes to mind of a man standing in the cold and dark, the sudden appearance of a burning baby suspended in the air, the tears, the message of the baby (with its images of furnace, fire, smoke, ashes, coals, metal, etc), and his sudden disappearance, but also the feeling of shivering cold and blazing heat, and then the sudden realization of the date. The viewer has seen a vision of the infant Jesus already experiencing the suffering of His Passion and it is Christmas Day. This revelation came about not just by repetition and elaboration of abstract ideas, but by seeing something, describing it, and making the connection between the Incarnation and those abstract ideas of Love, Justice, and Mercy: the Paschal Mystery of the Passion, Crucifixion, and Resurrection: Jesus Christ Himself, whether Babe or Man.