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altar.xml
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altar.xml
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<?xml version="1.0" encoding="UTF-8"?>
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<TEI xmlns="http://www.tei-c.org/ns/1.0">
<teiHeader>
<fileDesc>
<titleStmt>
<title>The Altar</title>
<respStmt>
<resp>transcribed, encoded, and edited by</resp>
<persName>Robert Whalen</persName>
</respStmt>
<sponsor>
<orgName>Northern Michigan University</orgName>
<orgName>the National Endowment for the Humanities</orgName>
</sponsor>
<funder>
<orgName>Northern Michigan University</orgName>
<orgName>the National Endowment for the Humanities</orgName>
</funder>
<principal>
<persName>Robert Whalen</persName>
</principal>
</titleStmt>
<editionStmt>
<edition n="1"/>
<respStmt>
<resp>Transcription, encoding, transformations, and notes</resp>
<persName>Robert Whalen</persName>
<orgName>Northern Michigan University</orgName>
<orgName>the National Endowment for the Humanities</orgName>
</respStmt>
</editionStmt>
<extent/>
<publicationStmt>
<publisher>Robert Whalen for demonstration purposes only. May not be reproduced without
permission.</publisher>
<address>
<addrLine/>
</address>
<idno type="ISBN"/>
<availability>
<p/>
</availability>
<distributor/>
</publicationStmt>
<notesStmt>
<note/>
</notesStmt>
<sourceDesc>
<listBibl>
<msDesc>
<msIdentifier>
<repository>See witness list.</repository>
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</msDesc>
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<encodingDesc>
<projectDesc>
<p>"The Altar" is part of a comprehensive edition of George Herbert's English verse, <hi
rend="italic">The Digital Temple</hi>. This larger project includes
computer-readable transcriptions, in both original- and modern-spelling versions, of
Williams MS. Jones B62, Bodleian MS. Tanner 307, and a copy of <hi rend="italic">The
Temple: Sacred Poems and Private Ejaculations</hi>, first edition (Cambridge,
1633); high-resolution digital images of the sources (excepting the Latin verse in
Williams); an apparatus that includes critical, textual, and technical introductions
and annotations; and a user interface with which to navigate these materials.</p>
</projectDesc>
<p>Transcriptions are encoded in TEI(P5)-conformant XML.</p>
<samplingDecl>
<p>Currently, only the Williams images and transcriptions are captured directly from the
source. Images (where available) and transcriptions of the Bodleian MS. and first
edition are captured from Scolar black-and-white facsimiles.</p>
</samplingDecl>
<editorialDecl>
<correction>
<p>Apparent errors are preserved and editorial corrections provided using SIC and
CORR tags, but only where the editor conjectures that the original scribe or
compositor would have recognized the instance as an error. For example, what
according to modern usage is incorrect subject/verb agreement might have been
deemed acceptable to a seventeenth-century scribe or compositor. All such
instances are treated instead using the ORIG and REG tags. (See below.) </p>
</correction>
<normalization>
<p>Original spellings, abbreviations, and orthography are preserved and
regularizations provided. Where in the manuscripts a character's status as
majuscule or miniscule is ambiguous, the editor has silently chosen one or the
other based on context and judgment (i.e., does not register such ambiguity in
either the markup or the notes).</p>
</normalization>
<quotation>
<p>Original quotation marks, if any, are preserved.</p>
</quotation>
<hyphenation>
<p>Original hyphenation is preserved.</p>
</hyphenation>
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<bibl>
<title>Dewey Decimal Classification</title>
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<langUsage>
<language ident="en">English</language>
<language ident="fr">French</language>
<language ident="lat">Latin</language>
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<graphic url="images/p10v.jpg" xml:id="p10"/>
</facsimile>
<text>
<front>
<div>
<listWit>
<witness xml:id="w">Williams MS. Jones B62</witness>
<witness xml:id="b">Bodleian MS. Tanner 307</witness>
<witness xml:id="p">The Temple: Sacred Poems and Private Ejaculations, first edition
(Cambridge, 1633)</witness>
</listWit>
</div>
</front>
<body>
<pb ed="#w" facs="#w15v"/>
<fw facs="#w15v" type="header" place="margin-top">The church.</fw>
<pb ed="#b" facs="#b15v"/>
<fw facs="#b15v" type="header" place="margin-top">The Church</fw>
<fw facs="#b15v" type="pageNum" place="margin-topleft">39</fw>
<pb ed="#p" facs="#p10"/>
<fw facs="#p10" type="header" place="margin-top"><hi rend="italic">The Church</hi>.</fw>
<fw facs="#p10" type="pageNum" place="margin-topleft">10</fw>
<div type="poem" xml:id="altar" rend="center">
<head rend="center">
<app>
<rdg wit="#w"><hi rend="underline">The Altar</hi>.</rdg>
<rdg wit="#b">
<hi rend="underline">The Altar</hi>
</rdg>
<rdg wit="#p">The Altar.</rdg>
</app>
<note>See Wilcox (89) for the poem's debt to the pattern and <hi rend="italic">schola
cordis</hi> (School of the Heart) emblem traditions. <lb/><lb/>The title
signifies the stone altar that in Catholic tradition was associated with Christ's
sacrifice on the Cross; the speaker's heart offered as a "living sacrifice"
(Romans 12:1); the poem itself and <hi rend="italic">The Temple</hi> as a whole.
(The following poem in all three sources happens to be "The Sacrifice.")
<lb/><lb/>Though metaphorically the speaker's heart, the phrase <hi rend="italic"
>broken Altar/ALTAR</hi> in the first line would have provocatively suggested
Reformation acts of iconoclasm that included the removal and/or destruction of
such remnants of the old religion. Toward the end of Herbert's life, advocates of
ceremonial worship and what Archbishop William Laud was to call the Beauty of
Holiness boldly restored the altars to a place of prominence in some English
churches. <lb/><lb/>The Cambridge printers' innovation in #p—i.e., the
upper-case rendering of <hi rend="italic">ALTAR</hi>, <hi rend="italic"
>HEART</hi>, and <hi rend="italic">SACRIFICE</hi>—foregrounds as
complementary the poem's devotional and ceremonial features, and thereby
privileges a <hi rend="italic">via media</hi> reading of an otherwise
ideologically conflicted poem. Indeed, the change from <hi rend="italic"
>onely</hi> to <hi rend="italic">bleſsed</hi> in line 15 of witness #w suggests
Herbert's concern that <hi rend="italic">onely sacrifice</hi> might seem a
Protestant emphasis on the uniqueness of the Atonement at the expense of more
Catholic notions of Real Presence and the replication of sacrifice in the ritual
of the Eucharist. (According to the 31st of the <hi rend="italic">Thirty-Nine
Articles</hi>, "the Offering of Christ once made is that perfect redemption,
propitiation, and satisfaction, for all the sins of the whole world, both original
and actual; and there is none other satisfaction for sin, but that alone.
Wherefore the sacrifices of Masses, in the which it was commonly said, that the
Priest did offer Christ for the quick and the dead, to have remission of pain or
guilt, were blasphemous fables, and dangerous deceits.") Such revision exemplifies
what historian Anthony Milton has called "negative popery": the increasing
tendency of some early Stuart divines to advance Catholic ideas minus the once <hi
rend="italic">de rigueur</hi> caveats disavowing them. (<hi rend="italic"
>Catholic and Reformed</hi>, 63-72.) Wilcox's reading—that the #w
version unrevised "reveals H.'s assumption that there is now only one sacrifice"
(93)—seems to suggest that the revision somehow left intact the earlier and
more decidedly Protestant assertion.</note>
</head>
<lg type="stanza" n="1">
<l n="1">
<app>
<rdg wit="#w">A broken Altar lord thy servant <w lemma="rear">
<choice>
<orig>reares</orig>
<reg>rears</reg>
</choice>
</w>
</rdg>
<rdg wit="#b">A broken Altar, Lord, thy servant <w lemma="rear">
<choice>
<orig>reares</orig>
<reg>rears</reg>
</choice>
</w>
</rdg>
<rdg wit="#p">A broken <w lemma="altar">A L T A R</w>, Lord, thy <w
lemma="servant">
<choice>
<orig>ſervant</orig>
<reg>servant</reg>
</choice>
</w>
<w lemma="rear">
<choice>
<orig>reares</orig>
<reg>rears</reg>
</choice>
</w>,</rdg>
<note><hi rend="italic">reares</hi>: brings into existence by constructing (<hi
rend="italic">OED</hi> 9), a meaning at odds with <hi rend="italic"
>broken</hi> only if it is assumed that the speaker could have anything
more to offer than a broken heart. The word also connotes raising the dead
(<hi rend="italic">OED</hi> 3.a), by extension the Resurrection, itself a
triumph in which the broken body of Christ is raised to be a glorified
body.</note>
</app>
</l>
<l n="2">
<app>
<rdg wit="#w">Made of a <w lemma="heart">
<choice>
<orig>Hart</orig>
<reg>Heart</reg>
</choice>
</w> and <w lemma="cement">
<choice>
<orig>cimented</orig>
<reg>cemented</reg>
</choice>
</w>
<w lemma="with">
<choice>
<orig>w<hi rend="superscript">th</hi></orig>
<reg>with</reg>
</choice>
</w>
<w lemma="tear">
<choice>
<orig>teares</orig>
<reg>tears</reg>
</choice>
</w>.</rdg>
<rdg wit="#b">Made of a heart, <w lemma="and">
<choice>
<orig>&</orig>
<reg>and</reg>
</choice>
</w>
<w lemma="cement">
<choice>
<orig>cimented</orig>
<reg>cemented</reg>
</choice>
</w> with <w lemma="tear">
<choice>
<orig>teares</orig>
<reg>tears</reg>
</choice>
</w>.</rdg>
<rdg wit="#p">Made of a heart, and cemented with <w lemma="tear">
<choice>
<orig>teares</orig>
<reg>tears</reg>
</choice>
</w>:</rdg>
</app>
</l>
<l n="3">
<app>
<rdg wit="#w">Whose parts are as thy hand did frame</rdg>
<rdg wit="#b">Whose parts are, as thy hand did frame;</rdg>
<rdg wit="#p">
<w lemma="whose">
<choice>
<orig>Whoſe</orig>
<reg>Whose</reg>
</choice>
</w> parts are as thy hand did frame;</rdg>
<note><hi rend="italic">frame</hi>: prepare, as a carpenter, for use in
building (<hi rend="italic">OED</hi> 4). Jesus was a carpenter (Mark 6:3)
and is "a son over his own house; whose house are we," for "he that built
all things is God" (Hebrews 3:4-6).</note>
</app>
</l>
<l n="4">this <app>
<rdg wit="#w">No <w lemma="workman">
<choice>
<orig>workmans</orig>
<reg>workman's</reg>
</choice>
</w>
<w lemma="tool">
<choice>
<orig>toole</orig>
<reg>tool</reg>
</choice>
</w> hath <w lemma="touch">touch'd</w>
<w lemma="the">
<choice>
<orig>y<hi rend="superscript">e</hi></orig>
<reg>the</reg>
</choice>
</w> same</rdg>
<rdg wit="#b">No <w lemma="workman">
<choice>
<orig>workemans</orig>
<reg>workman's</reg>
</choice>
</w>
<w lemma="tool">
<choice>
<orig>toole</orig>
<reg>tool</reg>
</choice>
</w> hath <w lemma="touch">touch'd</w>
<w lemma="the">
<choice>
<orig>y<hi rend="superscript">e</hi></orig>
<reg>the</reg>
</choice>
</w> same.</rdg>
<rdg wit="#p">No <w lemma="workman">
<choice>
<orig>workmans</orig>
<reg>workman's</reg>
</choice>
</w> tool hath <w lemma="touch">touch'd</w> the <w lemma="same">
<choice>
<orig>ſame</orig>
<reg>same</reg>
</choice>
</w>.</rdg>
</app>
</l>
<l n="5">
<app>
<rdg wit="#w">A <w lemma="heart">
<choice>
<orig>Hart</orig>
<reg>Heart</reg>
</choice>
</w> alone</rdg>
<rdg wit="#b">A heart alone</rdg>
<rdg wit="#p">A <w lemma="heart">H E A R T</w> alone</rdg>
<note><hi rend="italic">alone</hi>: only.</note>
</app>
</l>
<l n="6">
<app>
<rdg wit="#w">Is such a stone</rdg>
<rdg wit="#b">Is such a stone,</rdg>
<rdg wit="#p">Is <w lemma="such">
<choice>
<orig>ſuch</orig>
<reg>such</reg>
</choice>
</w> a <w lemma="stone">
<choice>
<orig>ſtone</orig>
<reg>stone</reg>
</choice>
</w>,</rdg>
</app>
</l>
<l n="7">
<app>
<rdg wit="#w">As nothing but</rdg>
<rdg wit="#b">As nothing but</rdg>
<rdg wit="#p">As nothing but</rdg>
</app>
</l>
<l n="8">
<app>
<rdg wit="#w">Thy <w lemma="power">
<choice>
<orig>powre</orig>
<reg>power</reg>
</choice>
</w> doth <w lemma="cut">
<choice>
<orig>cutt</orig>
<reg>cut</reg>
</choice>
</w>.</rdg>
<rdg wit="#b">Thy power doth cut.</rdg>
<rdg wit="#p">Thy <w lemma="power">pow'r</w> doth cut.</rdg>
<note><hi rend="italic">Lines 5-8</hi>: "Only a heart is so hard as that God's
power alone is able to penetrate it."</note>
</app>
</l>
<l n="9">
<app>
<rdg wit="#w">Wherefore each part</rdg>
<rdg wit="#b"><w lemma="wherefore">
<choice>
<orig>Wherefor</orig>
<reg>Wherefore</reg>
</choice>
</w> each part</rdg>
<rdg wit="#p">Wherefore each part</rdg>
</app>
</l>
<l n="10">
<app>
<rdg wit="#w">
<w lemma="of">
<choice>
<orig>Øf</orig>
<reg>Of</reg>
</choice>
</w> my hard <w lemma="heart">
<choice>
<orig>hart</orig>
<reg>heart</reg>
</choice>
</w>
</rdg>
<rdg wit="#b">Of my hard heart</rdg>
<rdg wit="#p">Of my hard heart</rdg>
</app>
</l>
<l n="11">
<app>
<rdg wit="#w">Meets in this frame</rdg>
<rdg wit="#b #p">Meets in this frame,</rdg>
<note><hi rend="italic">frame</hi>: i.e., the poem; the stone altar of
sacrifice; the speaker's body which houses his <hi rend="italic"
>hart/heart</hi>—"My body is the frame wherein 'tis held"
(Shakespeare, Sonnet 24, line 3)— and is "the temple of God" (1
Corinthians 3:16).</note>
</app>
</l>
<l n="12">
<app>
<rdg wit="#w">To <w lemma="praise">
<choice>
<orig>praiſe</orig>
<reg>praise</reg>
</choice>
</w> thy name</rdg>
<rdg wit="#b">To praise thy Name.</rdg>
<rdg wit="#p">To <w lemma="praise">
<choice>
<orig>praiſe</orig>
<reg>praise</reg>
</choice>
</w> thy name.</rdg>
</app>
</l>
<l n="13">
<app>
<rdg wit="#w">That If I chance to hold my peace</rdg>
<rdg wit="#b">That, if I chance to hold my peace,</rdg>
<rdg wit="#p">That if I chance to hold my peace,</rdg>
</app>
</l>
<l n="14">
<app>
<rdg wit="#w">
<w lemma="these">
<choice>
<orig>Theſe</orig>
<reg>These</reg>
</choice>
</w> stones to <w lemma="praise">
<choice>
<orig>praiſe</orig>
<reg>praise</reg>
</choice>
</w> thee may not <w lemma="cease">
<choice>
<orig>ceaſe</orig>
<reg>cease</reg>
</choice>
</w>
</rdg>
<rdg wit="#b">These stones to praise thee may not cease.</rdg>
<rdg wit="#p">
<w lemma="these">
<choice>
<orig>Theſe</orig>
<reg>These</reg>
</choice>
</w>
<w lemma="stone">
<choice>
<orig>ſtones</orig>
<reg>stones</reg>
</choice>
</w> to <w lemma="praise">
<choice>
<orig>praiſe</orig>
<reg>praise</reg>
</choice>
</w> thee may not <w lemma="cease">
<choice>
<orig>ceaſe</orig>
<reg>cease</reg>
</choice>
</w>.</rdg>
<note><hi rend="italic">Lines 13-14</hi>: "And some of the Pharisees from among
the multitude said unto him, Master, rebuke thy disciples. And he answered
and said unto them, I tell you that, if these should hold their peace, the
stones would immediately cry out" (Luke 19:39-40).</note>
</app>
</l>
<l n="15">
<app>
<rdg wit="#w">
<w lemma="o">
<choice>
<orig>Ø</orig>
<reg>O</reg>
</choice>
</w>
<w lemma="let">
<choice>
<orig>lett</orig>
<reg>let</reg>
</choice>
</w> thy <w lemma="only">
<choice>
<orig>
<del rend="strike">onely</del>
</orig>
<reg>only</reg>
</choice>
</w>
<w lemma="blessed">
<choice>
<orig>
<add rend="supralinear">bleſsed</add>
</orig>
<reg>blessed</reg>
</choice>
</w> sacrifice <w lemma="be">
<choice>
<orig>bee</orig>
<reg>be</reg>
</choice>
</w> mine,</rdg>
<rdg wit="#b">O <w lemma="let">
<choice>
<orig>lett</orig>
<reg>let</reg>
</choice>
</w> thy blessed sacrifice be mine,</rdg>
<rdg wit="#p">O let thy <w lemma="blessed">
<choice>
<orig>ble<g ref="#sslig">ſſ</g>ed</orig>
<reg>blessed</reg>
</choice>
</w>
<w lemma="sacrifice">S A C R I F I C E</w> be mine,</rdg>
<note>See headnote for the significance of the #w emendation.</note>
</app>
</l>
<l n="16">
<app>
<rdg wit="#w">And <w lemma="sanctify">
<choice>
<orig>sanctifie</orig>
<reg>sanctify</reg>
</choice>
</w> this Altar to <w lemma="be">
<choice>
<orig>bee</orig>
<reg>be</reg>
</choice>
</w> thine.</rdg>
<rdg wit="#b">And sanctify this Altar to be thine.</rdg>
<rdg wit="#p">And <w lemma="sanctify">
<choice>
<orig>ſan<g ref="#ctlig">ct</g>ifie</orig>
<reg>sanctify</reg>
</choice>
</w> this <w lemma="altar">A L T A R</w> to be thine.</rdg>
<note><hi rend="italic">Lines 15-16</hi>: For the multiple significations of
<hi rend="italic">Altar/ALTAR</hi>, see headnote and the note for line
11. Though the placement of <hi rend="italic">SACRIFICE</hi> over <hi
rend="italic">ALTAR</hi> in #p is fortuitous and perhaps deliberate (as
is the "broken" spacing of the words in these as well as lines 1 and 5), the
layout in both manuscripts is unremarkable. But for <hi rend="italic"
>Altar</hi> having a majuscule initial, neither word there is
distinguished in any way. Had Herbert intended to highlight them in #w (the
only source in which he is known to have had a hand), he might have
specified an italic script, as indeed he does elsewhere in #w—for
example, in the final line of "Poetry" (entitled "The Quiddity" in
#b/#p).</note>
</app>
</l>
</lg>
</div>
<fw facs="#p18" type="catch" place="bottom">The</fw>
</body>
</text>
</TEI>