{"id":385,"date":"2016-02-16T16:25:26","date_gmt":"2016-02-16T16:25:26","guid":{"rendered":"https:\/\/www.vaughanassociation.org\/?page_id=385"},"modified":"2020-09-02T16:24:59","modified_gmt":"2020-09-02T16:24:59","slug":"scintilla-15","status":"publish","type":"page","link":"https:\/\/sites.cardiff.ac.uk\/scintilla\/scintilla-issues\/scintilla-15\/","title":{"rendered":"Scintilla 15"},"content":{"rendered":"

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Table of Contents<\/h3>\n

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Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Roger Hubank<\/td>\nWithout Contraries is no Progression: William Blake’s ‘Songs of Innocence and of Experience’<\/td>\n9<\/td>\n<\/tr>\n
Rowan Williams<\/td>\nTo the City<\/td>\n30<\/td>\n<\/tr>\n
Tony Connor<\/td>\nNo 1 in A Minor<\/td>\n32<\/td>\n<\/tr>\n
Doiran Williams<\/td>\nSt Teilo at St Fagans<\/td>\n33<\/td>\n<\/tr>\n
Jeremy Hilton<\/td>\nthe night watch<\/td>\n34<\/td>\n<\/tr>\n
Marion Tr acy<\/td>\nCorn Crake<\/td>\n36<\/td>\n<\/tr>\n
Jill To wnsend<\/td>\nTwist<\/td>\n37<\/td>\n<\/tr>\n
William Oxley<\/td>\nNatural Living All Around Me<\/td>\n38<\/td>\n<\/tr>\n
Kenneth Steven<\/td>\nSpiders<\/td>\n39<\/td>\n<\/tr>\n
Neil Curry<\/td>\nHoly George Herbert<\/td>\n41<\/td>\n<\/tr>\n
Amanda Lloyd<\/td>\nStone Walled<\/td>\n52<\/td>\n<\/tr>\n
Sheila Bryer<\/td>\nBearing<\/td>\n54<\/td>\n<\/tr>\n
Alison Brackenbury<\/td>\nAnish Kapoor<\/td>\n55<\/td>\n<\/tr>\n
<\/td>\nThe Scent of Bluebells<\/td>\n56<\/td>\n<\/tr>\n
Ruth Bidgood<\/td>\nMore of the Same<\/td>\n57<\/td>\n<\/tr>\n
Gary AJlen<\/td>\nAfter a painting by an unknown Dutch artist<\/td>\n58<\/td>\n<\/tr>\n
Linda Saunders<\/td>\nThe Pool<\/td>\n59<\/td>\n<\/tr>\n
Kim Ta plin<\/td>\nAt L’Avaloue<\/td>\n60<\/td>\n<\/tr>\n
Christine McNeill<\/td>\nI became a famous artist in old age<\/td>\n61<\/td>\n<\/tr>\n
Julia J Smith<\/td>\nThe “unchangeable Seasons of the Delightfull year”: Transcience and Eternity in Thomas Traherne’s View of the Natural World<\/td>\n63<\/td>\n<\/tr>\n
Huw Jones<\/td>\nLines for my Mother<\/td>\n78<\/td>\n<\/tr>\n
John Killick<\/td>\nLooking For My Death<\/td>\n83<\/td>\n<\/tr>\n
Susan Bassnett<\/td>\nPoems for Geoffrey<\/td>\n84<\/td>\n<\/tr>\n
Martina Thomson<\/td>\nSandstorm<\/td>\n86<\/td>\n<\/tr>\n
Clare Crossman<\/td>\nWhat Winter did to the Rope<\/td>\n87<\/td>\n<\/tr>\n
Elizabeth Ford<\/td>\nNews from heaven’: Will Kemp in Titus Andronicus<\/td>\n89<\/td>\n<\/tr>\n
Dilys Wood<\/td>\nMoving House<\/td>\n108<\/td>\n<\/tr>\n
Rowenna Hulton<\/td>\nA Fallen Nest<\/td>\n110<\/td>\n<\/tr>\n
Brenda Lealman<\/td>\nA169<\/td>\n111<\/td>\n<\/tr>\n
<\/td>\nBoulby<\/td>\n113<\/td>\n<\/tr>\n
R ichard W Halperin<\/td>\nPenelope<\/td>\n115<\/td>\n<\/tr>\n
Sam Howell<\/td>\nEchoes Forever<\/td>\n116<\/td>\n<\/tr>\n
Clare Holtham<\/td>\nElegy for the Buddhas of Bamyan<\/td>\n117<\/td>\n<\/tr>\n
<\/td>\nExile in Breconshire: The Double Displacement of Henry Vaughan<\/td>\n119<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nFather, painting<\/td>\n129<\/td>\n<\/tr>\n
<\/td>\nFriend with a sunburst<\/td>\n130<\/td>\n<\/tr>\n
Helen Overell<\/td>\nLacemakers, Chartres<\/td>\n131<\/td>\n<\/tr>\n
Daphne Gloag<\/td>\nTurner at Petworth House<\/td>\n133<\/td>\n<\/tr>\n
David Greenslade<\/td>\nCorvine Date – True Story<\/td>\n135<\/td>\n<\/tr>\n
Myra Schneider<\/td>\nThe Stone<\/td>\n137<\/td>\n<\/tr>\n
Graham Hartill<\/td>\nSomething<\/td>\n139<\/td>\n<\/tr>\n
Allan Wilcox<\/td>\nNicodemus and ‘The Night’<\/td>\n141<\/td>\n<\/tr>\n
Glyn Hughes<\/td>\nAt Bolton Abbey<\/td>\n156<\/td>\n<\/tr>\n
<\/td>\nThe Fowler<\/td>\n159<\/td>\n<\/tr>\n
Ted Walter<\/td>\nWhere leaves are massed<\/td>\n160<\/td>\n<\/tr>\n
<\/td>\nCavatina<\/td>\n161<\/td>\n<\/tr>\n
Anne Cluysenaar<\/td>\nFrom a Diary<\/td>\n162<\/td>\n<\/tr>\n
Heather Coffey<\/td>\nNear Chinnor<\/td>\n164<\/td>\n<\/tr>\n
Sean Street<\/td>\nOn Not Being T here<\/td>\n165<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nMarches of the Spirit<\/td>\n167<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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 <\/p>\n","protected":false},"excerpt":{"rendered":"

Table of Contents   Author Title # Roger Hubank Without Contraries is no Progression: William Blake’s ‘Songs of Innocence and \u2026<\/p>\n

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