{"id":419,"date":"2016-03-23T09:25:02","date_gmt":"2016-03-23T09:25:02","guid":{"rendered":"https:\/\/www.vaughanassociation.org\/?page_id=419"},"modified":"2020-09-02T16:26:56","modified_gmt":"2020-09-02T16:26:56","slug":"scintilla-18","status":"publish","type":"page","link":"https:\/\/sites.cardiff.ac.uk\/scintilla\/scintilla-issues\/scintilla-18\/","title":{"rendered":"Scintilla 18"},"content":{"rendered":"

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Table of Contents<\/h3>\n

 <\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nPreface<\/td>\n11<\/td>\n<\/tr>\n
Jonathan Nauman<\/td>\n\u2018Classicism and Conversion: The Role of the Poems\u2028 and Letters of St. Paulinus of Nola in Henry Vaughan\u2019s Silex Scintillans<\/em>\u2019<\/td>\n13<\/td>\n<\/tr>\n
Lesley Saunders<\/td>\nCell<\/td>\n28<\/td>\n<\/tr>\n
<\/td>\nSpeculum<\/td>\n29<\/td>\n<\/tr>\n
<\/td>\nPipette<\/td>\n30<\/td>\n<\/tr>\n
<\/td>\nThe Crystal Wombs of Katharinenthal<\/td>\n31<\/td>\n<\/tr>\n
<\/td>\nIn Vitro<\/td>\n32<\/td>\n<\/tr>\n
Richard Berengarten<\/td>\nThe Doubling<\/td>\n33<\/td>\n<\/tr>\n
<\/td>\nHome<\/td>\n34<\/td>\n<\/tr>\n
<\/td>\nOnce, twice<\/td>\n35<\/td>\n<\/tr>\n
<\/td>\nA Resonance<\/td>\n36<\/td>\n<\/tr>\n
<\/td>\nText and Intertext<\/td>\n37<\/td>\n<\/tr>\n
<\/td>\nDot<\/td>\n38<\/td>\n<\/tr>\n
Sam Adams<\/td>\n21 September, 7.15 am<\/td>\n39<\/td>\n<\/tr>\n
<\/td>\n25\/26 September<\/td>\n40<\/td>\n<\/tr>\n
<\/td>\n30 May<\/td>\n41<\/td>\n<\/tr>\n
Clare Crossman<\/td>\n1. Stefani<\/td>\n42<\/td>\n<\/tr>\n
<\/td>\nJune at Dowera\u2019s Manor<\/td>\n43<\/td>\n<\/tr>\n
Alex Barr<\/td>\nAsh<\/td>\n44<\/td>\n<\/tr>\n
John Killick<\/td>\nRemembering James Leggat (1896 \u2013 1993)<\/td>\n46<\/td>\n<\/tr>\n
Patrick Bond<\/td>\nShaving by Candlelight<\/td>\n47<\/td>\n<\/tr>\n
Anne Cluysenaar<\/td>\nThat donkey, she was my freedom<\/td>\n48<\/td>\n<\/tr>\n
<\/td>\nI hope it still happens, as then<\/td>\n49<\/td>\n<\/tr>\n
<\/td>\nWhy click on Fontaine de Vaucluse<\/em>?<\/td>\n50<\/td>\n<\/tr>\n
Noam Reisner<\/td>\n\u2018Martyred Signs: Robert Southwell\u2019s religious use of metaphor\u2019<\/td>\n51<\/td>\n<\/tr>\n
Alison Brakenbury<\/td>\nThe North<\/td>\n68<\/td>\n<\/tr>\n
<\/td>\nKeats in Hampstead<\/td>\n69<\/td>\n<\/tr>\n
<\/td>\nBeneath Battersea Bridge<\/td>\n70<\/td>\n<\/tr>\n
<\/td>\nAll March<\/td>\n71<\/td>\n<\/tr>\n
Michael Curtis<\/td>\nOther<\/td>\n72<\/td>\n<\/tr>\n
Kate Foley<\/td>\nFruit Harmony in the Dark<\/td>\n73<\/td>\n<\/tr>\n
<\/td>\nParis Church<\/td>\n74<\/td>\n<\/tr>\n
<\/td>\nOnly To Be There<\/td>\n75<\/td>\n<\/tr>\n
Chris Dodd<\/td>\nChange of Light<\/td>\n76<\/td>\n<\/tr>\n
<\/td>\nThe Northern Lights<\/td>\n77<\/td>\n<\/tr>\n
<\/td>\nThe Measuring<\/td>\n78<\/td>\n<\/tr>\n
<\/td>\nAmong Beech Trees<\/td>\n79<\/td>\n<\/tr>\n
K. E. Duffin<\/td>\nHouse at Scituate<\/td>\n80<\/td>\n<\/tr>\n
<\/td>\nRubythroat<\/td>\n81<\/td>\n<\/tr>\n
Rhian Edwards<\/td>\nThe Gulls are Mugging<\/td>\n82<\/td>\n<\/tr>\n
<\/td>\nMurmuration<\/td>\n83<\/td>\n<\/tr>\n
<\/td>\nReturn of the Native<\/td>\n84<\/td>\n<\/tr>\n
Rose Flint<\/td>\nAshes and Dust<\/td>\n85<\/td>\n<\/tr>\n
<\/td>\nWelsh Church on the Hill<\/td>\n87<\/td>\n<\/tr>\n
<\/td>\nSnake in Quietness<\/td>\n88<\/td>\n<\/tr>\n
Kay Cotton<\/td>\nWalnut Tree<\/td>\n89<\/td>\n<\/tr>\n
John Freeman<\/td>\nMy Father Swimming<\/td>\n90<\/td>\n<\/tr>\n
<\/td>\nSpace Travellers<\/td>\n91<\/td>\n<\/tr>\n
Anna Lewis<\/td>\nAt the George and Pilgrim<\/td>\n92<\/td>\n<\/tr>\n
Dorian Williams<\/td>\nTriptych<\/td>\n93<\/td>\n<\/tr>\n
Philip Gross<\/td>\nFrequencies<\/td>\n96<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\n\u2018Leading into strangeness: Rowan Williams, Poet and theologian\u2019<\/td>\n98<\/td>\n<\/tr>\n
David Hart<\/td>\nThe Border Sketchy<\/td>\n117<\/td>\n<\/tr>\n
Richard Hawtree<\/td>\nStray Versicles<\/td>\n119<\/td>\n<\/tr>\n
W. D. Jackson<\/td>\nviii, Love\u2019s Labour\u2019s Lost<\/em>\u2014Berowne<\/td>\n120<\/td>\n<\/tr>\n
<\/td>\nx, A Midsummer Night\u2019s Dream\u2014<\/em>Hippolyta<\/td>\n121<\/td>\n<\/tr>\n
<\/td>\nxvi, Much Ado About Nothing<\/em>\u2014Benedick<\/td>\n122<\/td>\n<\/tr>\n
Sean H. McDowell<\/td>\nWind at D\u00fan Aonghasa<\/td>\n123<\/td>\n<\/tr>\n
Maureen Jivani<\/td>\nDear God<\/td>\n124<\/td>\n<\/tr>\n
<\/td>\nAugust<\/td>\n125<\/td>\n<\/tr>\n
Oliver Comins<\/td>\nRed Horse<\/td>\n126<\/td>\n<\/tr>\n
Brenda Lealman<\/td>\nExodus<\/td>\n127<\/td>\n<\/tr>\n
<\/td>\nLooming<\/td>\n129<\/td>\n<\/tr>\n
Patricia McCarthy<\/td>\nBell Ringers<\/td>\n130<\/td>\n<\/tr>\n
Edward Storey<\/td>\nSeeing Music<\/td>\n131<\/td>\n<\/tr>\n
<\/td>\nBringing Home a Nightingale\u2019s Egg-shell<\/td>\n132<\/td>\n<\/tr>\n
Se\u00e1n Street<\/td>\nMass in E-flat Major<\/td>\n133<\/td>\n<\/tr>\n
Helen Moore<\/td>\nHoneydew at Solstice<\/td>\n137<\/td>\n<\/tr>\n
Philip West<\/td>\n\u2018John Chatwin\u2019s Translations of Henry Vaughan\u2019<\/td>\n138<\/td>\n<\/tr>\n
Howard Wright<\/td>\nHeatwave<\/td>\n147<\/td>\n<\/tr>\n
<\/td>\nThe Repair Kit<\/td>\n148<\/td>\n<\/tr>\n
<\/td>\nThe Old School<\/td>\n149<\/td>\n<\/tr>\n
Chris Preddle<\/td>\nSomme<\/td>\n150<\/td>\n<\/tr>\n
<\/td>\nTianfei<\/td>\n151<\/td>\n<\/tr>\n
<\/td>\nSappho<\/td>\n152<\/td>\n<\/tr>\n
<\/td>\nTethys<\/td>\n153<\/td>\n<\/tr>\n
Regina Walton<\/td>\nLooking at Memling<\/td>\n154<\/td>\n<\/tr>\n
Robert Nisbet<\/td>\nHotel Room, Bermuda<\/td>\n155<\/td>\n<\/tr>\n
<\/td>\nAs You Like It<\/em> in the Bishop\u2019s Palace<\/td>\n156<\/td>\n<\/tr>\n
Chris Norris<\/td>\nFrom Symbolon: An Essay on Rhyme<\/em><\/td>\n157<\/td>\n<\/tr>\n
Jock Stein<\/td>\nOn the Runway<\/td>\n159<\/td>\n<\/tr>\n
Alan Payne<\/td>\nNorth<\/td>\n160<\/td>\n<\/tr>\n
<\/td>\nThat They Are There!<\/td>\n161<\/td>\n<\/tr>\n
Thomas R. Smith<\/td>\nHoly Saturday<\/td>\n162<\/td>\n<\/tr>\n
Charles Wilkinson<\/td>\nCaves<\/td>\n163<\/td>\n<\/tr>\n
<\/td>\nFrom \u2018Of the Red & the White Books\u2019<\/td>\n164<\/td>\n<\/tr>\n
Margaret Wilmot<\/td>\nIS<\/td>\n166<\/td>\n<\/tr>\n
Anne Cluysenaar<\/td>\nAbsence, Presence: Recalling Peter Thomas<\/td>\n171<\/td>\n<\/tr>\n
Fiona Owen<\/td>\n\u2018Into all this\u2019: a tribute to Anne Cluysenaar<\/td>\n174<\/td>\n<\/tr>\n
Susan Bassnett<\/td>\nIn Memoriam: Anne Cluysenaar 1936-2014<\/td>\n179<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nContributors<\/td>\n185<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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

Table of Contents   Author Title # Preface 11 Jonathan Nauman \u2018Classicism and Conversion: The Role of the Poems\u2028 and \u2026<\/p>\n

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