{"id":921,"date":"2019-06-18T15:47:30","date_gmt":"2019-06-18T15:47:30","guid":{"rendered":"http:\/\/www.vaughanassociation.org\/?page_id=921"},"modified":"2020-09-02T16:28:36","modified_gmt":"2020-09-02T16:28:36","slug":"scintilla-22-2-2","status":"publish","type":"page","link":"https:\/\/sites.cardiff.ac.uk\/scintilla\/scintilla-issues\/scintilla-22-2-2\/","title":{"rendered":"Scintilla 22"},"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
Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nPreface<\/td>\n9<\/td>\n<\/tr>\n
Jonathan F.S. Post<\/td>\nWalking with Vaughan in\u00a0Silex Scintillans<\/em><\/td>\n11<\/td>\n<\/tr>\n
Frances-Anne King<\/td>\nNautilus<\/td>\n30<\/td>\n<\/tr>\n
Howard Wright<\/td>\nClocks<\/td>\n32<\/td>\n<\/tr>\n
Marc Harshman<\/td>\nGlebe Wall, Oxfordshire<\/td>\n33<\/td>\n<\/tr>\n
Paul Connolly<\/td>\nStruldbrugs<\/td>\n37<\/td>\n<\/tr>\n
<\/td>\nLondon Baptism<\/td>\n39<\/td>\n<\/tr>\n
Lawrence Sail<\/td>\nSea Pictures<\/td>\n40<\/td>\n<\/tr>\n
Margaret Wilmot<\/td>\nHere on earth<\/td>\n42<\/td>\n<\/tr>\n
Thomas R. Smith<\/td>\nDartmoor Morning<\/td>\n44<\/td>\n<\/tr>\n
John Barnie<\/td>\nNature Study<\/td>\n46<\/td>\n<\/tr>\n
<\/td>\nSunglasses<\/td>\n47<\/td>\n<\/tr>\n
Jonathan Nauman<\/td>\n‘The Philosopher’s Vision: Experiencing the Consolatio Philosophiae in Silex Scintillans and Thalia Rediviva’<\/td>\n48<\/td>\n<\/tr>\n
Neil Curry<\/td>\nOf The Puritan Dead<\/td>\n64<\/td>\n<\/tr>\n
Mike Jenkins<\/td>\nAnother Country<\/td>\n67<\/td>\n<\/tr>\n
<\/td>\nShapes in Bronze<\/td>\n68<\/td>\n<\/tr>\n
Paul Murphy<\/td>\nBerlin<\/td>\n69<\/td>\n<\/tr>\n
<\/td>\nSomma Vesuviana<\/td>\n71<\/td>\n<\/tr>\n
S.A. Leavesley<\/td>\nA Countryside Town<\/td>\n72<\/td>\n<\/tr>\n
<\/td>\nThe Lamp Post<\/td>\n74<\/td>\n<\/tr>\n
Grevel Lindhop<\/td>\nIn Arcadia<\/td>\n75<\/td>\n<\/tr>\n
<\/td>\nSnails<\/td>\n76<\/td>\n<\/tr>\n
<\/td>\nThe Allgreave Menhir<\/td>\n77<\/td>\n<\/tr>\n
Emma Lee<\/td>\nStitching America<\/td>\n78<\/td>\n<\/tr>\n
Bruce McRae<\/td>\nThe Day That Was Night<\/td>\n79<\/td>\n<\/tr>\n
Elizabeth Siberry<\/td>\nHenry Vaughan Remembered: some further reflections from nineteenth-century Wales<\/td>\n80<\/td>\n<\/tr>\n
Pete Limbrick<\/td>\nWavicle<\/td>\n96<\/td>\n<\/tr>\n
Rose Flint<\/td>\nSeptember Tenancies at Witham<\/td>\n97<\/td>\n<\/tr>\n
<\/td>\nLake Lillies<\/td>\n99<\/td>\n<\/tr>\n
Eve Jackson<\/td>\nSwan Feathers<\/td>\n100<\/td>\n<\/tr>\n
Se\u00e1n Street<\/td>\nThe Stone Bird<\/td>\n101<\/td>\n<\/tr>\n
Caroline Natzler<\/td>\nPre-history<\/td>\n102<\/td>\n<\/tr>\n
Helen Moore<\/td>\nSeed Yoga Sutra<\/td>\n103<\/td>\n<\/tr>\n
Michael Henry<\/td>\nPetrichor<\/td>\n105<\/td>\n<\/tr>\n
Lesley Saunders<\/td>\nShowing, Not Telling<\/td>\n107<\/td>\n<\/tr>\n
Chris Preddle<\/td>\nPerspective<\/td>\n108<\/td>\n<\/tr>\n
<\/td>\nRoland and Aude<\/td>\n109<\/td>\n<\/tr>\n
Sarah Lindon<\/td>\nIcework<\/td>\n110<\/td>\n<\/tr>\n
<\/td>\nThere is Nothing Automatic<\/td>\n111<\/td>\n<\/tr>\n
Sean H. McDowell<\/td>\nThe Sonnet Made New in George Herbert’s ‘The Temple’<\/td>\n112<\/td>\n<\/tr>\n
Ric Hool<\/td>\nThings You Learn in Scouts<\/td>\n131<\/td>\n<\/tr>\n
Prue Chamberlayne<\/td>\nA Different Anchoring of Love<\/td>\n132<\/td>\n<\/tr>\n
B.J. Buckley<\/td>\nAlong Goose Creek<\/td>\n133<\/td>\n<\/tr>\n
<\/td>\nEquinox<\/td>\n135<\/td>\n<\/tr>\n
William Virgil Davis<\/td>\nHopper’s “Automat”<\/td>\n136<\/td>\n<\/tr>\n
<\/td>\nPoem Beginning with a Sentence from Stevens<\/td>\n137<\/td>\n<\/tr>\n
Pamela Coren<\/td>\nPressure<\/td>\n138<\/td>\n<\/tr>\n
Alison Brackenbury<\/td>\nThe Third<\/td>\n139<\/td>\n<\/tr>\n
<\/td>\nAfter The Rain<\/td>\n140<\/td>\n<\/tr>\n
Graham Hartill<\/td>\nCrusader<\/td>\n141<\/td>\n<\/tr>\n
Charles Wilkinson<\/td>\nPocket of Loss<\/td>\n142<\/td>\n<\/tr>\n
Josephine Scott<\/td>\nThe End of the Season<\/td>\n143<\/td>\n<\/tr>\n
Vicki Kay<\/td>\nBrilliana Harley: Civil War Woman<\/td>\n144<\/td>\n<\/tr>\n
Chris Hall<\/td>\nno ifs<\/td>\n155<\/td>\n<\/tr>\n
Tom Gouthwaite<\/td>\nCedar<\/td>\n159<\/td>\n<\/tr>\n
Thor Bacon<\/td>\nRobert Capa’s Leica<\/td>\n160<\/td>\n<\/tr>\n
Oliver Comins<\/td>\nSunflowers at Night<\/td>\n161<\/td>\n<\/tr>\n
Oliver Mort<\/td>\nBoat in Belfast<\/td>\n162<\/td>\n<\/tr>\n
Kay Syrad<\/td>\nChagall Window<\/td>\n163<\/td>\n<\/tr>\n
Miriam Craig<\/td>\nSunset<\/td>\n164<\/td>\n<\/tr>\n
Hubert Moore<\/td>\nAt the feeding-station<\/td>\n165<\/td>\n<\/tr>\n
Rosie Jackson<\/td>\nAn Anchorite Laments the Destruction of Her Cell, 1537<\/td>\n166<\/td>\n<\/tr>\n
Mai Matsumoto<\/td>\nMagnetic Power in Henry Vaughan’s Poetry<\/td>\n167<\/td>\n<\/tr>\n
Christopher Norris<\/td>\nMissing Hues<\/td>\n188<\/td>\n<\/tr>\n
Roselle Angwin<\/td>\nBefore the World Turned Again<\/td>\n190<\/td>\n<\/tr>\n
<\/td>\nRooks<\/td>\n191<\/td>\n<\/tr>\n
Jonathan Wooding<\/td>\nPodcast<\/td>\n192<\/td>\n<\/tr>\n
Linda Saunders<\/td>\nQuahog<\/td>\n193<\/td>\n<\/tr>\n
Patricia McCarthy<\/td>\nDiscovery<\/td>\n194<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Andrew Neilson<\/td>\nReview of\u00a0A Thickness of Particulars: The Poetry of Anthony Hech\u00a0<\/em> by Jonathan F.S. Post (Oxford University Press)<\/td>\n195<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nContributors<\/td>\n197<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

Table of Contents   Author Title # Preface 9 Jonathan F.S. Post Walking with Vaughan in\u00a0Silex Scintillans 11 Frances-Anne King \u2026<\/p>\n

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