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Edward Taylor

Colonial America's foremost poet, pastor, and physician, whose profound theological insights and unique literary style continue to resonate.

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Biographical Sketch

Edward Taylor
Born circa 1642
England
Died June 29, 1729 (aged 86–87)
Westfield, Massachusetts
Occupation Poet, Pastor, Physician
Language English
Genre Poetry

Life and Ministry

Early Life and Dissent

Born around 1642 in Sketchley, Leicestershire, England, Edward Taylor was the son of a nonconformist yeoman farmer. His upbringing during the Commonwealth period instilled in him a deep commitment to Protestant Dissenter principles. While formal education details are scarce, his early life provided a stable, middle-class foundation, influencing his later use of rural imagery and occasional Leicestershire dialect in his poetry.

Emigration and Harvard Education

Following the Restoration of the monarchy, Taylor's refusal to conform to the 1662 Act of Uniformity led to the loss of his teaching position. This experience of religious persecution fueled his desire for freedom, a theme that would permeate his later work. In 1668, he emigrated to the Massachusetts Bay Colony, chronicling his arduous Atlantic crossing in his diary. Shortly after arriving, he entered Harvard College as a second-year student, pursuing studies across various disciplines and languages in preparation for ordination.

Pastor and Physician in Westfield

Upon graduating from Harvard in 1671, Taylor accepted a dual role as pastor and physician in Westfield, Massachusetts. He served this frontier community for 58 years until his death. As a physician, he followed the teachings of Paracelsus, incorporating botanical remedies and even animal tissue-derived agents into his practice. This approach, including the use of 'mummia' (human tissue), has been noted for its comparison to Puritan theological concepts regarding symbolic consumption.

Family and Legacy

Taylor was married twice and fathered thirteen children, though many died in childhood. His enduring legacy, however, lies not in his personal life but in his literary contributions, which remained largely undiscovered for two centuries after his death on June 29, 1729.

The Poetic Masterpiece

Undiscovered Genius

Taylor meticulously crafted his poems, often binding them himself. He explicitly instructed his heirs not to publish his work, leading to their obscurity for over 200 years. The rediscovery of a substantial manuscript at Yale University in 1937 by Thomas H. Johnson marked a pivotal moment in American literary history. A selection published in The New England Quarterly immediately established Taylor as a preeminent voice in colonial American literature.

Theological Depth and Puritanism

Taylor's poetry is deeply rooted in his fervent religious beliefs and the strict tenets of New England Congregationalist Puritanism. Alarmed by a perceived decline in piety, he became a staunch advocate of the Halfway Covenant (1662). This doctrine required individuals seeking full church communion to provide a personal testimony of conversion, affirming their salvation. Taylor's poems, particularly his Preparatory Meditations (1682–1725) and God's Determinations Touching His Elect... (c. 1680), explore complex theological themes, scriptural passages, and the inherent struggles within strict Puritan doctrine, often reflecting his personal spiritual journey.

Vivid Imagery and Universal Themes

His verse is characterized by robust spiritual content conveyed through vivid, often homely imagery drawn from his Puritan surroundings. Taylor masterfully transformed his frontier existence into expressions of profound intellectual, aesthetic, and spiritual universality, showcasing his deep love for God and his commitment to service amidst the isolation of rural life.

Literary Classification

American Baroque and Metaphysical

Initially labeled a "Puritan sacred poet," Taylor's work soon garnered more sophisticated classifications. He is widely recognized as an "American metaphysical" poet, sharing stylistic affinities with English Metaphysical poets. His poetry is also frequently characterized as 'Colonial Baroque,' a term reflecting its ornate style and complex structure.

Taylor's work exhibits several hallmarks of the Baroque style, including:

  • Acrostic Verse: Poems where the first letter of each line spells out a word or message.
  • Wordplay: Clever and intricate use of language, puns, and double meanings.
  • Conceits: Extended, elaborate metaphors that draw surprising parallels between disparate subjects, often used to explore theological concepts.
  • Meditative Structure: His "Meditations" often follow a pattern of spiritual contemplation, reminiscent of poets like George Herbert.

Scholars have also drawn comparisons between Taylor's approach and that of European Baroque poets such as Giambattista Marino and Francisco de Quevedo, highlighting the cross-cultural influences on New World literature.

Musical Adaptations

Enduring Influence

The profound spiritual and artistic merit of Edward Taylor's poetry has inspired musical compositions, demonstrating its lasting impact beyond literary circles. Several notable composers have set his works to music, translating his verse into auditory experiences.

  • Gerald Finzi: Composed two settings from Taylor's Meditations, including the marriage anthem "Glorious in his apparel" (op. 27.1) and "God is gone up with a triumphant shout" (op. 27.2).
  • Richard K. Winslow: His setting of "Huswifery" won the American Music Competition in 1950.
  • Gordon Binkerd: Set "Huswifery" for a cappella chorus in 1970 and "The Ebb and Flow" in 1966.
  • Timothy Hoekman: Composed an anthem for four-part chorus and organ based on the meditation "What Love Is This" in 1978.

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References

References

  1.  a hamlet in Aston Flamville parish.[1]
  2.  Sketchley, Leicestershire – genealogy heraldry and history Retrieved 2018-03-08.
  3.  Karen Gordon-Grube,Evidence of Medicinal Cannibalism in Puritan New England: "Mummy" and Related Remedies in Edward Taylor's "Dispensatory", Early American Literature , 1993, Vol. 28, No. 3 (1993), pp. 185–221.
  4.  Edmund Morgan, Visible Saints: The History of a Puritan Idea (Ithaca, N.Y., Cornell University Press, 1962), p. 62.
  5.  Thomas and Virginia Davis, editors, Edward Taylor vs. Solomon Stoddard (Newark, Del., University of Delaware Press, 1997), p. 47.
  6.  Wallace Cable Brown, American Literature, Duke University 1944, Vol. 16. 3, pp. 186–197
  7.  Austin Warren, Kenyon Review, 3.3 (Summer 1941, pp. 355–71
  8.  â€Edward Taylor”, Encyclopedia of World Biography, 2004
  9.  Alfred Owen Aldridge, Early American Literature: A Comparatist Approach, Princeton University 1982: Chapter 2, “Edward Taylor and the American Baroque”
  10.  Performance on YouTube
  11.  Lieder Net
A full list of references for this article are available at the Edward Taylor Wikipedia page

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Educational Context

This document has been generated by an Artificial Intelligence, drawing upon publicly available data, primarily from Wikipedia. It is intended solely for educational and informational purposes. While efforts have been made to ensure accuracy and comprehensiveness based on the source material, it may not reflect the most current information or nuances.

This content is not a substitute for scholarly research or professional literary analysis. Readers are encouraged to consult primary sources and academic literature for a deeper understanding of Edward Taylor and his work. The creators of this page assume no liability for any errors, omissions, or actions taken based on the information presented herein.