Summary
Christopher Smart’s poem, "My Cat, Jeoffry," encapsulates the profound connection between human and animal, weaving a tapestry of devotion, worship, and whimsical observation. This piece, a section of Smart's larger work, Jubilate Agno, springs from a time when the poet was confined for religious mania, yet his surroundings were not unkind. In this context, Smart found solace in his feline companion, Jeoffry, whose lively antics and spiritual symbolism animate the verses.
The Setting of Creation
Crafted in the mid-18th century, "My Cat, Jeoffry" reflects the unique environment in which Smart found himself: a private madhouse, which contrary to the notorious reputation of such institutions, allowed Smart a degree of freedom. Permitted access to pen, paper, and the company of his cat, Smart was able to transform his observations into art. His confinement becomes an unlikely sanctuary, where Jeoffry's presence serves as both a muse and a metaphor for divine grace.
The Structure and Symbolism
In "My Cat, Jeoffry," Smart uses the cat as a symbolic vessel to explore deeper religious themes. The poem's opening line, "For I will consider my Cat, Jeoffry," introduces a blend of naturalistic observation and spiritual meditation. Jeoffry, depicted as "the servant of the living God," is shown worshipping through his motions, such as "wreathing his body seven times round with elegant quickness," a gesture that echoes both feline playfulness and a form of sacred ritual. This duality is central to the poem’s charm, marrying mundane cat behavior with profound reverence.
Daily Rituals of Worship
Smart's poem structure mirrors his own daily routine of writing, with Jeoffry's actions unfolding in a sequence akin to religious observance. The cat's self-grooming and playful antics become acts of worship in themselves. "For having considered God and himself he will consider his neighbor," Smart writes, attributing to Jeoffry a humanity that respects the cat’s inherent nature. This anthropomorphism is neither forced nor unrealistic, rather it enriches the portrayal of Jeoffry’s personality.
Jeoffry’s Virtues and Liveliness
Jeoffry's virtues are celebrated through a lens of religious symbolism and humor. His merciful nature, allowing "one mouse in seven [to] escape," recalls biblical numerology, and his voice, "it has in purity what it wants in music," evokes a playful yet reverent tone. Smart's humor and affection shine through as he observes Jeoffry as an "instrument for the children to learn benevolence on." The poem not only delights in Jeoffry’s physicality but also in his spiritual significance, illustrating how the mundane elevates to the divine.
Dynamic Movements and Divine Protection
The final sections of the poem describe Jeoffry’s energetic movements, representing a microcosm of life itself. "For he counteracts the Devil, who is death, by brisking about the life," Smart notes, attributing Jeoffry with a cosmic role of life-bringer. His antics—swimming, creeping, climbing—are small acts of defiance against darkness, enhanced by Smart’s interest in natural sciences. The poet compares the static electricity generated by stroking Jeoffry to a "spiritual substance that God sends from heaven," a divine energy protecting against evil.
Smart's Connection with Jeoffry
Smart's intimate portrayal of Jeoffry resonates with the poet’s own experiences of trials and divine grace. In moments of vulnerability, "Poor Jeoffry! poor Jeoffry! the rat has bit thy throat," Smart draws a parallel between Jeoffry's physical ailment and his own struggles. Yet, just as Jeoffry is "better" through divine blessing, so too does Smart find solace and strength through his faith and his feline companion. This connection underscores the poem’s emotional depth, reflecting both the resilience and the sacredness imbued in everyday life.
Style and Technique
Jubilate Agno stands...
(This entire section contains 408 words.)
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as a unique work of literature, intriguing for its structure and technique. Comprised of numerous fragments, the poem invites debate among critics regarding whether it forms a cohesive poem or merely serves as a collection of poetic notes. Central to its construction, each line, except the first two, begins with either “Let” or “For.” This pattern, some argue, is meant to be read antiphonally, with a "Let" line paired with a "For" line in response, creating a dialogue within the text. Notably, the section featuring "My Cat, Jeoffry" adheres to this structure by commencing each line with "For," lending a personal touch to the narrative.
The influence of Anglican liturgy and biblical literature, particularly the Psalms and Prophets, is evident in Smart’s work. He draws heavily from Robert Lowth’s De Sacra Poesi Hebraeorum (1753), known in English as Lectures on the Sacred Poetry of the Hebrews (1787). Unlike traditional poetry, Jubilate Agno is devoid of rhyme and meter. Instead, Smart unifies his lines through structural similarity and occasional equal lengths. This, combined with his acute sensitivity to the sounds of words, enriches the poem and creates patterns that bind it. Smart exhibits a fondness for alliteration, exemplified when Jeoffry "duly and daily" serves God, or at the cat's "first glance of the glory of God.”
Smart’s creativity extends to the coinage of new words or the adaptation of archaic terms, paying close attention to their auditory impact, as seen when describing Jeoffry’s playful antics as “spraggle upon waggle.” The term "sprag," an old word for "a lively young fellow," is used onomatopoeically to capture the cat's dynamic movements. Humanizing metaphors are a hallmark of Smart's work; his aptitude lies in maintaining the literal alongside the anthropomorphic and religious layers. This balance is evident in sharp visual metaphors, such as Jeoffry "cameling his back"—a vivid portrayal of a cat's defensive arch.
Elsewhere in Jubilate Agno, Smart articulates his art theory through the concept of “punching,” referring to the visual impact of words on the reader. Although not initially intended for publication, this poem is pivotal in Smart’s oeuvre. Through its innovative form, he transitioned from the conventional verse of the eighteenth century to a style that is highly personal and, in many respects, modern. Critics often suggest that Smart’s work anticipates the poetry of William Blake, not only in its unconventional form but also in its personal theology and multifaceted expression.
