"Steps to the Temple," first published in 1646, serves as a collection of Richard Crashaw's sacred poetry, later expanded in the 1648 edition with secular works and new creations like "The Flaming Heart." This text delves into the spiritual poems from the original edition, exploring the religious fervor and artistic style that characterize Crashaw's work. Through a comparison with contemporary poets, the discussion highlights the unique elements that define Crashaw's contributions to 17th-century literature.

The Influence of George Herbert

The title "Steps to the Temple" draws inspiration from George Herbert’s "The Temple," a renowned collection of devotional poetry. Crashaw not only honors Herbert in his work titled "On Mr George Herbert’s Book entitled 'The Temple of Sacred Poems,'" but he also positions himself as a literary heir to Herbert's meditative tradition. This connection is vividly portrayed in a poem where Crashaw suggests that the spiritual insights found within the verses will elevate the reader’s soul, likening this experience to the ascent towards heavenly realms.

Paradoxical Possessions

In an interesting twist, Crashaw’s poem concludes with him claiming ownership over Herbert's work as he presents it to a lady, despite Herbert’s authorship. This paradox captures the essence of Crashaw’s literary journey, intertwining earthly admiration and heavenly aspirations. Through this act, he situates himself within a lineage of spiritual poets, while simultaneously forging his own path.

Contrasting Styles of Devotion

While Herbert's poetry is marked by a grounded, personal dialogue with God, Crashaw’s verses soar with ornate, lofty expressions. Herbert’s approach encapsulates the daily struggles of faith, whereas Crashaw’s poetic landscapes are resplendent with a grandeur befitting his Catholic influences. This divergence in style not only reflects their individual spiritual journeys but also their contrasting religious contexts.

Religious Influences and Conversion

Both poets had ties to Little Gidding, a hub for High Church Anglicanism. Herbert’s identity as a country minister contrasts with Crashaw’s Catholic conversion, which was fueled by his appreciation for the rituals and aesthetics of the Church. This transition marked by his departure from Protestantism, influenced by his experiences in Paris and Rome, is evident in the continental flair present in Crashaw’s poetry.

An Extraordinary Life Documented

The anonymous preface writer of "Steps to the Temple" praises the poems as reflections of Crashaw’s sanctified life. These sacred verses act as a map for readers to attain similar spiritual elevations, providing an intimate connection to the divine. Acting as metaphysical guides, the poems serve to inspire devotion as deeply as the Psalms, translating holy experiences into written form.

Poetic Trends and Metaphysical Mastery

Crashaw adeptly weaves together various poetic styles of his era, from the plain to the metaphysical, reminiscent of John Donne. His poetry becomes a realm of creation, where contradictions find resolution and mysticism seeks unity with the divine. Unlike his contemporary metaphysical poets, Crashaw’s work is imbued with an earnest pursuit of spiritual transformation.

Symbolic Imagery and Baroque Flourishes

His use of vivid imagery achieves a sensory depth, portraying holiness through physical sensations. Descriptive flourishes have led to terms like "baroque" and "rococo" being associated with his work. The intricate visual intensity of Crashaw's poetry invites comparisons to the plastic arts, highlighting a deep interconnection with the artistic movements of his time.

A Fusion of Inspirations

Crashaw’s "Steps to the Temple" opens with a translation of Giambattista Marino’s "Sospetto d’Herode," resembling a blend of Dante and Milton. In this narrative, Satan, aware of Christ’s impending victory over Death, incites Herod to act against Christ’s birth. The poem, structured in iambic pentameter, culminates in an irony of Christ's power being veiled in humility.

Vivid Depictions of Satan

Crashaw’s rendering of...