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is commonly viewed as a sexual image. Easton puts particular emphasis on the image of horns as a phallic image and contends that there are masculine and feminine horns throughout Smart's poem. Hawes picks up this theme and goes on to say that the poem shows "that had been ‘feminized’ as a cuckold."
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The problem with
Newtonian physics according to Smart, Harriet Guest argues, is that "it is not based on the principles of revelation: it builds up general notions or theories from analyses of particular instances, rather than attempting to understand each instance through perceiving its relation to
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During this time, Smart was left alone, except for his cat
Jeoffry and the occasional gawker. It is very possible that he felt "homeless" during this time and surely felt that he was in a "limbo… between public and private space". He had nothing else but to turn inwards and devote himself to God and
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being his major work on the subject, and it is
Hutchinson that inspired Smart to adjust or alter Newtonian science in this way, as it was (in his view) lacking a proper relationship with the divine. However, the poem's "new science" seems also to come to an abrupt stop at the end, "as though loses
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The pairing slowly breaks down when later figures, such as political leaders, enter into the poem. Along with this transformation of pairing come insects, legendary creatures, and finally seven birds at the end of the fragment. The next section, "Fragment B" returns to the various animal pairs and,
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Using
Williamson's combining of the two halves as a model, Guest argues that the "For" verses explore religion with a "personal tone" and the "Let" are "unambiguous" and deal with public matters. Jeanne Walker goes further than Guest and reinforces Bond's argument that the "Let " and "For" sections
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Although the original manuscript divided the "Let" and "For" verses onto opposing sides of the manuscript, Karina
Williamson says that "Dr W. H. Bond then discovered that some of the LET and FOR folios were numbered and dated concurrently, and that these chronologically parallel texts were further
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on 6 May 1757 as a "Curable
Patient" by his wife Anna's stepfather John Newbery. It is possible that Smart was confined by Newbery over old debts and a poor relationship between the two. Regardless, there is evidence that an incident took place in St. James's Park in which he "routed all the
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are paired with animals mentioned directly in relationship with each other in their
Biblical accounts, while others, like Isaac, are slightly more obscure and paired with animals that were involved in an important aspect of their life. Biblical priests follow the Patriarchs, and their animal
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lovers – for the 74-line section wherein Smart extols the many virtues and habits of his cat, Jeoffry. To this Neil Curry remarks, "They are lines that most people first meet outside the context of the poem as a whole, as they are probably the most anthologized 'extract' in our literature."
152:, spends a large portion of his work exploring the "parallelism" found in "Hebrew verse". In Williamson's 1980 edition, she made an editorial decision and combined the "Let" and the "For" and then justified this combining the two sides to follow each other based on Bond's thinking.
172:, plays on words and the meaning behind words in order to participate with the divine that exists within language. This is most exemplified when the poet says, "For I pray the Lord Jesus to translate my MAGNIFICAT into verse and represent it" (B43), where the image of the
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with animals. The beginning lines of the poem state the function of this action when they read, "Let Noah and his company approach the throne of Grace, and do homage to the Ark of their
Salvation" (A4). These two groups are combined in order to combine the images of
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His section of
Jeoffry is just part of his larger desire to give a "voice" to nature, and Smart believes that nature, like his cat, is always praising God but needs a poet in order to bring out that voice. The themes of animals and language are thus merged in
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Smart seems to be fascinated by contemporary science, but he also aims to incorporate it into a theology, and in so doing to create what has been called a "new science". This "new science" that Smart seems to express in his poetry rewrites
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reflects an abandonment of traditional poetic structures in order to explore complex religious thought. His "Let" verses join creation together as he seemingly writes his own version of
Biblical poetry. Smart, in
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are reminiscent of the Hebrew tradition when she states that the purpose of the poems, as with the Hebrew poems, is to "iterate both present and future simultaneously, that is, they redeem time."
163:, Smart describes his writing as creating "impressions". To accomplish this task, he incorporated puns and onomatopoeia in order to emphasize the theological significance of his poetic language.
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are combined with various plants and herbs. The last section, "Fragment D", relies on personal friends and those known by Smart to be paired with various stones, gems, minerals and a few herbs.
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his poetry. No specifics are known about Christopher Smart's day-to-day activities, and he was released from the asylum on 30 January 1763, but his poem was not to be published until 1939.
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criticizes contemporary scientific theories, saying "Newton is ignorant for if a man consult not the WORD how should he understand the WORK?"(B220), and establishes Smart's own original
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passages opposite one another antiphonally, following a practice of biblical Hebrew poetry, and that the present MS. represents less than half of Smart's original plan for the poem."
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The pairing stops at B295 when the "For" verses become the only type remaining in the fragment. However, the pairing is resumed in "Fragment C" when Biblical names from the
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in a mixture of Old and New Testament figures, begins to rely on local animals or animals that pun off aspects of the figure's life. One such example is a pun on Salmon and
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tradition. As such, Smart is attempting to develop a poetic language that will connect him to the "one true, eternal poem" of God. This poetic language connects Smart to
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is divided into four fragments labeled "A", "B", "C", and "D". The whole work consists of over 1,200 lines: all the lines in some sections begin with the word
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connected by verbal links." Reinforcing this view of a parallel between the two sides is the fact that Smart's influence Robert Lowth, and his
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were originally "fishermen" along with being "fishers of men". These pairs continue until the poem turns to creatures from Pliny at B245.
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predicts a misogynistic future while simultaneously undermining this effort with his constant associations to female creation.
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For the grosser the particles the nearer to the sink, and the nearer to purity, the quicker the gravitation.
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Liu, Alan. "Christopher Smart's 'Uncommunicated Letters': Translation and the Ethics of Literary History".
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sections are physically distinct while corresponding verse for verse. Smart's plan was to arrange the
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Ennis, Daniel J. "Christopher Smart's Cat Revisited: Jubilate Agno and the Ars Poetica Tradition".
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Hawes, Clement. "Smart's Bawdy Politic: Masculinity and the Second Age of Horn in Jubilate Agno."
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Furthermore, Jeoffry himself is the "most famous cat in the whole history of English literature."
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Easton, Fraser. "Christopher Smart's Cross-Dressing: Mimicry, Depropriation, and Jubilate Agno".
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For the Glory of God is always in the East, but cannot be seen for the cloud of the crucifixion.
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Smart is fond of his cat and praises his cat's relationship with God when he says (B695–B768):
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A "Commission of Lunacy" was taken out against Christopher Smart, and he was admitted in
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For the Life of God is in the Loadstone, and there is a magnet, which pointeth due EAST.
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For MOTION is the quality of life direct, and that which hath not motion, is resistance.
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For the dexterity of his defence is an instance of the love of God to him exceedingly.
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For many of the pairs there is a logical or symbolic consistency. Figures, such as
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For he has the subtlety and hissing of a serpent, which in goodness he suppresses.
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For due East is the way to Paradise, which man knoweth not by reason of his fall.
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For this is done by wreathing his body seven times round with elegant quickness.
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For at the first glance of the glory of God in the East he worships in his Way.
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For his motions upon the face of the earth are more than any other quadrupede.
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However, many critics have focused on the possible sexual images present in
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For Attraction is the earning of parts, which have a similitude in the life.
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For the Centripetal and Centrifugal forces are GOD SUSTAINING and DIRECTING.
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For Elasticity is the temper of matter to recover its place with vehemence.
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the whole revealed to faith." It is possible that Smart was influenced by
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from Smart's manuscript, which Stead had discovered in a private library.
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and her praise of God before giving birth to Jesus, the future saviour.
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for the celebration of the fiftieth anniversary of the consecration of
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choir, and organ. The cantata was commissioned by the Reverend Canon
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For he counteracts the Devil, who is death, by brisking about the life
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For MATTER is the dust of the Earth, every atom of which is the life.
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For he is the cleanest in the use of his forepaws of any quadruped.
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For he is the servant of the Living God duly and daily serving him.
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For when his day's work is done his business more properly begins.
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For Resistance is not of GOD, but he-hath built his works upon it.
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For in his morning orisons he loves the sun and the sun loves him
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For he keeps the Lord's watch in the night against the adversary.
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A Form of Sound Words: The Religious Poetry of Christopher Smart
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B89) and this incident may have provoked his being locked away.
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Boundary 2: An International Journal of Literature and Culture
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Essays in Criticism: A Quarterly Journal of Literary Criticism
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The poem contains many references to the scientific works of
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The Poetical Works of Christopher Smart, I: Jubilate Agno
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For there is nothing brisker than his life when in motion
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For there is nothing sweeter than his peace when at rest.
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For God has blessed him in the variety of his movements.
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The poem is chiefly remembered today – especially among
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1123:. Lewisburg: Bucknell University Press, 2001. 342 pp.
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For, tho he cannot fly, he is an excellent clamberer.
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Costa, Dennis. "Language in Smart's Jubilate Agno".
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Many critics have focused on the unique language of
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For he can tread to all the measures upon the musick
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For he is the quickest to his mark of any creature.
1107:Criticism: A Quarterly for Literature and the Arts
1079:. Devon: Northcote House Publishers, 2005. 128 pp.
1288:The Parables of Our Lord and Saviour Jesus Christ
1086:. Oxford: Oxford University Press, 1989. 312 pp.
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1130:. Michigan State University Press, 1967. 303 pp.
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519:Jubilate Agno
515:
513:
512:Jubilate Agno
508:
507:Jubilate Agno
504:
503:Jubilate Agno
499:
497:
493:
489:
485:
481:
480:Jubilate Agno
471:
469:
468:
463:
462:Jubilate Agno
454:
451:
448:
445:
442:
439:
438:
434:
431:
428:
425:
422:
419:
416:
413:
410:
409:
405:
402:
399:
396:
393:
390:
387:
384:
383:
379:
376:
373:
370:
367:
364:
363:
362:
359:
356:
347:
338:
335:
331:
322:
319:
316:
313:
310:
307:
304:
301:
298:
295:
294:
293:
291:
285:
283:
279:
278:Jubilate Agno
275:
271:
267:
263:
253:
251:
247:
242:
240:
236:
232:
226:
224:
219:
215:
211:
206:
204:
200:
195:
191:
190:Jubilate Agno
181:
179:
175:
171:
170:Jubilate Agno
166:
165:Jubilate Agno
162:
161:Jubilate Agno
157:
153:
151:
145:
143:
139:
135:
131:
126:
124:
120:
116:
115:Jubilate Agno
108:
99:
95:
93:
92:Jubilate Agno
88:
78:
76:
72:
68:
64:
63:Bethnal Green
60:
56:
52:
48:
44:
43:
42:Jubilate Agno
34:
30:
19:
18:Jeoffry (cat)
1341:
1335:
1325:
1318:
1311:
1305:Misc. poetry
1293:
1286:
1280:
1279:
1272:
1265:
1260:
1253:
1247:
1240:
1179:
1178:"Reading of
1170:
1141:
1134:
1127:
1120:
1113:
1106:
1097:
1090:
1083:
1076:
1069:
1046:
1035:
1026:
1017:
1008:
999:
994:Costa p. 296
990:
981:
972:
963:
954:
945:
936:
927:
918:
910:
906:
901:Guest p. 133
897:
889:
885:
876:
868:
864:
856:
852:
844:
840:
832:
828:
777:Guest p. 167
773:
768:Guest p. 140
764:
759:Guest p. 132
743:Costa p. 305
739:
730:
721:
712:
703:
695:
679:
661:
652:
643:
638:Hawes p. 155
634:
625:
616:
607:
598:
580:
577:Resonance FM
574:
571:Performances
539:composed by
530:
526:
525:The text of
524:
518:
511:
506:
502:
500:
483:
479:
477:
465:
461:
458:
360:
352:
333:
326:
286:
277:
276:. Moreover,
266:Isaac Newton
259:
246:Book of Ezra
243:
227:
207:
189:
187:
169:
164:
160:
158:
154:
149:
146:
141:
137:
133:
129:
127:
122:
118:
114:
113:
96:
91:
84:
70:
41:
40:
39:
29:
1320:The Hilliad
985:Ennis p. 10
967:Ennis p. 16
949:Curry p. 18
940:Curry p. 29
922:Curry p. 28
911:Prose Works
892:I pp. 37–39
880:Curry p. 25
823:Curry p. 22
811:Curry p. 21
793:Curry p. 24
707:Curry p. 19
696:Prose Works
484:Ars Poetica
470:tradition.
467:Ars Poetica
223:Deuteronomy
75:W. F. Stead
1393:1939 poems
1387:Categories
1063:References
1003:Liu p. 121
976:Ennis p. 8
958:Curry p. 8
931:Curry p. 7
734:Liu p. 127
270:Leucrocuta
262:John Locke
199:Noah's Ark
194:Patriarchs
174:Magnificat
90:company" (
81:Background
1255:Abimelech
698:I p. xxii
585:Frank Key
1365:See also
669:Archived
521:in music
248:and the
239:Apostles
545:soprano
537:cantata
488:Orpheus
341:Jeoffry
256:Science
210:Abraham
1344:(1763)
1338:(1752)
1249:Hannah
913:p. 131
871:p. 108
231:Salome
218:Daniel
216:, and
214:Balaam
67:London
1342:Poems
1227:Works
859:p. 91
847:p. 60
835:p. 53
591:Notes
553:tenor
492:David
47:Latin
1252:and
557:bass
555:and
549:alto
496:Adam
490:and
264:and
178:Mary
140:and
132:and
1157:at
435:...
406:...
380:...
355:cat
205:".
184:Ark
159:In
142:For
138:Let
134:For
130:Let
123:For
119:Let
57:in
1389::
816:^
798:^
782:^
748:^
688:^
567:.
551:,
547:,
332:,
225:.
212:,
65:,
61:,
1212:e
1205:t
1198:v
1055:.
197:"
45:(
20:)
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