This dissertation is structured around five Australian mystical poets: Ada Cambridge, John Shaw Neilson, Francis Webb, Judith Wright and Kevin Hart. It examines the varieties of Western Christian mysticism upon which these poets draw, or with which they exhibit affinities. A short prelude section to each chapter considers the thematic parallels of their contemporaries, while the final chapter critically investigates constructions of Indigeneity in Australian mystical poetry and the renegotiated mystical poetics of Indigenous poets and theologians. The central argument of this dissertation is that an understanding of Western Christian mysticism is essential to the study of Australian poetry. There are three sub-arguments: firstly, that Australian literary criticism regarding the mystical largely avoids the concept of mysticism as a shifting notion both historically and in the present; secondly, that what passes for mysticism is recurringly subject to poorly defined constructions of mysticism as well as individual poets’ use of the mystical for personal, creative or ideological purposes; thirdly, that in avoiding the concept of a shifting notion critics have ignored the increasing contribution of Australian poets to national and international discourses of mysticism.

Thesis (M.A.I.S.)--Oregon State University, 2010. / Printout. Includes bibliographical references (leaves 99-103). Also available on the World Wide Web.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2009. / Title from title screen (site viewed February 25, 2010). PDF text: 1 v. UMI publication number: AAT 3386595. Includes bibliographical references. Also available in microfilm and microfiche formats.

The present study establishes a more full and accurate understanding of the importance of mysticism in the art and life of Emily Dickinson, and shows that because of the physiological changes endured by the mystic and the unique relationship between mysticism and madness, what might be read literally as madness (psychosis) in Dickinson's poems should be seen as a metaphor for the dark counterpoint of the mystical cycle.Chapter One establishes a necessary background on mysticism and discusses the effects of mystical experience on the mind and body of the mystic. As the mystic undergoes spiritual purification, she will be changed physiologically because the central nervous system has to be cultured and strengthened to withstand the changes created by the transcendental level of consciousness.Chapter Two chronologically documents Dickinson's mystical achievement, using her letters as the primary source and Evelyn Underhill's five stages of mystical development as the base of measurement. Dickinson achieved the first mystic life-Awakening, Purgation, and Illumination. Hints of the Dark Night of the Soul may be seen in her later years, but there does not appear to be firm evidence that it was ever fully established. Oscillating between states of pain and pleasure throughout her life, she did not achieve the perfect serenity, peace, and certitude that characterizes Union. Chapter Three examines the symbiotic relationship between mysticism and madness, to show that they share a common source and the end result depends on the preparedness of the individual. Chapter Four examines selected poems, written from 1859-65, from the perspective that Dickinson is a mystic describing mystical experience rather than a psychotic describing insanity. Chapter Four, as does Chapter Three, refers to the interpretation of Dickinson's poetry made by the Freudian psychiatrist, Dr. John Cody, because his interpretation has made the strongest argument for literal madness in Dickinson's work. Chapter Three shows the insufficiency of the argument to explain Dickinson, other mystics, and two of the parallel cases Cody used to support his thesis; Chapter Four demonstrates the same insufficiency when applied to Dickinson's poems of madness, terror, and despair. Chapter Five briefly examines the relationship between Dickinson, the mystic, and Dickinson, the poet. / Department of English

Thesis (Th. M.)--Regent College, 2007. / Abstract and vita. Includes bibliographical references (leaves 137-155).

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"Mystical poetry of Jalaloddin Rumi and Jacopone da Todi: A comparison" attempts to analyze and prove the possibility of a comparison of mystical poetry of the Eastern and Western traditions. The consciousness of the One (which is ineffable) is the goal of the mystical experience. This experience finds its expression in the following ways: 1- By affirming its ineffability through the insufficiency of words (the negative way does not exist in complete separation from the affirmative). 2- By relying on imagery and symbols drawn from the phenomenal world and translating abstract concepts into terms that men can understand. The purpose of this dissertation is to prove that Jacopone da Todi's and Jalallodin Rumi's use of poetic imagery from physical reality is the best expression of their mystical quest. Poetry for Jacopone and Rumi, through metaphorical presence, becomes a vehicle toward Reality. The introduction investigates the historical setting and Rumi's and Jacopone's lives in relation to the cultural environment of the time. The first chapter discusses and defines the concept of mysticism and emphasizes the importance of two fundamental ideas in every type of mysticism: the ideas of Love and Transformation. The second chapter discusses the concept of love as used by Jacopone and Rumi in their poetry. Love is seen as a gift; man in his weakness would never be able to attract it or reject. Love is also seen as frenzy and passion, hence the use of images from even the most intimate sphere of life and from sensual love. The chapter, through close analysis of different texts, will also explore the relation between earthly love and spiritual love. The third chapter demonstrates how the concept of transformation, essential to spiritual growth, is developed in the poetry of Jacopone and Rumi through the use of imagery. The symbols of the Cross for Jacopone and of Fire for Rumi are used as examples of purification and growth through sacrifice: "What is poor brushwood when it falls into the fire? Is not the brushwood transformed into a spark by the fire"? The fourth chapter presents a thesis on the language of mysticism or the "mystical lexicon" found in the two poets analyzed despite the apparent lack of any interdependence between them or dependence by them on a common source. / Arts, Faculty of / English, Department of / Graduate