Angelus Silesius

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Silesius, Angelus:

see Angelus SilesiusAngelus Silesius
, pseud. of Johannes Scheffler
, 1624–77, German poet. He is best known for his pastoral lyric cycles Heilige Seelenlust (1657–68) and Cherubinischer Wandersmann
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Angelus Silesius

(ăn`jələs sĭlē`zhəs), pseud. of

Johannes Scheffler

(yōhän`əs shĕf`lər), 1624–77, German poet. He is best known for his pastoral lyric cycles Heilige Seelenlust (1657–68) and Cherubinischer Wandersmann (1674–75), which can be interpreted as Christian as well as pantheistic. Scheffler's mysticism strongly influenced 18th-century PietismPietism
, a movement in the Lutheran Church (see Lutheranism), most influential between the latter part of the 17th cent. and the middle of the 18th. It was an effort to stir the church out of a settled attitude in which dogma and intellectual religion seemed to be supplanting
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See study by J. L. Sammons (1967).

Angelus Silesius
Johann Scheffler
BirthplaceBreslau, Silesia (now Wrocław, Poland)
NationalitySilesian (German, Polish)
Physician, priest, mystic and religious poet
References in periodicals archive ?
Those of you who know Mechtild von Magdeburg or even Angelus Silesius know that they played with the nearly empty word in childlike exaltation, and that their poems, like supple animals thrown high in the air, always land on their feet.
Angelus Silesius perfected the form of the concise epigram as an expression of mysticism's paradoxes.
A strangely-named album that takes its name - as you probably all know - from 17th Century German mystic and poet Angelus Silesius who said: "The rose is without why, she blooms because she blooms.
The texts chosen for this volume predominantly fall into the categories of philosophy or theology, though one cannot deny the literary quality of the works of Marguerite Porete, Meister Eckhart, or Angelus Silesius among others.
From Eckhart, we trace the line of apophatic discourse into Jakob Bohme and Angelus Silesius.
wrote rather frequently of apophasis in the last two decades of his life, explicitly treating Pseudo-Dionysius, Eckhart, and Angelus Silesius.
Indeed Bertram's knowledge of Nietzsche's literary influences, from Novalis to Angelus Silesius, is unparalleled, and that alone easily justifies this translation.
On the other hand, if one does not believe that the "rose" of the title has come to Eco "by chance" (Eco 506), there might be the possibility of a reference to the mystic Angelus Silesius (1624-1677), namely to the couplet "Ohne warumb": "Die Ros' ist ohn warumb/sie bluhet weil sie bluhet/Sie achtt nicht jhrer selbst/fragt nicht ob man sie sihet"--"The rose is without why/it flowers because it flowers/It pays no heed to itself/it does not ask that you look at it" (The Cherubinic Wanderer I, 289).
3) The plausible allusion to Angelus Silesius, with reference to the title The Name of the Rose, is briefly, and rather in passing, noted by Vannini, Storia della mistica occidentale (252).
Some of the historical personages who figure in The Triumph of Love are Petronius Arbiter, Angelus Silesius, Thomas Bradwardine, Ernst Junger, Cardanus, Rathenau, and Clausewitz.
The poem strides beneath the conflicting auspices of two diametrically opposed tutelary spirits: the buffoonish and swilling Trimalchio, from the Satyricon of Petronius, and the seventeenth-century German mystical poet and Counter Reformation agitator Johann Scheffler, whose nom de plume was Angelus Silesius.
Heidegger illustrates his point persuasively with the example of a seventeenth-century fragment from the German poet Angelus Silesius (a contemporary of Leibniz), which reads: "The rose is without why; it blooms because it blooms/it pays no attention to itself, asks not whether it is seen.