informed by the influences of Böhme and Franckenberg as well as of prominent writers Meister Eckhart (1260–1327), Johannes Tauler (–1361), Heinrich Suso (–1366), and Jan van Ruysbroeck (1293/4–1381). Critic and literary theorist Georg Ellinger surmised in his study of Silesius that his poetry was influenced by loneliness (especially due to the death of his parents and becoming an orphan early in life), ungoverned impulsivity, and lack of personal fulfillment, rendering much of his poetry confessional and exhibiting internal psychological conflict. Use in hymns Several of the poems of Silesius have been used or adapted as hymns used in Protestant and Catholic services. In many early Lutheran and Protestant hymnals, these lyrics were attributed to "anonymous", rather than admit they were penned by the Catholic Silesius, known for his criticism and advocacy against Protestantism. In many instances, the verse of Silesius is attributed in print to "anonymous" or to "I.A." While I.A. were the Latin initials for Iohannis Angelus they were often misinterpreted as Incerti auctoris, meaning "unknown author". Likewise, several truly anonymous works were later misattributed to Silesius, thanks to the same ambiguous initials. Verses by Silesius appear in the lyrics of hymns published in Nürnberg Gesang-Buch (1676), Freylinghausen's Gesang-Buch (1704), Porst's Gesang-Buch (1713); and Burg's Gesang-Buch (1746). Seventy-nine hymns using his verses were included in Nicolaus Zinzendorf's Christ-Catholisches Singe und Bet-Büchlein (1727). During the 18th Century, they were frequently in use in the Lutheran, Catholic, and Moravian Churches. Many of these hymns are still popular in Christian churches today. In popular culture In 1934, Hugo Distler based 14 motets of his Totentanz on texts from The Cherubinic Pilgrim. In a series of lectures entitled Siete Noches ("Seven Nights") (1980), Argentine writer and poet Jorge Luis Borges (1899–1986) remarks that the essence of poetry can be encapsulated in a single line from Silesius. Borges wrote: I will end with a great line by the poet who, in the seventeenth century, took the strangely real and poetic name of Angelus Silesius. It is the summary of all I have said tonight — except that I have said it by means of reasoning and simulated reasoning. I will say it first in Spanish and then in German: La rosa es sin porqué; florece porque florece. Die Rose ist ohne warum; sie blühet weil sie blühet. The line he quoted, Die Rose ist ohne warum; sie blühet, weil sie blühet... from Silesius's The