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Jesse Sharpe PhD thesis - Research@StAndrews:FullText ...

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Introduction 29<br />

Here Prior shows much of the difficulty in using the religious language of seventeenthcentury<br />

England to define the various Christian camps with which individual believers<br />

would align themselves, because the same language by all political and religious<br />

movements, but for different purposes. The difficulty in placing individual believers into<br />

Christian sects by way of their rhetoric becomes more problematic when applied to the<br />

devotional poets because they were often more concerned with exhibiting personal belief<br />

than defending or attacking schismatic arguments. Using George Herbert as an example,<br />

Summers nicely summarises the difficulties that exist when trying to categorise the<br />

devotional poets of the seventeenth century:<br />

It is difficult to make our fairly rigid modern conceptions of Puritan and Anglican,<br />

or of high, broad, and low, apply to a man who was engaged in no major<br />

theological or ceremonial controversies after his university days and who died<br />

before 1640. The religious differences in Herbert’s lifetime, moreover, were much<br />

more complicated than the modern labels indicate. 35<br />

As this dissertation will show, when individuals move closer to the central orthodoxy of<br />

Christianity, the Incarnation, the religious differences that arise are of personal<br />

interpretation and application rather than denominational defence. Though critical studies<br />

of Early Modern religious poetry have increased in numbers over the last twenty years, this<br />

dissertation is unique in its consideration of the Incarnation as both a point of unity and<br />

individuality for the devotional poets of the period. When one looks at the way in which<br />

the Incarnation and its theological implications are interpreted and applied by devotional<br />

writers, one finds that this doctrine that is a point of unity for Christianity becomes a<br />

35 George Herbert: His Life and Art, p. 49.

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