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_________________________<br />

Notes<br />

1<br />

Michael Schoenfeldt references Louis Martz, Anthony Raspa, and A. D. Cousins as the<br />

main critics reading Donne in light of Catholicism; P. M. Oliver adds Helen Gardner<br />

to this list (Schoenfeldt 582, Oliver 110). Oliver also credits Barbara K. Lewalski<br />

and John Stachniewski as key scholars in placing Donne’s poetry in the Protestant,<br />

specifically Calvinist sphere (121, 137).<br />

2<br />

Anne-Marie Miller Blaise cites major critics under the banner of “Anglo-Catholic”<br />

influence as Louis Martz, Heather Asals, and Amy M. Charles, and those who think<br />

Herbert “Calvinist” as Joseph H. Summers, Barbara K. Lewalski, and Richard Strier<br />

(Blaise 18).<br />

3<br />

It is interesting that in Herbert’s lifetime the word “icon” could mean a metaphor,<br />

specifically “a simile” (OED). Much like a simile, when Herbert’s poetry acts as an<br />

icon it motions to the reader to compare two things, often the literal and the spiritual.<br />

_________________________<br />

Works Cited<br />

Blaise, Anne-Marie Miller. “‘Sweetnesse Readie Penn’d’: Herbert’s Theology of Beauty.”<br />

George Herbert Journal 27.1 (2003): 1-21. Web.Cruickshank, Frances. Verse and<br />

Poetics in George Herbert and John Donne. Surrey, England: Ashgate, 2010. Print.<br />

Donne, John. “A Hymn to Christ, at the Author’s Last Going into Germany.” Ed. John<br />

P.Rumrich and Gregory Chaplin. Seventeenth-Century British Poetry: 1603-1660.<br />

New York: Norton, 2006. 77. Print<br />

---. “Sonnet XIII.” Ed. John P. Rumrich and Gregory Chaplin. Seventeenth-Century<br />

British Poetry: 1603-1660. New York: Norton, 2006. 73. Print<br />

Herbert, George. “Aaron” Ed. John P. Rumrich and Gregory Chaplin. Seventeenth-<br />

Century British Poetry: 1603-1660. New York: Norton, 2006. 283. Print<br />

---. “Love II.” Ed. John P. Rumrich and Gregory Chaplin. Seventeenth-Century British<br />

Poetry: 1603-1660. New York: Norton, 2006. 227-33. Print.<br />

---. “Love III.” Ed. John P. Rumrich and Gregory Chaplin. Seventeenth-Century British<br />

Poetry: 1603-1660. New York: Norton, 2006. 291. Print.<br />

---. “The Flower.” Ed. John P. Rumrich and Gregory Chaplin. Seventeenth-Century British<br />

Poetry: 1603-1660. New York: Norton, 2006. 280-1. Print<br />

---. “The Sacrifice.” Ed. John P. Rumrich and Gregory Chaplin. Seventeenth-Century<br />

British<br />

Poetry: 1603-1660. New York: Norton, 2006. 245. Print.<br />

“icon, n.” OED Online. September 2011. Oxford UP. Web. 15 October 2011.<br />

“mark, v.” OED Online. September 2011. Oxford UP. Web. 15 October 2011.<br />

Oliver, P.M. Donne’s Religious Writing: A Discourse of Feigned Devotion. London:<br />

<strong>Long</strong>man, 1997. Print.<br />

Schoenfeldt, Michael. “‘That Spectacle of Too Much Weight’: The Poetics of Sacrifice in<br />

Donne, Herbert, and Milton.” Journal of Medieval and Early Modern Studies 31.3<br />

(2001): 561-84. Print.<br />

“spell, v.2.” OED Online. September 2011. Oxford UP. Web.12 December 2011.<br />

130 | Keery<br />

Keery | 131

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