Typology and Iconography in Donne, Herbert, and Milton

1. Front Matter

   Pages i-xiii

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2. “The Sad Prophet Jeremiah” as an Icon of Renaissance Melancholy

   1. “The Sad Prophet Jeremiah” as an Icon of Renaissance Melancholy

      • Reuben Sánchez

      Pages 1-24

3. Rembrandt’s Jeremiah: Donne and Learning How to Be a Preacher

   1. Front Matter

      Pages 25-25

      PDF

   2. “I Turne My Back to Thee, but to Receive / Corrections”: Donne and the Art of Convetere in The Lamentations of Jeremy, for the Most Part According to Tremelius, and “Good Friday, 1613. Riding Westward”

      • Reuben Sánchez

      Pages 27-52

   3. “First the Burden, and Then the Ease”: Donne and the Art of Convetere in the Sermon on Lamentations 3.1 and in the Letter to His Mother

      • Reuben Sánchez

      Pages 53-68

4. Sluter’s Jeremiah: Herbert and Learning How to Visualize the Heart

   1. Front Matter

      Pages 69-69

      PDF

   2. “My Heart Hath Store, Write There”: Writing on and in the Heart in Herbert’s The Temple

      • Reuben Sánchez

      Pages 71-103

   3. “Then Was My Heart Broken, as Was My Verse”: Visualizing the Heart in The Temple

      • Reuben Sánchez

      Pages 105-134

5. Michelangelo’s Jeremiah: Milton and Learning How to Be a Prophet

   1. Front Matter

      Pages 135-135

      PDF

   2. “With New Acquist / of True Experience”: The Failed Revolutionary in the Letter to Heimbach and Samson Agonistes

      • Reuben Sánchez

      Pages 137-163

   3. “And Had None to Cry to, but with the Prophet, O Earth, Earth, Earth!”: Style, Witnessing, and Mythmaking in Milton’s The Readie and Easie Way

      • Reuben Sánchez

      Pages 165-185

   4. “As a Burning Fire Shut Up in My Bones”: From Polemic to Prophecy in The Reason of Church Government and The Readie and Easie Way

      • Reuben Sánchez

      Pages 187-204

   5. “Unapocryphall Vision”: Jeremiah as Exemplary Model for Donne, Herbert, and Milton

      • Reuben Sánchez

      Pages 205-212

6. Back Matter

   Pages 213-275

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This book analyzes the iconographic traditions of Jeremiah and of melancholy to show how Donne, Herbert, and Milton each fashions himself after the icons presented in Rembrandt's Jeremiah Lamenting the Destruction of Jerusalem , Sluter's sculpture of Jeremiah in the Well of Moses, and Michelangelo's fresco of Jeremiah in the Sistine Chapel.

• church
• experience
• fresco
• Iconography
• Jerusalem
• John Milton
• reason
• Rembrandt
• Renaissance
• revolution
• sculpture
• temple
• tradition
• typology
• writing
• British and Irish Literature

Reuben Sánchez is Lecturer at Sam Houston State University, USA.

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