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Prayer, Despair, and Drama explores the godly sorrow of Elizabethan Calvinists and finds that what some have characterized as an evangelism of fear functioned more as a kind of religious therapy. In this major contribution to discussions of the relationship between religion and literature in Elizabethan England, Peter Iver Kaufman argues that the soul-searching and self-scourging typical of late Tudor Calvinism was reflected in the rhetoric of self-loathing then prevalent in sermons, sonnets, and soliloquys. Kaufman shows how this spiritual psychology informs major literary texts including Hamlet, The Faerie Queene, Donne's Holy Sonnets, and other works.
Winner of the Christianity Today 2010 Book Award for History/Biography, and praised in Christian Century as "witty...erudite...masterful," this groundbreaking history, the first of its kind, shows that far from being only about the age-old riddle of divine sovereignty versus human free will, the debate over predestination is inseparable from other central Christian beliefs and practices--the efficacy of the sacraments, the existence of purgatory and hell, the extent of God's providential involvement in human affairs--and has fueled theological conflicts across denominations for centuries. Peter Thuesen reexamines not only familiar predestinarians such as the New England Puritans and many later Baptists and Presbyterians, but also non-Calvinists such as Catholics and Lutherans, and shows how even contemporary megachurches preach a "purpose-driven" outlook that owes much to the doctrine of predestination. For anyone wanting a fuller understanding of religion in America, Predestination offers both historical context on a doctrine that reaches back 1,600 years and a fresh perspective on today's denominational landscape.
Winner of the Book of the Year Award for the Conference on Christianity and Literature.--Thomas H. Luxon, Dartmouth College "CHOICE"
Heather Hirschfeld recovers the historical specificity and the conceptual vigor of the term "satisfaction" as used in dramas of the sixteenth and early seventeenth centuries.
Richard Greenham was one of the most important and respected figures among the Elizabethan clergy. His contemporaries described him as the founder of a previously unknown pastoral art: the cure of cases of conscience. Despite his fame in the Elizabethan period as a model pastor, pioneer in reformed casuistry, and founder of one of the first rectory seminaries, scholars have made little use of his life and works in their study of Elizabethan religious life. This study restores Richard Greenham to the central place he held in the development of Elizabethan Reformed parochial ministry. The monograph-length introduction includes a biography, an analysis of his pastoral style, and a study of his approach to curing cases of conscience. The transcription of Rylands English Manuscript 524, cross-referenced with the published editions of the sayings, offers a useful source to scholars who wish to study the collecting and ’framing’ process of the humanist pedagogical tradition. The selection of early published works includes Greenham’s (unfinished) catechism, treatises on the Sabbath and marriage, and advice on reading scripture and educating children.
Offering fuller understandings of both dramatic representations and the complexities of religious culture, this collection reveals the ways in which religion and performance were inextricably linked in early modern England. Its readings extend beyond the interpretation of straightforward religious allusions and suggest new avenues for theorizing the dynamic relationship between religious representations and dramatic ones. By addressing the particular ways in which commercial drama adapted the sensory aspects of religious experience to its own symbolic systems, the volume enacts a methodological shift towards a more nuanced semiotics of theatrical performance. Covering plays by a wide range of dramatists, including Shakespeare, individual essays explore the material conditions of performance, the intricate resonances between dramatic performance and religious ceremonies, and the multiple valences of religious references in early modern plays. Additionally, Religion and Drama in Early Modern England reveals the theater's broad interpretation of post-Reformation Christian practice, as well as its engagement with the religions of Islam, Judaism and paganism.
Awarded the 2007 National Research Prize SAES/AEFA. This study is a reappraisal of John Bunyan in the light of the dissenting religious culture of the late-seventeenth century. Charges of schism and fanaticism were repeatedly levelled against Bunyan, both from within the dissenting community and without, but far from being chastened by these accusations, Bunyan responded with a religious discourse marked by a rhetoric of excess. The focus of this book is therefore upon Bunyan's overwhelming spiritual experiences, especially the representation of torment, in his literary and polemical works. The believers' suffering was an obsessive concern of dissenting ministers, even to the point where their writings are often remembered today for little else. Hitherto, most scholars have termed all the mental states that they invoke 'despair', but this simplifies the experiences at issue. A wealth of contemporary material helps to restore the nuances of seventeenth-century physical and spiritual conditions, from enthusiasm to melancholy and madness; from fear to desertion and sloth. These chapters explore fresh ways in which this subtle typology of torment and its extreme manifestations form the core of the literary expression of Restoration dissent, challenging Bunyan to represent spiritual equilibrium as the ultimate quest of the earthly pilgrimage.
This careful study explores puritan attitudes through the life and works of Elizabethan minister George Gifford. He was on the front lines of religious controversies in a time when the English church was being shaped by Protestant evangelicals who felt compelled to carry their understanding of “true religion” to all corners of England. Known among themselves as “the godly” or “gospellers” and to their enemies as “puritans” or “precisionists,” these ministers believed the Church of England was only partially reformed. Gifford tried to convert the many parishioners whom he believed to be Protestant in name only, or “men indifferent” due to their acceptance of whatever religion was thrust upon them. Using archival records and Gifford's large corpus of published treatises, dialogues, and sermons, McGinnis looks at Gifford’s support and opposition in his ministry at Maldon, and his recurring conflicts with ecclesiastical authorities. He explores Gifford's writings on Catholicism, separatism, and witchcraft, and considers how Gifford’s attention to practical ministry interacted with national debates. McGinnis also analyzes Gifford's attempt to translate Protestant doctrines into a language accessible to the average layperson in his sermons and catechism. Those interested in popular religion and culture, pastoral ministry, and puritanism on both sides of the Atlantic will benefit from this study of one on the front lines of religious controversies during the turbulent years of Elizabeth's reign.
William Shakespeare’s The Rape of Lucrece and John Donne’s Holy Sonnets are read against the background of concepts of the soul during the early modern period. This approach provides new insights into concepts of interiority and performance as well as a new understanding of the soliloquy in both poetry and drama.
Tropes and the Literary-Scientific Revolution: Forms of Proof argues that the rise of mechanical science in the seventeenth century had a profound impact on both language and literature. To the extent that new ideas about things were accompanied by new attitudes toward words, what we commonly regard as the “scientific revolution” inevitably bore literary dimensions as well. Literary tropes and forms underwent tremendous reassessment in the seventeenth century, and early modern science was shaped just as powerfully by contest over the place of literary figures, from personification and metaphor to anamorphosis and allegory. In their rejection of teleological explanations of natural motion, for instance, early modern philosophers often disputed the value of personification, a figural projection of interiority onto what was becoming increasingly a mechanical world. And allegory—a dominant mode of literature from the late Middle Ages until well into the Renaissance—became “the vice of those times,” as Thomas Rymer described it in 1674. This book shows that its acute devaluation was possible only in conjunction with a distinctively modern physics. Analyzing writings by Sidney, Shakespeare, Bacon, Jonson, Brahe, Kepler, Galileo, Hobbes, Descartes, and more, it asserts that the scientific revolution was a literary phenomenon, just as the literary revolution was also a scientific one.