Typology and Iconography in Donne, Herbert, and Milton

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

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

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

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

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

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

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

Reuben Sánchez

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

Reuben Sánchez

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

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

Reuben Sánchez

7. “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

8. “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

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

Keywords: Cultural and Media Studies, Fine Arts, Poetry and Poetics, Early Modern/Renaissance Literature, British and Irish Literature