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The Poetics of Faith : Representations of Personal Faith from Lock to Herbert

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The Poetics of Faith : Representations of Personal Faith from Lock to Herbert THE POETICS OF FAITH: REPRESENTATIONS OF PERSONAL FAITH FROM LOCK TO HERBERT By Amber Helena True A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of English–Doctor of Philosophy 2016 ABSTRACT THE POETICS OF FAITH: REPRESENTATIONS OF PERSONAL FAITH FROM LOCK TO HERBERT By Amber Helena True This dissertation examines early modern religious British lyric poetry (approximately 1450-1650) alongside Christian theological texts, and argues that representations of religious faith are both less than and in excess of the definitions of faith provided in Christian theology and orthodoxy. This project makes two key interventions into the field of early modern literature: first, through an examination of Christian theological texts from Augustine to Laud, faith is differentiated from belief as its own religious phenomenon. In most early modern scholarship, belief and faith are conflated which disregards the nuances of religious experience. Belief relies on cognitive processes and logical conclusions, whereas faith is the premise underlying that logic. Belief is a process or an act, whereas faith is trust or a state of certainty. Faith is intangible and ineffable, and as such it eludes early modern religious writers. Second, this project relies on a global Christendom – a transnational Christian religious community – that has shared struggles with orthodoxy and theology, particularly the theology of faith. This reliance breaks away from the trend of categorizing and defining early modern religious writers by particular religious sects. Instead, this project reveals continuity both between writers and time periods, as it includes medieval and early modern writers who identify as Catholic, Protestant, and elsewhere within the Christian spectrum. The first chapter lays out these theological and theoretical frameworks. Chapter two, “The Role of the Temporal: the (un)Importance of Community,” examines the role of community within Christian theology and juxtaposes that against representations of community in the poetry of Aemilia Lanyer and Robert Southwell. These authors represent similar struggles with the expectations of Christian community, specifically that while community ought to be formative, instead it is harmful to their individual religious pursuits. Chapter three, “The Formative Qualities of Doubt,” explores the role of doubt within the Christian framework of faith, and argues that contrary to both theology and orthodoxy, doubt is represented as aiding the process of salvation. This theological framework asserts certainty as the necessary precondition for salvation, and yet authors quite explicitly struggle with doubt in lyric poetry. Both Anne Vaughan Lock and John Donne represent doubt in ways that do not foreclose upon salvation; instead, each imagines a different, hopeful result of their doubtful states of mind. Chapter four, “Faith and the Problem of Articulation in George Herbert’s The Temple,” engages directly with the ineffability of faith. In the poems of George Herbert that address “faith” explicitly is a struggle for articulation that ultimately forecloses on complete representation; this struggle reveals an intangibility and unknowability in regard to faith that seems to be the very motivation for representation in the first place. The final chapter, entitled “To the New World: the Continuation of Representations of Faith,” moves outside both the chronological and geographic boundaries of this project to argue that these incongruous representations of faith are the continuous thread within Christian experience. In the poetry of Edward Taylor and Sor Juana Inés de la Cruz are representations of religious experience that defy orthodoxy. The refusal to engage in the identification of sects of these authors suggests that representations of faith have a common thread both across time and across sects, and even further, across space – into the New World, and beyond. Copyright by AMBER HELENA TRUE 2016 We’ll build in sonnets pretty rooms; John Donne, “The Canonization” And so we have. v ACKNOWLEDGEMENTS This project would not have been possible without the support of my committee: Professors Sandra Logan, Stephen Deng, Jyotsna Singh, Stephen Arch, and Tamar Boyadjian. Their thoughtful, thorough, and consistent feedback elevated and refined my work beyond anything I might have achieved independently. Professor Boyadjian provided much needed expertise to the medieval aspects of this project, as well as her generosity of time and commentary. I am thankful to have had her unique perspective. Professor Arch not only provided a critical eye, he was also a wonderful teaching mentor as well. His insights about Calvinism and connections to North American Puritanism contributed immensely to the themes of transnationalism and intersectionality. Professor Singh not only consistently provided creative suggestions and topics for further development, she also contributed the title of this project. And Professor Deng provided congenial rigor, consistently asking the difficult but necessary questions that allowed me to develop sound theorizations and purposeful close readings. Professor Deng also opened the door to early modern lyric poetry for me by agreeing to advise an early modern poetry independent study course. My most sincere thanks. I would especially like to thank my adviser, Professor Sandra Logan, for her unflagging support and drive for excellence. Professor Logan pushed me every step of the way, providing copious notes and seeing that which I did not. She aided me particularly in developing theory and fleshing out logical sequences, as well as refining my writing. It is only because of her guidance and her incredible generosity that I have been able to produce this work, and every day I strive to emulate her strength of character and conviction. This project was supported by the College of Arts and Letters Dissertation Completion Fellowship at Michigan State University. vi I am especially grateful to my friends and cohort for their faith and camaraderie. Jennifer Royston has been the very best support I could ask for, always willing and available to discuss scholarship, teaching, and friendship. Thank you also to Abdulhamit Arvas, Esra Genҁ, Anna Green, Laura McGrath, Steven Ambrose, Sarah Panuska, and Janet Bartholomew. Thank you to my family for their unfailing and unconditional support. Above all, I would like to thank my husband and partner, Patrick, for his continuous understanding, friendship, and love. vii TABLE OF CONTENTS Introduction: The Paradoxes of Early Modern Faith.......................................................................1 Doctrine: Debates about Belief and Practice.....................................................................13 Orthodoxy and Heresy.......................................................................................................15 Community and Orthodoxy...............................................................................................23 Literary Genre ....................................................................................................................33 Chapters.............................................................................................................................44 Chapter 1: The Role of the Temporal: the (un)Importance of Community...................................48 Defining Community Orthodoxy.......................................................................................51 Aemilia Lanyer and Fractured Community.......................................................................68 Robert Southwell and Isolated Griefs ................................................................................92 Chapter 2: The Formative Qualities of Doubt.............................................................................117 Anne Vaughan Lock’s Returns to Doubt.........................................................................130 John Donne and Doubt’s Fear ..........................................................................................150 Chapter 3: Faith and the Problem of Articulation in George Herbert’s The Temple...................174 Epilogue: To the New World: the Continuation of Representations of Faith..............................214 BIBLIOGRAPHY........................................................................................................................226 viii Introduction: The Paradoxes of Early Modern Faith In 1596, Anne Dowriche’s poem, “Verses written by a Gentle-woman, vpon The Iaylors Conuersion,” was published in the prefatory material of Hugh Dowriche’s sermon, “The Iaylor’s Conuersion.”1 Reflecting the religious turmoil in England and France during the sixteenth century, the poem calls upon Christians to defy the rod of the jailor who would have them recant their religious convictions and to accept life’s general trials and tribulations as signs of both God’s love and election. Although by the end of the sixteenth century in England proto- Anglicanism had firmly ousted Catholicism, Dowriche had the violence against French 2 Protestants always in her mind. 1 Dowriche, Hugh and Anne Dowriche. The iaylors conuersion Wherein is liuely represented, the true image of a soule rightlye touched, and conuerted by the spirit of God. The waightie circumstances of which supernaturall worke, for the sweete amplifications, and fit applications to the present time, are now set downe for the comfort of the strong, and
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