Recognizing that the seventeenth century's volatile debate over apocalyptic interpretation has since become a one-sided discussion, Esther Gilman Richey develops a context that recovers the dynamism so inherent in the writings of the period and provides illuminating details that enhance the prophetic continuum. The Politics of Revelation in the English Renaissance does not ignore the familiar prophetic verse of Spenser and Milton, but it significantly expands the scope of study by examining the interpretations of both men and women who represent a range of ecclesiastical and political perspectives.
Richey rejects Barbara Lewalski's claim that the radical, prophetic writers and metaphysical poets of the seventeenth century drew inspiration from distinct biblical models, the former from the Apocalypse and the latter from the Psalms. Instead she contends that even writers such as Donne and Herbert, whom we have long considered "literary," were in reality using their poetry to participate in the hottest debates of the time.
While the radical writers, such as Spenser and Milton, were immediately responsive to ecclesiastical and political controversies, the conservative, metaphysical poets—Donne, Herbert, and Vaughan—were posing equally politically charged questions: Is the pope Antichrist? Is the Bride of Christ pure? Is the Temple a model of ecclesiastical reform? The writers of the period did not move in divided and distinguished worlds, but in fact constantly responded to one another through poetic and politically charged dialogue.
By drawing from the writings of various individuals, both radical and conformist, male and female, Richey traces the shifting representations of the apocalyptic Bride and Temple over time. Organized chronologically, the chapters of The Politics of Revelation in the English Renaissance reveal the escalating debate among the pacifists, conformists, militants, and feminists. Not only does Richey uncover the prophetic dimension of conformist writers usually described as apolitical and devotional, but she also explores the writings of lesser-known women prophets: Aemilia Lanyer, Mary Cary, Anna Trapnel, and Margaret Fell. In such biblical passages as the apocalyptic "woman clothed with the sun," these early feminists find the authority for their own prophetic speech.
This provocative analysis—at once far-reaching and tightly focused—reveals the complexity of the apocalyptic discourse that transpired among Renaissance writers and poets.
Centering her discussion on two historical "ways of reading"—which she calls the Protestant and the lettered—Barbara A. Johnson traces the development of a Protestant readership as it is reflected in the reception of Langland’s Piers Plowman and Bunyan’s Pilgrim’s Progress.
Informed by reader-response and reception theory and literacy and cultural studies, Johnson’s ambitious examination of these two ostensibly literary texts charts the cultural roles they played in the centuries following their composition, roles far more important than their modern critical reputations can explain.
Johnson argues that much more evidence exists about how earlier readers read than has hitherto been acknowledged. The reception of Piers Plowman, for example, can be inferred from references to the work, the apparatus its Renaissance printer inserted in his editions, the marginal comments readers inscribed both in printed editions and in manuscripts, and the apocryphal "plowman" texts that constitute interpretations of Langland’s poem. She demonstrates by example that what is culturally transmitted has not been just the work itself; it includes vestiges of past readers’ encounters with the text that are traceable both in the way a text is presented as well as in the way that presentation is received.
Conditioned more by religious, historical, and economic forces than by literary concerns, Langland’s poem became a part of the reformist tradition that culminated in Bunyan’s Pilgrim’s Progress. By understanding this tradition, Bunyan’s place in it, and the way the reception of The Pilgrim’s Progress illustrates the beginning of a new, more realistic fictional tradition, Johnson concludes, we can begin to delineate a more accurate history of the ways literature and society intersect, a history of readers reading.
"This book focuses on Lewis as a teacher, how he opens doors by challenging 20th-century views... Two ideas run through and unify the book. The first is that in all his writing Lewis encourage 'radical key' to all Lewis's critical and imaginative writings. Hart's aim is to show that there is in Lewis a single, integrated, systematic theory of literature focused on the importance of imagination and language. "The book raises many of the right questions about Lewis and explores them in a stimulating and informative way."
-Christianity and Literature
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