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This article examines how English Catholics imagined Jerusalem and Israel in relation to themselves, their nation and their Church. While English Protestant uses of Jerusalem imagery have been well-studied, their inter-confessional context has received less attention, and yet it was crucial to shaping them. Catholic deployments of Old Testament images and typology were no less sophisticated and significant than Protestant ones; English Catholic texts show how multivalent imagery of Jerusalem and its antithesis, Babylon, could be used both to express and to attempt to resolve tensions between the officially Protestant nation and the “true” Church. Exploring Catholic conceptions of Jerusalem, England and the Church is valuable because it offers insight into the culture that formed English Catholic recusants, missionaries, exiles and politicians, but also because it is important to a properly integrated account of the religious politics of England.
Southwell’s poetry, circulated in Catholic circles during his lifetime and printed shortly after his martyr’s death in 1595, had enormous influence upon the turn to religion discernible among English poets from the mid-1590s onwards. But it was often not easy for Protestant writers to acknowledge him in a straightforward manner. Southwell is in any case less interested in self-representation than in urging the reader towards repentance and witness, making him unusually susceptible to readerly appropriation and remodelling. This chapter argues that, for all these reasons, the extent of Southwell’s influence has been underplayed in literary history.
In 1641, Thomas Beedome’s first and only book, Poems Divine, and Humane , was published posthumously. Considering this volume of poetry in the context of a proliferation of poetry publishing in mid-seventeenth century England and accepting the idea that early modern paratexts provided an ideal site for the renegotiation and manifestation of authorship, I argue that throughout the front matter of Beedome’s book, the largest part of which is taken up by commendatory poetry, a concept of the author, not only as singular creator, but also as proprietor of his work, is created. This essay shows how the writers of the commendatory verses try to single out Beedome by almost obsessively labelling him as a worthy author, comparing him favourably with classical and contemporary poets, and affirming the proprietary relationship between Beedome and his poems.
This book visits the fact that, in the pre-modern world, saints and lords served structurally similar roles, acting as patrons to those beneath them on the spiritual or social ladder with the word –patron— used to designate both types of elite sponsor. Chapman argues that this elision of patron saints and patron lords remained a distinctive feature of the early modern English imagination and that it is central to some of the key works of literature in the period. Writers like Jonson, Shakespeare, Spenser, Drayton, Donne and, Milton all use medieval patron saints in order to represent and to challenge early modern ideas of patronage -- not just patronage in the narrow sense of the immediate economic relations obtaining between client and sponsor, but also patronage as a society-wide system of obligation and reward that itself crystallized a whole culture’s assumptions about order and degree. The works studied in this book -- ranging from Shakespeare’s 2 Henry VI, written early in the 1590s, to Milton’s Masque Performed at Ludlow Castle, written in 1634 are patronage works, either aimed at a specific patron or showing a keen awareness of the larger patronage system. This volume challenges the idea that the early modern world had shrugged off its own medieval past, instead arguing that Protestant writers in the period were actively using the medieval Catholic ideal of the saint as a means to represent contemporary systems of hierarchy and dependence. Saints had been the ideal -- and idealized -- patrons of the medieval world and remained so for early modern English recusants. As a result, their legends and iconographies provided early modern Protestant authors with the perfect tool for thinking about the urgent and complex question of who owed allegiance to whom in a rapidly changing world.