To show how the casuistical tradition illuminates the study of major literary works in the English Renaissance, Camille Slights traces the emergence of casuistry in the sixteenth and seventeenth centuries and discusses its influence on the moral imaginations of Shakespeare, Donne, Herbert, and Milton. Originally published in 1981. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

There is a kind of conscience some men keepe, Is like a Member that's benumb'd with sleepe; Which, as it gathers Blood, and wakes agen, It shoots, and pricks, and feeles as bigg as ten Donne, Herbert, and Vaughan see the conscience as only partly theirs, only partly under their control. Of course, as theologians said, it ought to be a simple syllogism, comparing actions to God's law, and giving judgement, in a joint procedure of the soul and its maker. Inevitably, though, there are problems. Hearts refuse to confess, or forget the rules, or jumble them up, or refuse to come to the point when delivering a verdict. The three poets are beady-eyed experts on failure. After all, where subjects can only discover their authentic nature in relation to the divine it matters whether the conversation works. Remarkably, each poet - despite their very different devotional backgrounds - uses similar sets of tropes to investigate problems: enigma, aposiopesis (breaking off), chiasmus, subjectio (asking then answering a question), and antanaclasis (repetition with a difference). Structured like a language, the conscience is tortured, rewritten, read, and broken up to engineer a proper response. Considering the faculty as an uncomfortable extrusion of the divine into the everyday, the rhetoric of the conscience transforms Protestant into prosthetic poetics. It moves between early modern theology, rhetoric, and aesthetic theory to give original, scholarly, and committed readings of the great metaphysical poets. Topics covered include boredom, torture, graffiti, tattoos, anthologizing, resentment, tears, dust, casuistry, and opportunism.

Exploring Shakespeare's intellectual interest in placing both characters and audiences in a state of uncertainty, mystery, and doubt, this book interrogates the use of paradox in Shakespeare's plays and in performance. By adopting this discourse-one in which opposites can co-exist and perspectives can be altered, and one that asks accepted opinions, beliefs, and truths to be reconsidered-Shakespeare used paradox to question love, gender, knowledge, and truth from multiple perspectives. Committed to situating literature within the larger culture, Peter Platt begins by examining the Renaissance culture of paradox in both the classical and Christian traditions. He then looks at selected plays in terms of paradox, including the geographical site of Venice in Othello and The Merchant of Venice, and equity law in The Comedy of Errors, Merchant, and Measure for Measure. Platt also considers the paradoxes of theater and live performance that were central to Shakespearean drama, such as the duality of the player, the boy-actor and gender, and the play/audience relationship in the Henriad, Hamlet, As You Like It, Twelfth Night, Antony and Cleopatra, The Winter's Tale, and The Tempest. In showing that Shakespeare's plays create and are created by a culture of paradox, Platt offers an exciting and innovative investigation of Shakespeare's cognitive and affective power over his audience.

The theatre of early modern England was a disastrous affair. What we tend to remember of the Shakespearean stage and its history are landmark moments of dissolution. This title is a study of these catastrophes and the theory of performance they convey.

Contemporary nudge theory points out that people make good choices over issues where they have had past experience of similar circumstances, where there is reliable, substantial, and relevant information about the situation, and where they will get prompt feedback about the effect of their decision. Yet none of these conditions apply to the most vital choice of action facing early modern Protestants: how can they be saved? In George Herbert and the Business of Practical Piety, Ceri Sullivan uses nudge theory to show how practical divinity disregards the doleful conclusions of predestination--that salvation cannot be earned--to supply readers with suggestions on how to prepare to act, regardless of their final destiny. Such texts create cognitive niches to support cheerful, godly thought and action, in a way which is far from being despairing or compulsive. Their nudges were repeatedly put into practice by Herbert's friends, the Ferrars, who tried to form an ideal religious community at Little Gidding. These prescriptions and examples illustrate how George Herbert's The Temple (1633) is a compendium of the techniques of choice architecture. Herbert's poems are full of the humour emerging from a life of faith which is willing to guard high ideals by low cunning, stooping to use the least little things to change a self. George Herbert and the Business of Practical Piety initially calls on theories of the extended mind to ask what sort of minor physical and social structures scaffold decisions, then examines a selection of nudges used by Herbert: contracts with the self, building a mind, cleaning a heart, conversing with God, making to-do lists, and working on working well.

Donne and the Politics of Conscience in Early Modern England examines the responses of John Donne and his contemporaries to post-Reformation debate about authority and interpretation. It argues that the legal and epistemological principles, as well as the narrative practices, of casuistry provided an important resource for those caught in the welter of conflicting laws and religions. The first two chapters explore the political, historical, and theological contexts of casuistry, locating Donne in debates about the limits of reason and the relativity of law and ethics. Chapter three addresses Donne's concern with problems of moral decision and action, of knowledge and definition, in five of his prose works. Chapter four examines ways in which his verse assimilates and wittily subverts casuists' responses to epistemological and linguistic uncertainty. The study is particularly useful for literary critics, intellectual historians, and theologians.

The poet and preacher John Donne (1572-1631) was one of the most influential authors of early modern England. Donne's Augustine examines his response to an iconic figure in the history of Western religious thought: Saint Augustine of Hippo (354-430). Katrin Ettenhuber argues that Renaissance culture saw not only a revival of the classics, but was equally indebted to the intellectual and literary legacy of the Church Fathers. The study recovers an Augustinian tradition of interpretation which permeated the religious world of the period, but which has until now been largely overlooked. She presents a comprehensive re-evaluation of Donne's writings, ranging from the poems to less familiar prose works, situates him carefully in the poetic, intellectual, and political contexts which frame his works, and engages with recent developments in both literary and historical studies. Donne's Augustine is the first sustained study of Donne's reading practices, and of the theological sources which shaped his thought. It discovers a range of medieval and early modern texts which transformed the imagination of literary writers in the period but which have been neglected so far: devotional manuals, Scripture commentaries, and religious commonplace books (often in Latin). The study pays close attention to the intellectual and political conditions which informed the reception of Augustine's works, and offers detailed readings of Donne's texts which illuminate the literary aspects of his patristic heritage. Donne's Augustine makes a significant contribution to our understanding of the larger reading and writing culture of Renaissance England, and of the religious debates and controversies in the decades leading up to the Civil War.