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Mary A. Blackstone

contemporaries ‘shame not to say and affirm openly … that they learn as much or more at a Play, than they do at God’s word preached’.7 Clergymen, however, also experienced confessional conflict themselves and consequently could escalate the conflict amongst their parishioners. Despite the objections of their congregations we know that at least initially many persisted with old religious practices, and despite the best efforts of the authorities, other preachers also expounded on new, unsanctioned Puritan doctrine from their pulpits.8 Although non-​conforming clergy could leave

in Forms of faith
Conti Brooke

Shylock’s conversion. Act 4’s echoes of the passion and crucifixion are well known. But if Act 4 alludes to Good Friday, Act 5 alludes  2 22 Religious ritual and literary form to Holy Saturday and the dawning of Easter Sunday. Beginning with the love duet between Jessica and Lorenzo and continuing through the end of the play, Shakespeare repeatedly evokes the ancient Easter Vigil service, the heart of which involved the reception of new converts into the Church. This extended liturgical allusion suggests the play’s continuing preoccupation with Shylock; at the same

in Forms of faith
Deathbed narratives and devotional identities in the early seventeenth century
Charles Green

repentant criminal on the cross. 4 Robert Southwell's Epistle of a Religious Priest vnto his father (1597), a private exhortation to convert to the Roman faith (and another ‘visibly Catholic’ publication printed two years after Southwell was martyred at Tyburn), contains an extraordinary evocation of its addressee's future deathbed, universalised in printed form: 5 If you were layed on

in People and piety
Abstract only
Transporting Chaucer
Helen Barr

its religious setting the twenty-first-century sculpture produces bodies that are coterminously historical, contemporary, human and divine in a mould whose synthesis would have been recognisable to a medieval mind, even as it takes an unfamiliar shape. As is very well known, cycles of mystery plays stage redemption history in local time and place. Within the duration of Corpus Christi Day, townsfolk would watch their fellows become biblical characters performing Old and New Testament stories with the materials of local guilds. With the Crucifixion staged by the

in Transporting Chaucer
Margret Fetzer

’s Performances scrutinised for traces of the writer’s precise religious allegiances – and this holds not only for straightforwardly religious works, like the sermons or Devotions, but also for his divine and erotic poems (Martz, 1954; Lewalski, 1979; DiPasquale, 1999). The present study is no exception. I, too, have shown a preference for some of Donne’s poems over others, and, although my approach strives for greater comprehensiveness by focusing not only on Donne’s Songs and Sonets but also on his divine poetry, as well as his sermons, letters and Devotions, one cannot

in John Donne’s Performances
Exceptional women of power
Carol Blessing

the work of Alexandra Walsham and Robert Healey. 2 This chapter will probe further the pairing of Elizabeth with Deborah the Judge, the Bible figure most often used to describe Elizabeth’s gynecocracy, to view the cultural constructs of the Hebrew woman who stood in both political and religious authority within Scriptures, and to link those constructions to the era’s representations of the English

in Goddesses and Queens
Bernard Capp

in the post-Reformation age of religious division and strife, contemporaries were well aware of problems the Apostle chose not to explore. There was a potential tension between the two parts of the command, for what if obedience to parents would mean disobeying God's commands? Did obedience to God come first? Yet disobeying parents inevitably meant breaking the Fifth Commandment God had conveyed to Moses. And in his epistle to the Colossians, Saint Paul had declared unequivocally, ‘Children obey your parents in all things ’ (Colossians 3:20, emphasis added

in People and piety
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From Republic to Restoration
Janet Clare

especially apparent in the regions. In his examination of the abortive ‘Northern Rebellion’ of 1663, Marshall illustrates the deep roots of nonconformity, particularly among Baptist congregations, in pockets of the North-​East and the resistance of nonconformists to persecution by the established Church of Durham and Yorkshire. The years of civil war and republican experiment had led to a ferment of political and religious ideas articulated in an expanded public sphere of popular print culture, lay preaching, widening participation in sectarian debate and, consequently

in From Republic to Restoration
Space, memory, and material devotion
Susannah Crowder

unit that aligned geographic, political, and religious identity.16 This overlap produced a situation in which slippages took place among the communities of the church, its congregation and confraternities, and Messine civic authority; such flexibility encouraged a blurring and borrowing among groups affiliated with St-Martin. By the later Middle Ages, local elites dominated the governance of St-Martin. Lay officials from the Hôpital St-Nicolas controlled the appointment of clergy to its benefices, for example.17 In addition, Performing women r 104 ill e iv er

in Performing women
Raluca Radulescu and Alison Truelove

artistic expression, much of the gentry’s involvement with the visual arts was religious in focus. In commissioning elaborate tombs and memorial brasses, its members had an outlet for visual expression of their status, which was legitimised by religious motives. Moreover, in contributing to the fabric of the parish church, they were able to enhance the religious experience of the wider congregation; once

in Gentry culture in late-medieval England