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author himself.1 The question of Donne’s ecumenicalism may reasonably prompt us to search Donne’s oeuvre for statements that address the question explicitly. Such searches are quite productive. Even focusing specifically on Eucharistic theology (a particularly contentious area of early modern Christianity), one finds several strongly ecumenical statements in Donne’s sermons:2 A peremptory prejudice upon other mens opinions, that no opinion but thine can be true, in the doctrine of the Sacrament, and an uncharitable condemning of other men, or other Churches that may be

in Forms of faith
Towards a geocultural poetics

conventional baptism of water can, by earnestly and truly wanting to be baptised, gain the benefits of the sacrament … Longing and will may serve where form and ritual are impossible’ (1991: 55). Although, as Jaskoski notes, this element of doctrine is not a pivot, but rather a departure point for the collection, the first section contains ten poems that directly concern religion. 9 Of these the most prominent is ‘The Sacraments’, a poem of seven sections beginning with a list of sacraments – ‘ Baptism, Communion, Confirmation,/Matrimony, Penance, Holy Orders, Extreme

in Louise Erdrich

is to another place (i.e., to the New Jerusalem).   4 I refer to Gless’s 1994 monograph, Interpretation and Theology. My interpretation of the betrothal/wedding ceremony in canto xii as an allegory of the sacrament of Communion has been anticipated by John King who, in the final sentence of his Spenser Encyclopedia entry under the heading ‘Sacraments’, describes the ceremony as ‘an act that mirrors the union of Christian and Christ in the Communion service’ (624). King has not, however (in so far as I have been able to discover), expanded upon this inspired

in God’s only daughter
Coupland and postmodern spirituality

need for ritual and, indeed, sacraments. Frederick Buechner has argued that a ‘sacrament is the breaking through of the sacred into the profane’ whereas ‘a ritual is the ceremonial acting out of the profane in order to show forth its sacredness’.45 The desire to find a sacrament from a simple ritual is clear in this passage: it is a new kind of ritual that connects an ancient symbol of light with the postmodern world of commerce and exchange; it is Andy’s gift – a gift that does not require recompense – to a family with whom he cannot connect on the profound level he

in Douglas Coupland
The educational vision of John McGahern

(M 74), so that even the sound of people moving between the Stations of the Cross seemed loud. They felt ‘uplifted’ on leaving the church (M 75). Although he lost belief in God, he explains that he retained ‘gratitude for the spiritual remnants of that upbringing, the sense of our origins beyond the bounds of sense, an awareness of mystery and wonderment, grace and sacrament, and the absolute equality of all women and men underneath the sun of heaven’ (LW 133). By contrast with the dark and violent world of his father, the learning to love the world  105

in John McGahern
Abstract only

Warrender’s poetry, which occupies a pivotal position in the novel’s unfolding, also dwells upon the character of poetic speech, of speech as a bringing into being – poesis is a making – and a bringing together. The university man who offers a kind of critical elegy for Warrender coins the phrase ‘other history’, which he first characterises as that which poetry speaks for, and then, more concretely, as ‘all those unique and repeatable events, the little sacraments of daily existence’ and as the toooften ‘unseen’ and ‘unspoken’ experience that ‘binds us all’ (GW, 283

in David Malouf
Abstract only

expansive vision of a unifying genetic predisposition towards travel as a belief system to explain individual and cultural phenomena. As Nicholas Shakespeare wrote, ‘The nearest thing he had to religion was his theory of restlessness’ (2000: 450). This theological aspect of Chatwin’s belief is evident in In Patagonia, where he tells the Persian, Ali, of his faith in the sacrament of walking: ‘My God is the God of Walkers. If you walk hard enough you probably don’t need any other God’ (IP 43). He commented in a letter dating from the writing of The Songlines that: ‘[O

in Anywhere out of the world

‘profane’ monarch: The Character of Profaneness of Humor is utterly false. For no Man in the World kept more Decorum in his Expressions and Behaviour … than the King did; and scarce ever failed the Service and Sermon, with the Sacraments at the stated Times; Healings, and Washing of the Feet of the Poor, as the

in Historical literatures
Marie Helena Loughlin

treatment of offenders. Between 1470 and 1516, the London Church courts prosecuted only one sodomy case; the accused’s ‘non-appearance’ before the court resulted in his excommunication, but not apparently in corporal punishment or heavy fines (Crompton, Homosexuality 362). The late Middle Age’s revival of Roman law coupled with Scripture’s emphasis on homoerotic acts and desires as inherently sinful gradually transformed these acts – in particular anal intercourse between men (sodomy) – from sins (governed by ecclesiastical law through the Church courts and the sacrament

in Same-Sex Desire in Early Modern England, 1550–1735

saluation’ sets outs: 1 There is na gudnes in our selues inclos’d 2 All gud from God is into Christ our King. 3 And Christ be constant, faith is ay injos’d 4   And faith be loue is fallon weill disclos’d 5 The spirit thir works be word and Sacrament: To make the heart exceedingly rejos’d. (6–11) The sequence then moves into five sonnets that express the ‘Restles care’ of the heart and soul (9:1), before it concludes with a sonnet entitled ‘A wish of true thank-fulnes’, in which the speaker declares that ‘My minde, my will, and mine affections all’ are ‘Illuminat by

in Early modern women and the poem