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 judgment, 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.
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