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317 Notes NOTES TO INTRODUCTION 1. These figures are particularly prominent—and often elided— in the iconography and liturgy of the Middle Ages and CounterReformation . An excellent example of the latter is the Office of the Blessed Virgin Mary, a popular Roman Catholic psalter that originated in the ninth or tenth century and was standardized by Pope Pius V in 1585; it was issued in a facing page Latin/English edition in 1599 under the title The Primer; or, Office of the Blessed Virgin Marie, in Latin and English. This Marian version of the Liturgy of the Hours was reprinted many times throughout the seventeenth century; it is mentioned in several lists of Roman Catholic books confiscated or targeted for confiscation by agents of the English government (see Rostenberg, 36, 120, and illustration 13). The Primer includes Marian prayers, antiphons, and hymns, as well as readings from Ecclesiasticus (in which Wisdom speaks in the first person) and from the Song of Solomon (selections featuring the bride). See also the traditional Latin lyrics for Marian feasts in the Gradualia of William Byrd (published in two books, 1607 and 1610). On early Christian and medieval visual representations of Ecclesia and of Mary as type of Ecclesia or mother of the church, see Thérel, Les Symboles, 78–202, and Neff, “The Pain of Compassio.” On the medieval elision of created Wisdom and the Virgin Mary, see Bouyer, The Seat of Wisdom. 2. The Hebrew scriptures portray both Jerusalem and God’s people as his daughter or spouse; see especially Zechariah 9:9, Song of Solomon 3–7, and Hosea 1–4. As the Geneva Bible marginal glosses attest, Solomon’s marriage to the daughter of the pharaoh in Psalm 45 is also interpreted as a type of Christ’s union with the church. New Testament texts describing the church as Christ’s spouse include Ephesians 5:22–33 and Revelation 19:7–8, 21:1–22:21. See also Romans 7:1–6 on the soul’s marital union with Christ. 3. See Ruether’s chapter 10, “Mary and the Protestants” (Mary, 70–75) as well as Graef’s overview (Mary, 2:6–17) of sixteenth century Protestant commentary on Mary. 4. On Spenser and the feminine, see Quitslund, “Spenser’s Image of Sapience”; Davies, The Feminine Reclaimed; Philippa Berry, Of Chastity and Power; Cavanagh, Wanton Eyes and Chaste Desires; Walker, Medusa’s Mirrors; and Eggert, Showing Like a Queen. Scholars sensitive to gender in Herbert’s poetry include Asals, Equivocal Predication; Schoenfeldt, Prayer and Power; and Rubin, “The Mourner in the Flesh.” On Quarles’s use of the Song of Solomon, see Hill, “The Parable of the Absent Lover”; on aspects of gender in the translations of Mary Sidney Herbert, see Fisken, “Mary Sidney’s Psalmes”; Waller, “The Countess of Pembroke”; Hannay, “‘House-Confinèd’”; and Clarke, “‘Lovers’ Songs’”; on gender in Vaughan’s poetry, see Nelson, “Gender and Politics.” Wilcox, “Exploring the Language of Devotion,” argues that, in the period 1630–60, English “devotional writing...draws closer to a ‘female aesthetic’” (86). 5. Here and throughout, Donne’s Satyres are quoted from Shawcross, The Complete Poetry of John Donne, and cited parenthetically by abbreviated title and line number. 6. For a brief survey of these divisions, see Shell and Hunt, “Donne’s Religious World,” 69–73. 7. English Protestantism is not, of course, a monolithic discourse . Defining precisely how Donne’s theology, ecclesiology, and politics fit into the complex landscape of the English Reformation is an ongoing effort, and scholars differ widely in their assessments of how Donne defined his own positions, even after he became dean of St. Paul’s. I would confirm Doerksen’s assertion that, “in his sermons and other late prose writings, Donne identifies in his own way with the conformist Calvinist piety that prevailed in the leadership of the Jacobean Church of England (as it had done in the later Elizabethan Church)” (“Polemist or Pastor?” 12). But as I have demonstrated in my discussion of Donne’s position on a particularly controversial aspect of Eucharistic doctrine, it is important to underscore Doerksen’s phrase “in his own way” (see my Literature and Sacrament, 9–14, 252–59). For a helpful overview of the complexities underlying various denominational labels in Elizabethan and Jacobean England, see Shell and Hunt, “Donne’s Religious World,” 73–78. 8. The only previous book-length study to consider Lanyer’s poetry in...

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