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444 CHRISTIANITY AND LITERATURE be truly known, the tradition also recognizes barriers to complete knowledge. Even in scholastic realism, language of God is said to be analogical rather than univocal in order to acknowledge the limitations and fallibility of human reason. Similarly, the apophatic tradition takes recognition of the ultimate unknowability of God as its basic insight. The problem with a bald declaration of Christian correspondence theory of truth in our historical context is that it can easily sound like an embrace of the kind of Enlightenment foundationalism that, ironically, has sponsored both secular modernism and religious fundamentalism. Christians need a more chastened epistemological certainty-one that insists on the possibility (and actuality!) of genuine knowledge, but that also recognizes human knowledge as historically conditioned and incomplete. The limitations of the sections on particular eras and authors are predictable and understandable. One sympathizes with scholars painting in broad strokes that forbid subtlety. But at times, the authors seem to leave a misimpression by framing writers in Christian terms. For example, although it is true that no proof exists that Shakespeare was bisexual, to say in a briefdiscussion of the sonnets that those poems addressed to the young man encourage him to marry and are often aimed at a more general audience than the single recipient at the very least leaves out a number of relevant matters. The sonneteer clearly seems preoccupied with the physical beauty of the young man, for example, and Sonnet 20 seems on the face of it to indicate a sexual interest. Although these matters remain controverted and the conclusions of Jeffreyand Maillet are sensible, the case is not so clear-cut as they make it out to be. Similarly, in the final chapter, which brings us to our own period and so covers ground where no consensus on a literary canon exists, some of the choices seem idiosyncratic. Still, in a contentious academic atmosphere in which a coherent, intelligent Christian vision is often assumed to be a relic of the past, this volume offerscompelling counter-evidence. John D. Sykes, Jr. Wingate University Donne's Augustine: Renaissance Cultures ofInterpretation. ByKatrin Ettenhuber. Oxford: Oxford University Press, 2011. ISBN 978-0-19-960910-9. Pp. xii + 267. $110.00. According to the notorious and at times dubious Izaak Walton, Donne's first and most influential biographer, Donne was a second Augustine, and there can be no doubt of the profound influence that certain key works such as the Confessions and The City of God exerted over the formation of Donne's intellect. In Donne's Augustine, Katrin Ettenhuber has producedan important book forwhich students of BOOK REVIEWS 445 Donne, and readers interested in the reception of St.Augustine in the early modern period more generally, should be grateful. The study meticulously reconstructs the material contexts in and through which Donne most likelyencountered Augustine's works. Not surprisingly, the contexts fleshed out here include editions such as Erasmus' 1528-29 Omnium Operum that seem to be behind most of Donne's appropriations of this most influential of Church Fathers, as well as the reading practices and mnemonic tools such as common-placing and topical indexing that underlie Donne's approach to all knowledge textually acquired (38, 40-41, 43-64). Fascinatingly, the contexts adduced include less direct sources and involve subtle analysis of the "citational camouflage" by which Donne culls Augustine out of other authorities considered to be more controversial in England in his time, such as St. Thomas Aquinas, and the practices of simultaneous quotation and erasure in which "the art of memory meets the art offorgetting" (6, 82-104). Ettenhuber succeeds in advancing our knowledge of Donne's reading of Augustine, for example, through painstaking quantitative research that raises the number of identifiable quotations from Augustine in Donne's sermons from the previously recognized seven hundred to over a thousand taken from sixty-one works attributed to Augustine in the early modern period (28, 233-34). "Donne sets up Augustine as the perfect reader;' writes Ettenhuber, "by creating a perfect intertextual tableau for him;' a claim that resounds throughout this learned and well-researched study, which sets itself up to create just such a tableau for twenty-first...


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