ENGL /10/2012 Main points of this presentation: Understanding the Protestant Reformation ( through analysis of the title page of John Foxe’s wildly popular Actes and Monumentes (aka Foxe’s Book of Martyrs: publ. 1563; had 4 editions, which means it was popular) and selected woodcuts of its Protestant martyrs. Key points of the Reformation in England: delegitimizing the Mass (denying transubstantiation, the Real Presence in the host) exalting scriptural authority empowering the political over the ecclesiastical How this knowledge informs Southwell’s “The Burning Babe” and Donne’s “Batter My Heart.”

John Foxe. The First Volume of the Ecclesiasticall history contaynyng the Actes and Monumentes of thynges passed in euery kynges tyme in this Realme (London, 1570). Title page. Reproduced by permission of the Folger Shakespeare Library. Presents 2 versions of community, formed around a mass that is either celebrated or contested. Left-hand column = Protestants Right-hand column = the Catholic church Left: the “blessed,” Protestant martyrs, books (scriptural authority) not beads (bottom image), the “persecuted.” Right: the “cursed,” elevation of the host in the Mass, the cursed writhing in hell, beads (rosaries), not books, the “persecuting.”

“The order and maner of the burning of the constant Martyr in Christ, John Lambert.” Actes and Monuments of matters most speciall and memorable (London, 1583), 2:1124. Reproduced by permission of the Folger Shakespeare Library. Lambert was martyred as a Protestant heretic during the reign of Henry VIII. Note that the iconography represents Lambert as a sacrificial martyr, as the crucified Christ and also (paradoxically) as a priest elevating the host: Foxe borrows from Catholic iconography.

“The Martirdome of Thomas Haukes in Essex, at a Towne called Coxehall. Anno. 1555, June 10,” Actes and Monuments of matters most speciall and memorable (London, 1583), 2:1592. Reproduced by permission of the Folger Shakespeare Library. Haukes was a notable Protestant martyr who resisted the imposition of Catholic sacramental practices during the reign of Mary Tudor (a Catholic).He refused to have his child baptized “after the papistical maner.” But note that he is represented like a Catholic priest elevating the host – but a true priest, not a false (Catholic) one. At stake is the notion of what constitutes a “true” English community.

Robert Southwell, “The Burning Babe” Southwell was Catholic. Note that the central conceit of Christ as a burning baby is that of a sacrificial martyr and the emphasis is on the sacramental nature of the body of Christ, corpus Christi, that is celebrated in the Mass. As I in hoary winter's night stood shivering in the snow, Surprised I was with sudden heat which made my heart to glow; And lifting up a fearful eye to view what fire was near, A pretty babe all burning bright did in the air appear; Who, scorchëd with excessive heat, such floods of tears did shed5 As though his floods should quench his flames which with his tears were fed. Alas, quoth he, but newly born in fiery heats I fry, Yet none approach to warm their hearts or feel my fire but I! My faultless breast the furnace is, the fuel wounding thorns, Love is the fire, and sighs the smoke, the ashes shame and scorns;10 The fuel justice layeth on, and mercy blows the coals, The metal in this furnace wrought are men’s defilëd souls, For which, as now on fire I am to work them to their good, So will I melt into a bath to wash them in my blood. With this he vanished out of sight and swiftly shrunk away,15 And straight I callëd unto mind that it was Christmas day. (1602)

John Donne, Holy Sonnet 14 Donne was Catholic but converted to Protestantism and became Dean of St Paul’s (in the Church of England). The narrator plays with the paradoxes of the Christian faith (e.g. bound/free) as well as with military imagery and with the dominant-submissive model of courtly love. He demands that God batter him, overpower him, enthral him, and ravish (rape, forcibly seize, enchant) him. There is no emphasis on the mass. Batter my heart, three-person’d God, for you As yet but knock, breathe, shine, and seek to mend; That I may rise and stand, o’erthrow me, and bend Your force to break, blow, burn, and make me new. I, like an usurp’d town to another due, 5 Labor to admit you, but oh, to no end; Reason, your viceroy in me, me should defend, But is captiv’d, and proves weak or untrue. Yet dearly I love you, and would be lov’d fain, But am betroth’d unto your enemy; 10 Divorce me, untie or break that knot again, Take me to you, imprison me, for I, Except you enthrall me, never shall be free, Nor ever chaste, except you ravish me. 14 (1633)

Acknowledgments I would like to acknowledge the help of my colleague Dr Jennifer Rust, who has a forthcoming article that discusses the woodcuts from Foxe’s Actes and Monuments: Rust, Jennifer, R. “Reforming the Mystical Body: From Mass to Martyr in John Foxe’s Actes and Monuments.” ELH. Forthcoming, 2012.