Typology and Iconography in Donne, Herbert, and Milton: Fashioning the Self after Jeremiah

1. 'The Sad Prophet Jeremiah' as an Image of Renaissance Melancholy PART I: REMBRANDT'S JEREMIAH: DONNE AND LEARNING HOW TO BE A PREACHER 2. 'I turn my back to thee, but to receive corrections': Donne and the Art of Convetere in The Lamentations of Jeremy, for the most part according to Tremelius , and 'Good Friday, 1613 Riding Westward' 3. 'First the Burden , and then the Ease ': Donne and the Art of Convetere in the Sermon on Lamentations 3:1 and in the Letter to His Mother PART II: SLUTER'S JEREMIAH: HERBERT AND LEARNING HOW TO VISUALIZE THE HEART 4. 'My heart hath store, write there': Writing on the Heart in Herbert's The Temple 5. 'Then was my heart broken, as was my verse': Visualizing the Heart in The Temple PART III: MICHELANGELO'S JEREMIAH: MILTON AND LEARNING HOW TO BE A PROPHET 6. 'With new acquist / Of true experience': The Failed Revolutionary in the Letter to Heimbach and Samson Agonistes 7. 'And had none to cry to, but with the Prophet, O earth, earth, earth! ': Style, Witnessing, and Mythmaking in The Readie and Easie Way 8. 'As a burning fire shut up in my bones': From Polemic to Prophecy in The Reason of Church Government and The Readie and Easie Way 9. 'Unapocryphall vision': Jeremiah as Exemplary Model for Donne, Herbert, and Milton Appendix A: Renaissance Angels and Other Melancholy Figures Appendix B: Renaissance Images of Jeremiah Appendix C: Renaissance Melancholy and Modern Theory