John Donne's verse epistle, Honour is so sublime perfection, is his most religious poem, (1) at least the restricted sense that the word appears it more often than any of his other poems. (2) This curious fact might surprise both specialist and non-specialist readers of Donne alike. poem is never printed with or listed among his religious poems. Like Donne's other neglected verse epistles, it lacks the qualities we most readily associate with his best studied religious poetry: the witty profanity of the Songs and Sonnets, the searching skepticism of Satyre III, and the devotional intensity of the Holy Sonnets. (3) Indeed, since it takes up Horatian themes of friendship and patronage, ethics and politics, it is unclear how Honour is so sublime perfection might qualify as a religious poem the first place. This problem has been made all the more acute the wake of the so-called to early modern literary criticism. (4) This turn is now far enough advanced that its methods and motives have begun to be challenged. One objection has been that it has tended to equate religion with inwardness, so that religious criticism adopts the agenda of analytic psychology and existentialist phenomenology and searches out a lineage of spiritual self-alienation that links Saint with Levinas via Augustine, Luther, and Freud. In this essay, I will propose a further turn within the to that will enable our conception of Renaissance religion to encompass Honour is so sublime perfection. This further turn away from inwardness has been made other disciplines--specifically biblical scholarship, early church history, and post-secular critical theory--and has only just begun to register early modern literary criticism. (5) In Honour is so sublime perfection, Donne likewise turns to religion order to move away from inwardness. His model for doing this is Paul, from whom Donne gleans a strategy for reconciling daring and discretion, two qualities that critics tend to polarize as the hallmarks of Donne's rakish youth and his prosperous maturity, respectively. But, by explaining how Donne reconciles daring and discretion this poem of his middle years, I hope to interject at least one of Donne's verse epistles into our critical discussions of Donne's religious poetics and the scriptural poetics of the early modern period more generally. Hee must worke and frame it after the modell of that panta pasi, all things to all men The Reformation fought and conquered, Albert Schweitzer once wrote, in the name of Paul (2). Schweitzer could have gone further and said that the Reformation fought for a specific version of Paul. It was Luther who, following Augustine, read Paul's description of the self divided between the flesh and the spirit Romans 6-8 as autobiography and then made it the normative account of the Christian condition (see Steinmetz). For Luther and later reformers, the core of Paul's theology was the introspective analysis of the subconscious, the motives, desires, and anxieties that betray our human frailties. Their had established a new Christian faith that rejected both Hebraic work-righteousness and Hellenistic rationalism favor of absolute dependence on God's saving grace. Because of his belief humanity's fallen epistemology and enslaved will (non posse non peccare), helped Reformed theologians to enshrine what Richard Lanham has called the Christian West's bad conscience about language (5). On this view, rejected worldly rhetoric as sinfully carnal and sinfully rational (cf. 1 Cor. 1-3), so that his own style became idealized as simple and transparent. In his study Saint and Protestantism, Matthew Arnold would complain, not altogether fairly, that Calvin, the heavy-handed Protestant Philistine, would read every verse of as if it were a mere formal scientific proposition (70). Reformations version of inward-looking has come under attack recent years by biblical scholars and critical theorists alike. …
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Jan 1, 2008
James M Hamilton 
Open Access