1. The Baroque in the Protestant North
Chapter 22
The Baroque in the Protestant North

2. Inward, personal, subjective Outward, spectacular forms of display
The Protestant North
The Catholic Reformation
England, the Netherlands, Northern Germany
France, Italy, Spain, and other parts of the West
Inward, personal, subjective
Outward, spectacular forms of display

4. Factors 1. the shaping influence of the Bible
2. the rising middle class
3. Civil War and the English Commonwealth

5. Political contexts

6. Netherlands 1565 The Calvinists in the Netherlands
revolted against Catholic Spain (Philip
II).
1609 The Calvinists set up an independent
Dutch Republic (Holland) in the north.
The south (Belgium) remained Catholic.

7. Literature

8. The Twenty-Third Psalm
Our Lord ruleth me
The Lord is my shepherd
And nothing shall be wanting to me
I shall not want

9. The Twenty-Third Psalm
For although I shall walk in the midst of the shadow of death
Yea, though I walk through the valley of the shadow of death
Thou hast prepared in my sight a table against them that trouble me
Thou preparest a table before me in the presence of mine enemies

10. Metaphysical Poetry
A diction and meter modeled on the rough idiom of actual speech
Organized in the dramatic form of an urgent or heated argument
A subtle and often deliberately outrageous logic
Tone: realistic, ironic, cynical
“Witty”: making ingenious use of paradox, pun, and startling parallels in simile and metaphor.
M. H. Abrams, A Glossary of Literary Terms

11. Metaphysical Conceit A conceit is a poetic idea, usually a metaphor.
Metaphysical conceits are noteworthy specifically for their lack of conventionality. In general, the metaphysical conceit will use some sort of shocking or unusual comparison as the basis for the metaphor.  When it works, a metaphysical conceit has a startling appropriateness that makes us look at something in an entirely new way. The classic metaphysical conceit is Donne's comparison of the union between two lovers to the two legs of a compass in "A Valediction Forbidding Mourning." In Holy Sonnet 14, there are other surprising metaphors--comparing God to a violent invader and a rapist, for instance.  

12. Milton’s Paradise Lost
What’s Milton’s purpose of writing?
What’s Adam’s reaction to Eve’s fall?
Compare and contrast Satan and Adam.

13. Christopher Wren
1666 London fire
Saint Paul’s

18. Rembrandt

27. Paradise Lost

32. Temptation of Adam and Eve Masolino. c. 1425
Temptation of Adam and Eve Masolino. c Fresco Brancacci Chapel, S. Maria del Carmine, Florence

33. Temptation (detail), Hugo van der Goes c
Temptation (detail), Hugo van der Goes c.1470 (Kunsthistorisches Museum, Vienna)

34. Fall and Expulsion of Adam and Eve, 1510 Michelangelo
Fall and Expulsion of Adam and Eve, 1510 Michelangelo. Fresco, Sistine Chapel, Vatican, Rome

36. The End