Introduction: stages of the soul and drama in poetry

Part I William Shakespeare’s The Rape of Lucrece and the drama of the soul
1 Motivating the myth: allegory and psychology
2 ‘Thou art not what thou seem’st’: Tarquin’s inner stage and outer action
3 ‘But with my body my poor soul’s pollution’: Lucrece, her body, and soul
4 Lust-breathed Tarquin – Lucrece, the name of chaste: antagonism, parallelism, and chiasmus

Part II John Donne’s Holy Sonnets and the so(u)le-talk of the soul
5 Divine comedies: the speaker, his soul, and the poem as stage
6 The sonnet as miniature drama: Donne’s Holy Sonnet ‘Oh my black Soule’
7 Sole-talk and soul-talk: Donne’s so(u)liloquies in the Holy Sonnets
8 The speaker on the stage of the poem: Holy Sonnet ‘This is my Playes last Scene’
9 Dialogue and antagonism in Donne’s theatre of the soul

Part III Conclusion
10 So(u)le-talk, self, and stages of the soul

Bibliography
Index

This study analyses concepts and representations of the soul in the poetry of William Shakespeare and John Donne.

During the early modern period, the soul is often presented as an actor on the stage of the poem, often becoming a stage by itself when conflicts within it are being enacted, in the tradition of psychomachia. The soul thus becomes a linking element between the genres of poetry and drama; at the same time, poetry becomes dramatic whenever the soul is its focus. This double movement can be observed in the poems by Shakespeare and Donne that are concerned with the fate of the soul and represent inner states and processes: in The Rape of Lucrece the inner drama of the soul is being enacted; the Holy Sonnets are soliloquies by and about the soul. Here, the connection between interiority and performance, psychology and religious self-care can be found which is central to the understanding of early modern drama and its characteristic development of the soliloquy.

William Shakespeare and John Donne thus offers a new reading of the poems by analysing them, in different ways, as staged dialogues within the soul. It furthermore contributes to research on the soliloquy as much as on concepts of inwardness during the early modern period; it shows how the reflection on the soul and religious care for salvation develops in interaction with inwardness and theatrical exposure.