The purpose of this study is to protray the large frame of the icongraphy of death in the tie of John Donne. My study must, by definistion, leave out the Ars Moriendi theme which is really a companion study. Furthermore, some very fine contributions of Donne to the representation of Death must be discarded as appertaining to Death’s properties rather than to his actual appearance. The few deviatios in the paper from the actual iconographical aspects of Death are to elucidate an iconographical aspect of John Donne’s treatment of Death.
For the purpose of my paper, I have group iconographical examples under three headings. The Danse Macabre theme includes the hand of Death, which is as prominent visually as the dance itself, as well as the conception of Death as a clownish dancer and, therefore, a vehicle of satire.
The image of a greedy Death eating his victims comes from the Apocalypse (20:13), where death and hell are described as giving up their dead at the Last Judgement. Its role is minor in the history of an iconographic Death, and suggests the phyical contact as well as the lack of dignity of the Danse Macbre, but without the importance of the hand and leg motif fo the Danse Macbre. I suggest it as a second theme because of its importance in Donne’s writings. My third category, the very popular Apocalypse theme of a Warrior Death on a horse (6:8), includes as well his proud, aristocratic aspect.
","abstract_html":"<p>The purpose of this study is to protray the large frame of the icongraphy of death in the tie of John Donne. My study must, by definistion, leave out the Ars Moriendi theme which is really a companion study. Furthermore, some very fine contributions of Donne to the representation of Death must be discarded as appertaining to Death’s properties rather than to his actual appearance. The few deviatios in the paper from the actual iconographical aspects of Death are to elucidate an iconographical aspect of John Donne’s treatment of Death.</p> <p>For the purpose of my paper, I have group iconographical examples under three headings. The Danse Macabre theme includes the hand of Death, which is as prominent visually as the dance itself, as well as the conception of Death as a clownish dancer and, therefore, a vehicle of satire.</p> <p>The image of a greedy Death eating his victims comes from the Apocalypse (20:13), where death and hell are described as giving up their dead at the Last Judgement. Its role is minor in the history of an iconographic Death, and suggests the phyical contact as well as the lack of dignity of the Danse Macbre, but without the importance of the hand and leg motif fo the Danse Macbre. I suggest it as a second theme because of its importance in Donne’s writings. My third category, the very popular Apocalypse theme of a Warrior Death on a horse (6:8), includes as well his proud, aristocratic aspect.</p>","abstract_has_math":false,"creators":["Greely, Helen Hadly"],"institution":null,"degree_name":"Master of Arts","degree_level":"Master's Thesis","degree_discipline":"Humanities","degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":1967,"date_issued":"1967-01-01T08:00:00Z","date_published":"1967-01-01T08:00:00Z","updated_at":"2026-07-24T02:05:51Z","subjects":["Humanities","Arts and Humanities"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://scholar.dominican.edu/humanities-print-theses/132","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Greely, Helen Hadly"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"thesis:degree_discipline","label":"Discipline","values":["Humanities"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Master's Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Humanities","Arts and Humanities"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://scholar.dominican.edu/humanities-print-theses/132"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["The purpose of this study is to protray the large frame of the icongraphy of death in the tie of John Donne. My study must, by definistion, leave out the Ars Moriendi theme which is really a companion study. Furthermore, some very fine contributions of Donne to the representation of Death must be discarded as appertaining to Death’s properties rather than to his actual appearance. The few deviatios in the paper from the actual iconographical aspects of Death are to elucidate an iconographical aspect of John Donne’s treatment of Death.
For the purpose of my paper, I have group iconographical examples under three headings. The Danse Macabre theme includes the hand of Death, which is as prominent visually as the dance itself, as well as the conception of Death as a clownish dancer and, therefore, a vehicle of satire.
The image of a greedy Death eating his victims comes from the Apocalypse (20:13), where death and hell are described as giving up their dead at the Last Judgement. Its role is minor in the history of an iconographic Death, and suggests the phyical contact as well as the lack of dignity of the Danse Macbre, but without the importance of the hand and leg motif fo the Danse Macbre. I suggest it as a second theme because of its importance in Donne’s writings. My third category, the very popular Apocalypse theme of a Warrior Death on a horse (6:8), includes as well his proud, aristocratic aspect.
"]},{"key":"dc:title","label":"Title","values":["A Large Frame of the Iconography of Death in the Time of John Donne"]}]}],"canonical_facts":{"dc:creator":["Greely, Helen Hadly"],"dc:description.abstract":["The purpose of this study is to protray the large frame of the icongraphy of death in the tie of John Donne. My study must, by definistion, leave out the Ars Moriendi theme which is really a companion study. Furthermore, some very fine contributions of Donne to the representation of Death must be discarded as appertaining to Death’s properties rather than to his actual appearance. The few deviatios in the paper from the actual iconographical aspects of Death are to elucidate an iconographical aspect of John Donne’s treatment of Death.
For the purpose of my paper, I have group iconographical examples under three headings. The Danse Macabre theme includes the hand of Death, which is as prominent visually as the dance itself, as well as the conception of Death as a clownish dancer and, therefore, a vehicle of satire.
The image of a greedy Death eating his victims comes from the Apocalypse (20:13), where death and hell are described as giving up their dead at the Last Judgement. Its role is minor in the history of an iconographic Death, and suggests the phyical contact as well as the lack of dignity of the Danse Macbre, but without the importance of the hand and leg motif fo the Danse Macbre. I suggest it as a second theme because of its importance in Donne’s writings. My third category, the very popular Apocalypse theme of a Warrior Death on a horse (6:8), includes as well his proud, aristocratic aspect.
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