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This article examines Lucy Hutchinson's pervasive materialism, arguing that her use of corporeal imagery – in part shaped by her early translation of Lucretius – contributes to the soteriological purposes of her later works in multiple ways. Criticism on Hutchinson has tended to divorce the materialist imagery of her translation from the Calvinistic themes of her other writings. I argue, however, for the lasting presence of a materialism constructed from the vocabularies of Lucretian Epicureanism, Neoplatonism and John Owen. Focusing especially on the poem Order and Disorder and Hutchinson's theological tract to her daughter, I show how she uses materialism as a "means" to achieving assurance and grace. I suggest that these various responses to physical experience are part of Hutchinson's enduring investigation into the ontology of "Order" and "Disorder", and her quest for stable spiritual being. [ABSTRACT FROM AUTHOR]

The article critiques the stylistic elements of the poem "Venus and Adonis," by William Shakespeare, particularly focusing on inconsistencies of tone, characterization and voice. It addresses Roman poet Ovid's narrative poem "Metamorphoses" as Shakespeare's principal source, the sensuous sophistication and humor of the poem, and literary scholar Hallett Smith's placement of the poem in the genre of Ovidian mythological-erotic poetry.