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FROM WROTH TO PHILIPS overlooking two of the more celebrated women of the era, whose activities in print were regarded by contemporaries as not merely unusual or exceptional but singular. I mean, of course, the woman who sometimes regally referred to herself as “Margaret the First,” or, alternatively, was referred to by others as “Mad Madge”— Margaret Lucas Cavendish, the Duchess of Newcastle, whose behavior and dress shocked contemporaries of both sexes, and whose vast literary output Virginia Woolf once likened to “some giant cucumber [spreading] itself over all the roses and carnations in the garden,” 35 but which also has entitled her to an increasingly appreciated place in history “as the first Englishwoman to write a substantial body of literature intentionally for publication.” 36 And I mean, too, Cavendish’s infinitely more respectable contemporary, “The Matchless Orinda,” Katherine Philips, England’s first publicly celebrated female poet. With each we leave behind the Biblically-based utterances of mid-century and enter the world of Restoration verse and visibility. Their routes to “fame”—a favorite word of Cavendish’s—could hardly be less alike, yet their separate pathways are deeply familiar ones in the seventeenth century. Philips, on the one hand, claimed the social and artistic privileges that traditionally belonged to an elite manuscript culture. Only after a “pirated” edition of her Poems was published in 1664 did the “Incomparable/Mrs. K.P.” emerge into full view in a “corrected” version of 1667, and then only in the company of commendatory poems written by six different hands and prefaced by a posthumous epistle supplied by the modest Philips herself denying that her verse had ever been intended for an audience beyond a private few. With her sudden early death from smallpox in 1664, what was once “incomparable” had become “matchless.” These double adjectives now decorated the title page of the folio editions of her Poems in 1667, 1669, and 1678, where, in addition to the new verse translations Philips had made of Corneille’s Pompey and Horace, each of these handsome editions also included a carefully wrought engraved frontispiece of a bust of “Orinda” in a niche done by William Faithorne, the Elder, England’s great engraver (Fig. 3). 37 As Edward Phillips said of Katherine Philips in his Theatrum Poetarum, hedging his bets only slightly, she was “the most applauded, at this time, Poetess of our Nation, either of the present or former Ages.” 38 Cavendish, on the other hand, plunged into the world of print with Witherlike gusto. Beginning with Poems and Fancies, her one book solely devoted to verse and published in 1653, and continuing for more than a decade, she wrote in a medley of genres: drama, philosophical prose, prose romance, biography, autobiography, science fiction, and the familiar letter (or Sociable Letters, as she called them); and on many topics, but especially those related to the New Sciences: matter, motion, atomism. She also struck a number of radically different poses for the Antwerp artist, Abraham van Diepenbeke, which were used, and sometimes reused, as frontispieces for individual works. The “Thrice Noble, Illustrious, and Excellent Princesse,” as she came to be known after the Restoration, appears as imperious virago in The World’s Olio (1655), The Blazing World (1668), and the Plays (1668); as modest domestic partner in a circle of storytellers for Nature’s 239
Figure 3 Poems by the most deservedly admired Mrs. Katherine Philips, the Matchless Orinda 1667. Frontispiece engraving by William Faithorne, the Elder. (Reproduced by permission of the William Andrews Clark Memorial Library.) 240
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ENGLISH LYRIC POETRY English Lyric
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First published 1999 by Routledge 1
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CONTENTS Foreword ix Acknowledgemen
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FOREWORD period—indeed, probably
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FOREWORD “socially specified self
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ACKNOWLEDGEMENTS In thinking and wr
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A NOTE ON SOURCES AND SPELLING A si
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IRREMEDIABLY DONNE just that an act
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IRREMEDIABLY DONNE law, a path desi
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IRREMEDIABLY DONNE reluctantly ackn
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IRREMEDIABLY DONNE were considered
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IRREMEDIABLY DONNE less to do with
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IRREMEDIABLY DONNE between, below,
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IRREMEDIABLY DONNE Thine age askes
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IRREMEDIABLY DONNE measure fail, to
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IRREMEDIABLY DONNE mood of “low d
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IRREMEDIABLY DONNE To readers appro
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IRREMEDIABLY DONNE another poem in
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BEN JONSON AND THE ART OF INCLUSION
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3 PATRIOTIC AND POPULAR POETS In pu
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PATRIOTIC AND POPULAR POETS bald di
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PATRIOTIC AND POPULAR POETS suspici
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PATRIOTIC AND POPULAR POETS in the
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PATRIOTIC AND POPULAR POETS The uns
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PATRIOTIC AND POPULAR POETS the gre
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PATRIOTIC AND POPULAR POETS William
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PATRIOTIC AND POPULAR POETS Elizabe
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PATRIOTIC AND POPULAR POETS Wither
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PATRIOTIC AND POPULAR POETS And wit
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PATRIOTIC AND POPULAR POETS Yea, th
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PATRIOTIC AND POPULAR POETS now set
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PATRIOTIC AND POPULAR POETS straigh
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PATRIOTIC AND POPULAR POETS The pop
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PATRIOTIC AND POPULAR POETS antholo
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PATRIOTIC AND POPULAR POETS You hol
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PATRIOTIC AND POPULAR POETS and mad
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PATRIOTIC AND POPULAR POETS Taylor
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PATRIOTIC AND POPULAR POETS product
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CAROLINE AMUSEMENTS altogether the
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CAROLINE AMUSEMENTS difficult to es
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CAROLINE AMUSEMENTS Can we not forc
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CAROLINE AMUSEMENTS The wiser world
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CAROLINE AMUSEMENTS Queen heaped fa
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CAROLINE AMUSEMENTS pale, as Carew
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CAROLINE AMUSEMENTS Carew’s respo
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CAROLINE AMUSEMENTS Religion by Rea
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CAROLINE AMUSEMENTS no odd becommin
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CAROLINE AMUSEMENTS Suckling next w
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CAROLINE AMUSEMENTS with ceremony i
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CAROLINE AMUSEMENTS Anthea, Sappho)
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CAROLINE AMUSEMENTS metrically mono
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CAROLINE AMUSEMENTS “Liquefaction
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CAROLINE AMUSEMENTS his return to s
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CAROLINE AMUSEMENTS It is easy to r
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CAROLINE AMUSEMENTS against a darke
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CAROLINE AMUSEMENTS There your sad
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CAROLINE AMUSEMENTS empowered Purit
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CAROLINE AMUSEMENTS To spell out mo
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CAROLINE AMUSEMENTS As Lovelace mak
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CAROLINE AMUSEMENTS And always like
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SUBSTANCE AND STYLE IN GEORGE HERBE
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6 THE ONCE AND FUTURE POET Milton i
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THE ONCE AND FUTURE POET paraphrase
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THE ONCE AND FUTURE POET Music” t
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THE ONCE AND FUTURE POET are not of
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THE ONCE AND FUTURE POET a classic
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THE ONCE AND FUTURE POET highly spe
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THE ONCE AND FUTURE POET sheep-and-
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These delights if thou canst give,
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THE ONCE AND FUTURE POET have appea
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THE ONCE AND FUTURE POET “Captain
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THE ONCE AND FUTURE POET of sexual
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THE ONCE AND FUTURE POET Thus I spr
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THE ONCE AND FUTURE POET the Bridge
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THE ONCE AND FUTURE POET As for Com
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THE ONCE AND FUTURE POET The great
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THE ONCE AND FUTURE POET irregular
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Page 209 and 210: 7 ARENAS OF RETREAT Blood, bread, a
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Page 213 and 214: ARENAS OF RETREAT dearest and neare
Page 215 and 216: ARENAS OF RETREAT Given the level o
Page 217 and 218: ARENAS OF RETREAT the speaker in re
Page 219 and 220: ARENAS OF RETREAT Under a Juniper,
Page 221 and 222: ARENAS OF RETREAT O how I long to t
Page 223 and 224: ARENAS OF RETREAT (Though single vo
Page 225 and 226: ARENAS OF RETREAT flies of hell”
Page 227 and 228: ARENAS OF RETREAT In focusing on Ni
Page 229 and 230: 8 FROM WROTH TO PHILIPS Women poets
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Page 233 and 234: FROM WROTH TO PHILIPS century about
Page 235 and 236: FROM WROTH TO PHILIPS Butt O my hur
Page 237 and 238: FROM WROTH TO PHILIPS unfolds a min
Page 239 and 240: FROM WROTH TO PHILIPS Reader”). A
Page 241 and 242: FROM WROTH TO PHILIPS reality of th
Page 243 and 244: FROM WROTH TO PHILIPS vernacular li
Page 245 and 246: FROM WROTH TO PHILIPS Anne Bradstre
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Page 249 and 250: FROM WROTH TO PHILIPS Nonetheless,
Page 251 and 252: FROM WROTH TO PHILIPS Another Aunci
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Page 263 and 264: FROM WROTH TO PHILIPS Thinking that
Page 265 and 266: Figure 4 Margaret Cavendish, Duches
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Page 273 and 274: ANDREW MARVELL reputation as a poet
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Page 277 and 278: ANDREW MARVELL after mourning the d
Page 279 and 280: ANDREW MARVELL Where the remote Ber
Page 281 and 282: ANDREW MARVELL In fact, “To his C
Page 283 and 284: ANDREW MARVELL Than languish in his
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Page 287 and 288: ANDREW MARVELL signal at the outset
Page 289 and 290: ANDREW MARVELL difficult to know ex
Page 291 and 292: ANDREW MARVELL throne, his head sur
Page 293 and 294: ANDREW MARVELL Out of these scatter
Page 295 and 296: ANDREW MARVELL Tulips, in several C
Page 297 and 298: ANDREW MARVELL Nor would it, had th
Page 299 and 300: ANDREW MARVELL obvious being that D
Page 301 and 302: ANDREW MARVELL Paint then St. Alban
Page 303 and 304: ANDREW MARVELL thinking and rethink
Page 305 and 306: ANDREW MARVELL Him, valianst men, a
Page 307 and 308: NOTES TO PP. 4-17 12 On the connect
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NOTES TO PP. 31-36 Wilson, The Trip
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NOTES TO PP. 60-9 7 Newdigate, Mich
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NOTES TO PP. 77-90 46 Quoted from t
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NOTES TO PP. 102-15 the second, see
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NOTES TO PP. 135-45 5 SUBSTANCE AND
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NOTES TO PP. 165-84 10 Budick, The
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NOTES TO PP. 195-207 10 For a fulle
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NOTES TO PP. 213-24 Bucknell Univer
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NOTES TO PP. 241-50 University Pres
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NOTES TO PP. 256-73 7 Kenner (ed.),
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Abbot, Wilbur Cortez 308 Achinstein
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The” 242; “Hunting of the Hare,
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Du Bartas, Guillaume 86, 226 Dudley
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119; “Upon Julia’s Clothes” 1
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“Lucasta laughing” 131; Lucasta
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Porter, Peter 295 Post, Jonathan F.
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Van Dyck, Anthony 79, 99, 126 Van P
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