ENG LYRIC POETRY.pdf - STIBA Malang

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FROM WROTH TO PHILIPS barely figure into Cavendish’s verse. Even the elegies appearing in “A Register of Mournfull Verses” have an aura of unreality about them. We know too, for example, that she read Donne because she quotes a line of his in “Of Light, and Sight,” but the allusion is conspicuous for its rarity; and while readers have long felt a link with Milton’s Poems, at least with “L’Allegro” and “Il Penseroso” (no doubt because of their fanciful projections of mental states), these connections do not so much deepen as disappear upon close inspection. In the company of her other half, Cavendish belongs to a literary circle of two, or perhaps one, as the poem written by her husband for the engraved frontispiece to her Philosophical and Physical Opinions (1655) suggests. The frontispiece portrait shows Margaret Cavendish in a private drawing room, at a table with a pen for writing and a servant’s bell to ring, and facing outwards, being crowned by putti carrying laurels, but also separated from the viewer because of a sturdy railing interposed between her and us (Fig. 4). In the manner of describing an enigma, the poem reads: Studious She is all Alone Most visitants, when She has none, Her Library on which She looks It is her Head, her Thoughts her Books. Scorninge dead Ashes without fire For her owne Flames doe her Inspire. As Gallagher has remarked, the utter solitude is strikingly—and I would add teasingly—different from traditional ways of representing female privacy and subjectivity (p. 30); for if the poem initially presents her looking outward on to a library which occupies the place of the viewer, the poem also quickly dissolves this connection—this “voyage” into the world, as Hobbes might say—by turning the library into her head, books into her thoughts. In this illusory exchange, Cavendish is suddenly represented not as the product of her reading in the manner, say, of Anne Clifford in the Clifford “Great Picture.” She simply sits, hand not touching pen, staring outward, “herself being all she seeks.” Whereas the sometimes cross-dressing Cavendish is self-consciously inimitable (and for that reason exerted little influence on later authors), Katherine Philips is everywhere more user-friendly and influential, replete with her own “school” of followers, as Marilyn Williamson has noted. 44 Philips writes comfortably within already well-established categories of seventeenth-century verse. The familiar verse epistle is her favorite form, although she also practiced other lyrical modes in favor around mid-century—songs, dialogues, and epitaphs, for instance—and wrote on the high-minded subjects long considered appropriate to poetry: love, honor, loyalty, friendship, and so forth. Almost every one of her 130 or so poems comes bearing the tell-tale preposition “to” or “on” (or “upon”) in the title. In pointed contrast to Cavendish, poetry that was not about an event or addressed to someone was almost unthinkable to Philips; and 245
Figure 4 Margaret Cavendish, Duchess of Newcastle. Frontispiece portrait from Philosophical and Physical Opinions (1655) by Abraham van Diepenbeke, engraved by Peter van Schuppen. (Reproduced by permission of the Huntington Library, San Marino, California.) 246
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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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THE ONCE AND FUTURE POET (“Look h
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7 ARENAS OF RETREAT Blood, bread, a
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ARENAS OF RETREAT of identifying a
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Page 221 and 222: ARENAS OF RETREAT O how I long to t
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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
Page 231 and 232: FROM WROTH TO PHILIPS wrote but wro
Page 233 and 234: FROM WROTH TO PHILIPS century about
Page 235 and 236: FROM WROTH TO PHILIPS Butt O my hur
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Page 239 and 240: FROM WROTH TO PHILIPS Reader”). A
Page 241 and 242: FROM WROTH TO PHILIPS reality of th
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Page 245 and 246: FROM WROTH TO PHILIPS Anne Bradstre
Page 247 and 248: FROM WROTH TO PHILIPS receive renew
Page 249 and 250: FROM WROTH TO PHILIPS Nonetheless,
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Page 257 and 258: FROM WROTH TO PHILIPS For Collins,
Page 259 and 260: Figure 3 Poems by the most deserved
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Page 269 and 270: FROM WROTH TO PHILIPS Nay, should w
Page 271 and 272: FROM WROTH TO PHILIPS remembering,
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
Page 309 and 310: NOTES TO PP. 31-36 Wilson, The Trip
Page 311 and 312: NOTES TO PP. 60-9 7 Newdigate, Mich
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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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