ENG LYRIC POETRY.pdf - STIBA Malang

NOTES TO PP. 4–17
12 On the connection between writing and social advancement in Donne, see Carey,
John Donne: Life, Mind, and Art, chaps. 3–4; and Arthur Marotti, John Donne:
Coterie Poet, Madison, WI: University of Wisconsin Press, 1986, passim.
13 Quoted from The Later Renaissance in England, ed. Herschel Baker, Boston, MA:
Houghton Mifflin, 1975, p. 676.
14 John Hollander, “Donne and the Limits of Lyric” in Vision and Resonance: Two Senses
of Poetic Form, New York: Oxford University Press, 1975, p. 46.
15 John Donne: The Satires, Epigrams and Verse Letters, ed. W.Milgate, Oxford:
Clarendon Press, 1967, p. 66 (“To Mr. S.B.”).
16 The Collected Poems of Joseph Hall, ed. A.Davenport, Liverpool: University of
Liverpool Press, 1949, p. 97.
17 Milton, An Apology Against a Pamphlet in The Complete Prose Works of John Milton,
ed. Don M.Wolfe et al., 8 vols, New Haven, CT: Yale University Press, 1953–; vol. I,
1953, pp. 915–16.
18 John Donne: The Satires, Epigrams and Verse Letters, p. xvii.
19 James S.Baumlin, “Generic Context of Elizabethan Satire: Rhetoric, Poetic Theory,
and Imitation,” in Renaissance Genres: Essays on Theory, History, and Interpretation,
ed. Barbara Kiefer Lewalski, Cambridge, MA: Harvard University Press, 1986, pp.
444–67.
20 Ben Jonson, p. 596.
21 The strongest claim of late for a radical reading of Satire III belongs to Richard
Strier, Resistant Structures: Particularity, Radicalism, and Renaissance Texts, Berkeley,
CA: University of California Press, 1995, ch. 6: “Impossible Radicalism I: Donne
and Freedom of Conscience.” An earlier version appeared as “Radical Donne: Satire
III,” ELH 60 (1993):283–322. For a different view see Thomas Hester, Kinde Pitty
and Brave Scorne: John Donne’s Satyres, Durham, NC: Duke University Press, 1982.
22 Patricia Parker, “Suspended Instruments: Lyric and Power in the Bower of Bliss,” in
Cannibals, Witches, and Divorce: Estranging the Renaissance, ed. Marjorie Garber,
Baltimore, MD: Johns Hopkins University Press, 1987, pp. 28–30.
23 Current assumptions of Donne’s authorship are briefly noted by Janel Mueller,
“Troping Utopia: Donne’s brief for lesbianism,” in Sexuality and Gender in Early
Modern Europe, ed. James Grantham Turner, Cambridge: Cambridge University
Press, 1993, pp. 182–207, especially 183–4.
24 Puttenham, The Arte of English Poesie, Amsterdam: Theatrum Orbis Terrarum, 1971,
p. 20.
25 Alan Armstrong, “The Apprenticeship of John Donne: Ovid and the Elegies,” ELH
44 (1977):419–42.
26 Carey, John Donne: Life, Mind and Art, p. 107.
27 John Donne: The Elegies and The Songs and Sonnets, ed. Helen Gardner, Oxford:
Clarendon Press, 1965, p. 174.
28 Ben Jonson, p. 596.
29 Interpretations of Donne’s poetry as misogynistic abound; Camille Wells Slights
argues a sensitive middle position that also finds female empowerment in Donne in
“A Pattern of Love: Representations of Anne Donne” in John Donne’s “desire of
more,” pp. 66–88.
30 For a full exploration of Donne’s fear of annihilation, see Robert N.Watson, The Rest
is Silence: Death as Annihilation in the English Renaissance, Berkeley, CA: University
of California Press, 1994, ch. 5 (“Duelling Death in the Lyrics of Love”).
31 Walton’s Lives, p. 54.
32 Walton’s Lives, p. 55. The account, however, may be apocryphal; see David Novarr,
The Disinterred Muse: Donne’s Texts and Contexts, Ithaca, NY: Cornell University
Press, 1980, pp. 172–3.
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