ENG LYRIC POETRY.pdf - STIBA Malang

NOTES TO PP. 18–30
33 See John Stachniewski, “John Donne: The Despair of the ‘Holy Sonnets’,” ELH 48
(1981):677–705; and Richard Strier, “John Donne Awry and Squint: The ‘Holy
Sonnets,’ 1608–1610,” Modern Philology 86 (1989):357–84. A counter-response is
R.V.Young, “Donne’s Holy Sonnets and the Theology of Grace,” in “Bright Shootes of
Everlastingnesse”: The Seventeenth-Century Religious Lyric, ed. Claude J.Summers and
Ted-Larry Pebworth, Columbia, MO: University of Missouri Press, 1987, pp. 20–39.
34 See John Donne: The Divine Poems, ed. Helen Gardner, Oxford: Clarendon Press,
1952, p. 99.
35 My understanding of this poem has been especially helped by Donald M.Friedman,
“Memory and the Art of Salvation in Donne’s Good Friday Poem,” English Literary
Renaissance 3 (1973):418–42.
36 Novarr, The Disinterred Muse, p. 158. The remark belongs to Donne’s contemporary,
John Chamberlain.
37 Index of English Literary Manuscripts, compiled by Peter Beal, 5 vols, London:
Mansell, 1980, vol. I, p. 245.
38 The Poems of Thomas Carew, p. 74 (“In answer of an Elegiacall Letter upon the death
of the King of Sweden from Aurelian Townsend, inviting me to write on that
subject”).
39 These respective positions have been most fully delineated by Barbara K.Lewalski,
Protestant Poetics and the Seventeenth-Century Religious Lyric, Princeton, NJ: Princeton
University Press, 1979, ch. 8; Jonathan Goldberg, James I and the Politics of Literature,
Baltimore, MD: Johns Hopkins University Press, 1983, especially pp. 65–6, 107–12;
and Marotti, John Donne: Coterie Poet, passim.
2 BEN JONSON AND THE ART OF INCLUSION
1 Ben Jonson, ed. Ian Donaldson, New York: Oxford University Press, 1985, p. 600.
All further references to Jonson’s works are to this edition.
2 Carew, “An Elegie upon the death of the Deane of Pauls, Dr. John Donne,” in The
Poems of Thomas Carew, ed. Rhodes Dunlap, Oxford: Clarendon Press, 1949, p. 73.
3 Roman Jakobson and Morris Halle, Fundamentals of Language, The Hague: Mouton,
1971, pp. 90–6.
4 Ben Jonson, p. 455, l. 64.
5 ibid., p. 609.
6 Richard Helgerson’s Self-Crowned Laureates: Spenser, Jonson, Milton and the Literary
System, Berkeley, CA: University of California Press, 1983, provides a
comprehensive analysis of this process.
7 Eliot, “Ben Jonson,” in Selected Essays, New York: Harcourt, Brace & World, 1932,
p. 128.
8 Ben Jonson, pp. 595, 598.
9 Mark Bland, “William Stansby and the Production of The Workes of Beniamin Jonson,
1615–16,” The Library, 6th ser., 20 (1998):1–33.
10 A fuller reading of the title page will be found in Margery Corbett and Ronald
Lightbown, The Comely Frontispiece: The Emblematic Title-page in England, 1550–
1660, London: Routledge & Kegan Paul, 1979, pp. 145–50.
11 Bland, “William Stansby and the Production of The Workes of Beniamin Jonson,
1615–16,” p. 19.
12 Puttenham, The Arte of English Poesie, 1589; repr. Amsterdam: Theatrum Orbis
Terrarum, 1971, I:XXVII.
13 Richard Dutton, Ben Jonson: To The First Folio, Cambridge: Cambridge University
Press, 1983, p. 14.
14 See, respectively, “A Sessions of the Poets” in The Works of Sir John Suckling: The
Non-Dramatic Works, ed. Thomas Clayton, Oxford: Clarendon Press, 1971, and
289