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NOTES TO PP. 31–36
Wilson, The Triple Thinkers: Ten Essays on Literature, New York: Charles Scribner’s
Sons, 1938, pp. 71–6. For an extensive and subtle refutation of a number of recent
accounts of Jonson as court sycophant or “representative voice” of Jacobean
absolutism, see Martin Butler, “‘Servant, but not Slave’: Ben Jonson at the Jacobean
Court,” Proceedings of the British Academy 90 (1995):65–93. My own chapter was
completed before Butler’s fine article appeared, although we are clearly both
resisting, from different angles, the prevalent view of seeing Jonson as either entirely
complicitous with, or always already constrained by, a pervasive system of court
patronage.
15 James A.Riddell, “Cunning Pieces Wrought Perspective: Ben Jonson’s Sonnets,”
Journal of English and Germanic Philology 87 (1988):193–212.
16 John Hollander, “Ben Jonson and the Modality of Verse,” in Vision and Resonance:
Two Senses of Poetic Form, New York: Oxford University Press, 1975, p. 173.
17 Ben Jonson, p. 596.
18 ibid., p. 595.
19 ibid.
20 ibid., p. 222.
21 The Poems of Sir John Davies, ed. Robert Krueger, Oxford: Clarendon Press, 1975, p.
377.
22 Alastair Fowler, “The Silva Tradition in Jonson’s The Forrest,” in Poetic Traditions of
the English Renaissance, ed. Maynard Mack and George deForest Lord, New Haven,
CT: Yale University Press, 1982, pp. 163–80.
23 For a full discussion of Jonson’s place in this history, see Wesley Trimpi, Ben Jonson’s
Poems: A Study of the Plain Style, Stanford, CA: Stanford University Press, 1962.
24 Ben Jonson, p. 228.
25 For acute discussions of the social strains operating in this poem, see Don E.Wayne,
Penshurst: The Semiotics of Place and the Poetics of History, Madison, WI: University of
Wisconsin Press, 1984, and Michael C.Schoenfeldt, “‘The Mysteries of Manners, Armes
and Arts’: ‘Inviting a Friend to Supper’ and ‘To Penshurst,’” in “The Muses Common-
Weak”: Poetry and Politics in the Seventeenth Century, ed. Claude J. Summers and Ted-
Larry Pebworth, Columbia, MO: University of Missouri Press, 1988, pp. 69–79.
26 Aemilia Lanyer’s “The Description of Cooke-ham,” published as the concluding
poem to Salve Deus Rex Judaeorum, 1611, is not strictly speaking a “country house”
poem, but a lament or farewell to a place. Although Jonson’s familiarity with
Lanyer’s poem is now sometimes taken for granted in critical discussions of the two
poems, no one, to my knowledge, has established that Jonson knew Lanyer’s poetry.
The relationship between the two poems is discussed in more detail below in
Chapter 8.
27 See Martin Butler, “‘Servant, but not Slave’,” p. 83.
28 Greene, The Light in Troy: Imitation and Discovery in Renaissance Poetry, New Haven,
CT: Yale University Press, 1982, ch. 13.
29 Ben Jonson, pp. 598, 596.
30 See especially T.J.B.Spencer, “Ben Jonson on his beloved, The Author Mr. William
Shakespeare,” in The Elizabethan Theatre, IV, ed. G.R.Hibbard, Hamden, CT:
Archon Books, 1974, pp. 22–40; Lawrence Lipking, The Life of the Poet: Beginning
and Ending Poetic Careers, Chicago: University of Chicago Press, 1981, pp. 138–46;
and Richard S.Peterson, Imitation and Praise in the Poems of Ben Jonson, New Haven,
CT: Yale University Press, 1981, ch. 4.
31 The Poetical Works of William Basse, 1602–1653, ed. R.Warwick Bond, London: Ellis
& Elvey, 1893, p. 115.
32 Ben Jonson, p. 569; Seventeenth-Century Poetry: The Schools of Donne and Jonson, ed.
Hugh Kenner, New York: Holt, Rinehart & Winston, 1964, p. 69.
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