ENG LYRIC POETRY.pdf - STIBA Malang
ENG LYRIC POETRY.pdf - STIBA Malang
ENG LYRIC POETRY.pdf - STIBA Malang
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NOTES TO PP. 31–36<br />
Wilson, The Triple Thinkers: Ten Essays on Literature, New York: Charles Scribner’s<br />
Sons, 1938, pp. 71–6. For an extensive and subtle refutation of a number of recent<br />
accounts of Jonson as court sycophant or “representative voice” of Jacobean<br />
absolutism, see Martin Butler, “‘Servant, but not Slave’: Ben Jonson at the Jacobean<br />
Court,” Proceedings of the British Academy 90 (1995):65–93. My own chapter was<br />
completed before Butler’s fine article appeared, although we are clearly both<br />
resisting, from different angles, the prevalent view of seeing Jonson as either entirely<br />
complicitous with, or always already constrained by, a pervasive system of court<br />
patronage.<br />
15 James A.Riddell, “Cunning Pieces Wrought Perspective: Ben Jonson’s Sonnets,”<br />
Journal of English and Germanic Philology 87 (1988):193–212.<br />
16 John Hollander, “Ben Jonson and the Modality of Verse,” in Vision and Resonance:<br />
Two Senses of Poetic Form, New York: Oxford University Press, 1975, p. 173.<br />
17 Ben Jonson, p. 596.<br />
18 ibid., p. 595.<br />
19 ibid.<br />
20 ibid., p. 222.<br />
21 The Poems of Sir John Davies, ed. Robert Krueger, Oxford: Clarendon Press, 1975, p.<br />
377.<br />
22 Alastair Fowler, “The Silva Tradition in Jonson’s The Forrest,” in Poetic Traditions of<br />
the English Renaissance, ed. Maynard Mack and George deForest Lord, New Haven,<br />
CT: Yale University Press, 1982, pp. 163–80.<br />
23 For a full discussion of Jonson’s place in this history, see Wesley Trimpi, Ben Jonson’s<br />
Poems: A Study of the Plain Style, Stanford, CA: Stanford University Press, 1962.<br />
24 Ben Jonson, p. 228.<br />
25 For acute discussions of the social strains operating in this poem, see Don E.Wayne,<br />
Penshurst: The Semiotics of Place and the Poetics of History, Madison, WI: University of<br />
Wisconsin Press, 1984, and Michael C.Schoenfeldt, “‘The Mysteries of Manners, Armes<br />
and Arts’: ‘Inviting a Friend to Supper’ and ‘To Penshurst,’” in “The Muses Common-<br />
Weak”: Poetry and Politics in the Seventeenth Century, ed. Claude J. Summers and Ted-<br />
Larry Pebworth, Columbia, MO: University of Missouri Press, 1988, pp. 69–79.<br />
26 Aemilia Lanyer’s “The Description of Cooke-ham,” published as the concluding<br />
poem to Salve Deus Rex Judaeorum, 1611, is not strictly speaking a “country house”<br />
poem, but a lament or farewell to a place. Although Jonson’s familiarity with<br />
Lanyer’s poem is now sometimes taken for granted in critical discussions of the two<br />
poems, no one, to my knowledge, has established that Jonson knew Lanyer’s poetry.<br />
The relationship between the two poems is discussed in more detail below in<br />
Chapter 8.<br />
27 See Martin Butler, “‘Servant, but not Slave’,” p. 83.<br />
28 Greene, The Light in Troy: Imitation and Discovery in Renaissance Poetry, New Haven,<br />
CT: Yale University Press, 1982, ch. 13.<br />
29 Ben Jonson, pp. 598, 596.<br />
30 See especially T.J.B.Spencer, “Ben Jonson on his beloved, The Author Mr. William<br />
Shakespeare,” in The Elizabethan Theatre, IV, ed. G.R.Hibbard, Hamden, CT:<br />
Archon Books, 1974, pp. 22–40; Lawrence Lipking, The Life of the Poet: Beginning<br />
and Ending Poetic Careers, Chicago: University of Chicago Press, 1981, pp. 138–46;<br />
and Richard S.Peterson, Imitation and Praise in the Poems of Ben Jonson, New Haven,<br />
CT: Yale University Press, 1981, ch. 4.<br />
31 The Poetical Works of William Basse, 1602–1653, ed. R.Warwick Bond, London: Ellis<br />
& Elvey, 1893, p. 115.<br />
32 Ben Jonson, p. 569; Seventeenth-Century Poetry: The Schools of Donne and Jonson, ed.<br />
Hugh Kenner, New York: Holt, Rinehart & Winston, 1964, p. 69.<br />
290