ENG LYRIC POETRY.pdf - STIBA Malang

NOTES TO PP. 47–59
33 Ben Jonson, p. 569. The recent rediscovery of Jonson’s copy of the 1617 Folio of
Spenser’s Faerie Queen: The Shepheards Calendar; Together With the Other Works of
England’s Arch Poet has helped to counter, and to complicate, the “legendary”
differences between the two poets as largely reported by Drummond. See James
A.Riddell and Stanley Stewart, Jonson’s Spenser: Evidence and Historical Criticism,
Pittsburgh, PA: Duquesne University Press, 1995.
34 Ben Jonson, p. 586.
35 Stella P.Revard, “Pindar and Jonson’s Cary-Morison Ode,” in Classic and Cavalier:
Essays on Jonson and the Sons of Ben, ed. Claude J.Summers and Ted-Larry Pebworth,
Pittsburgh, PA: University of Pittsburgh Press, 1982, p. 17.
36 Anne Barton, Ben Jonson, Dramatist, Cambridge: Cambridge University Press, 1984,
chaps 12, 14; and Robert N.Watson, Ben Jonson’s Parodic Strategy: Literary
Imperialism in the Comedies, Cambridge, MA: Harvard University Press, 1987, ch. 8.
37 Quoted from Peterson, Imitation and Praise in the Poems of Ben Jonson, p. 215.
3 PATRIOTIC AND POPULAR POETS
1 T.S.Eliot, Selected Essays, New York: Harcourt, Brace & World, 1964, p. 247 (“The
Metaphysical Poets”).
2 A handsomely produced modern selection has been edited by William B.Hunter, The
English Spenserians: The Poetry of Giles Fletcher, George Wither, Michael Drayton,
Phineas Fletcher, and Henry More, Salt Lake City, UT: University of Utah Press, 1977.
Further selections of all but Taylor’s poetry can be found in The Later Renaissance in
England: Nondramatic Verse and Prose, 1600–1660, ed. Herschel Baker, Boston, MA:
Houghton Mifflin, 1973. Joan Grundy, The Spenserian Poets: A Study in Elizabethan
and Jacobean Poetry, London: Edward Arnold, 1969, provides a valuable introduction
to the subject. The most important revaluation of the Spenserians is the chapter in
David Norbrook, Poetry and Politics in the English Renaissance, London: Routledge &
Kegan Paul, 1984, entitled “The Spenserians and King James, 1603–16.” By
including patriotic with popular poets in this chapter, I am departing a bit from the
more canonical line of Spenserian poets as represented by Hunter and Grundy.
3 The Works of Michael Drayton, ed. J.William Hebel, 5 vols, 1931–41; repr. Oxford:
Basil Blackwell, 1961, vol. IV:vi, and vol. III:206, respectively. Further references to
Drayton’s works will be to this edition.
4 Representative of these phases, in chronological order, are two earlier books, Bernard
Newdigate’s Michael Drayton and His Circle, 1941, repr. Oxford: Basil Blackwell,
1961, and Richard F.Hardin’s Michael Drayton and the Passing of Elizabethan England,
Lawrence, KS: University of Kansas Press, 1973; then David Norbrook, Poetry and
Politics in the English Renaissance, ch. 8 (“The Spenserians and King James”), Richard
Helgerson, “The Land Speaks: Cartography, Chorography, and Subversion in
Renaissance England,” Representations 16 (1986):51–85, and Jean R.Brink, Michael
Drayton Revisited, Boston, MA: G.K.Hall, 1990; and, most recently, Thomas
Cogswell, “The Path to Elizium ‘Lately Discovered’: Drayton and the Early Stuart
Court,” The Huntington Library Quarterly 54 (1991):207–33, and Claire McEachern,
The Poetics of English Nationhood, 1590–1612, Cambridge: Cambridge University
Press, 1996, ch. 4 (“Putting the ‘poly’ back into Poly-Olbion: British union and the
border of the English nation”).
5 The OED describes “chorography” as “a term, with its family of words, greatly in
vogue” in the seventeenth century, and proceeds to define it as “the art or practice
of describing, or of delineating on a map or chart, particular regions, or districts; as
distinguished from geography, taken as dealing with the earth in general, and (less
distinctly) from topography, which deals with particular places, as towns.”
6 Quoted in Newdigate, Michael Drayton and his Circle, p. 218.
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