ENG LYRIC POETRY.pdf - STIBA Malang

NOTES TO PP. 91–101
4 CAROLINE AMUSEMENTS
1 The Complete Works of William Hazlitt, ed. P.P.Howe, 21 vols, London: J.M.Dent,
1930, vol. 5, p. 82 (from “Lectures on the English Poets”).
2 A thoughtful, though apparently unconscious, variation is Richard Helgerson’s Self-
Crowned Laureates: Spenser, Jonson, Milton and the Literary System, Berkeley, CA:
University of California Press, 1983. See also William Kerrigan and Gordon Braden,
The Idea of the Renaissance, Baltimore, MD: Johns Hopkins University Press, 1989,
pp. 193–4. Seeking to correct Helgerson’s account, Lawrence Venuti, Our Halcyon
Dayes: English Prerevolutionary Texts and Postmodern Culture, Madison, WI:
University of Wisconsin Press, 1989, ch. 5, emphasizes the subversive quality of
Caroline verse but ultimately ends up limiting this claim to a ruling elite contained
by the royal ideology (pp. 258–9). His is not simply the familiar dilemma of New
Historicism; in Caroline poetry, pleasure is not easily reconciled to virtue, except in
the fictional world of the masque.
3 The Poems of John Cleveland, ed. Brian Morris and Eleanor Withington, Oxford:
Clarendon Press, 1967, p. 41.
4 See Patricia Fumerton, Cultural Aesthetics: Renaissance Literature and the Practice of
Social Ornament, Chicago: University of Chicago Press, 1991, especially chaps 1 and
5; and Jeffrey Knapp, An Empire Nowhere: England, America, and Literature from
Utopia to the Tempest, Berkeley, CA: University of California Press, 1992.
5 The Poems of Henry King, ed. Margaret Crum, Oxford: Clarendon Press, 1965, p. 76
(“Upon the Death of my ever Desired Freind Dr. Donne Deane of Paules”). For a
modern variation on King’s elegy, see Peter Porter’s “An Exequy” in his Collected
Poems, Oxford: Oxford University Press, 1983.
6 Quoted from Ben Jonson and the Cavalier Poets, ed. Hugh Maclean, New York: W.W.
Norton, 1974, p. 196.
7 As evidence of manuscript activity in this period, see Peter Beal’s interesting
comments on the popularity of William Strode and his Song (“I saw fair Cloris walk
alone”) in the Index of English Literary Manuscripts, Volume II, 1625–1700, Part 2,
London: Mansell, 1993, p. 352. Some eighty-eight manuscript copies of Strode’s
poem survive, even though little of his verse was published until the twentieth
century.
8 The Poems of Thomas Carew, ed. Rhodes Dunlap, Oxford: Clarendon Press, 1949, p.
xxxiii. References to Carew’s poetry will be to this edition.
9 Ben Jonson, ed. Ian Donaldson, Oxford: Oxford University Press, 1985 pp. 584–6.
10 Quoted in Dunlap, The Poems of Thomas Carew, p. li. Although Carew is lumped
with Pope’s “mob,” Pope was elsewhere more ambivalent about Carew’s status.
11 For the last point especially, see John Kerrigan, “Thomas Carew,” Proceedings of the
British Academy 74 (1988):311–50.
12 See Sidney Gottlieb, “‘Elegies Upon the Author’: Defining, Defending, Surviving
Donne,” John Donne Journal 2 (1983):23–38.
13 The Poems of Thomas Carew, p. liv.
14 ibid., p. xlvi.
15 Louis L.Martz, The Wit of Love: Donne, Carew, Crashaw and Marvell, Notre Dame,
IN: University of Notre Dame Press, 1969, p. 90.
16 The Poems of Thomas Carew, p. xxxv.
17 The Poems of Thomas Carew, p. xlviii.
18 Norman K.Farmer, Jr., Poets and the Visual Arts in Renaissance England, Austin, TX:
University of Texas Press, 1984, pp. 30–8.
19 For the first point, see Michael P.Parker, “Carew’s Politic Pastoral: Virgilian Pretexts
in the ‘Answer to Aurelian Townsend,’” John Donne Journal 1 (1982):101–16. For
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