ENG LYRIC POETRY.pdf - STIBA Malang

NOTES TO PP. 102–15
the second, see Kevin Sharpe, Criticism and Compliment: The Politics of Literature in
the England of Charles I, Cambridge: Cambridge University Press, 1987, pp. 134–51.
20 See Derek Hirst, Authority and Conflict, England, 1603–1658, Cambridge, MA:
Harvard University Press, 1986, pp. 15–18, and Seventeenth-Century Economic
Documents, ed. Joan Thirsk and J.P.Cooper, Oxford: Clarendon Press, 1972, 1–29.
21 The Poems of Thomas Carew, pp. xli, xxxix, respectively.
22 Hollander, Melodious Guile: Fictive Pattern in Poetic Language, New Haven, CT: Yale
University Press, 1988, pp. 59–63.
23 The Poems of Thomas Carew, p. 263.
24 The Works of Sir John Suckling, ed. Thomas Clayton, Oxford: Clarendon Press, 1971,
pp. xxvii–xxviii. All further references to Suckling’s non-dramatic works will be to
this edition.
25 See Clayton, “‘At Bottom a Criticism of Life’: Suckling and the Poetry of Low
Seriousness” 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, pp. 219–20.
26 Aubrey’s Brief Lives, ed. Oliver Lawson Dick, 1949, repr. Ann Arbor, MI: University
of Michigan Press, 1962, p. 287.
27 The Works of Sir John Suckling, pp. 3, 105 respectively.
28 For an anatomy of this term, with examples taken largely from this period, see
Patricia Meyer Spacks, Gossip, Chicago: University of Chicago Press, 1985.
29 The Works of John Dryden, ed. H.T.Swedenberg, Jr., et al., Berkeley, CA: University
of California Press, 1956–, vol. 17, p. 14.
30 Leavis, “The Line of Wit,” in Revaluation: Tradition & Development in English Poetry,
London: Chatto & Windus, 1962, pp. 10–41.
31 Hazlitt’s comments on Suckling’s Ballad appear, respectively, in Works 6:56 and 5:83.
32 Gordon Braden, The Classics and English Renaissance Poetry, New Haven, CT: Yale
University Press, 1978, pp. 255–8 (appendix). Braden’s separate chapter on Herrick
is also now the starting place for studying this familiar line of descent.
33 All further references to Herrick’s poetry are to The Poetical Works of Robert Herrick,
ed. L.C.Martin, Oxford: Clarendon Press, 1956.
34 Robert Herrick: The Hesperides & Noble Numbers, ed. Alfred Pollard, 2 vols, London:
Lawrence & Bullen, 1891, vol. 1, p. xi.
35 Louise Schleiner, “Herrick’s Songs and the Character of Hesperides,” ELR 6 (1976):
77–91.
36 J.Max Patrick, “‘Poetry perpetuates the Poet’: Richard James and the Growth of
Herrick’s Reputation,” in “Trust to Good Verses”: Herrick Tercentenary Essays, ed.
Roger B.Rollin and J.Max Patrick, Pittsburgh, PA: University of Pittsburgh Press,
1978, p. 232.
37 Eliot, “What is Minor Poetry,” in On Poetry and Poets, New York: Farrar, Straus, and
Cudahy, 1952, pp. 43–4.
38 See John L.Kimmey, “Order and Form in Herrick’s Hesperides,” JEGP 70 (1971):
255–68; Kimmey, “Robert Herrick’s Persona,” SP 67 (1970):221–36; and Ann
Baynes Coiro, Robert Herrick’s “Hesperides” and the Epigram Book Tradition, Baltimore,
MD: Johns Hopkins University Press, 1988.
39 Fowler, “Robert Herrick,” Proceedings of the British Academy 66 (1980):245.
40 The Book of Common Prayer, 1559, ed. John E.Booty, Charlottesville, VA: University
Press of Virginia, 1976, p. 18 (“Of Ceremonies, Why Some be Abolished and Some
Retained”).
41 Eliot, “What is Minor Poetry,” p. 43.
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