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. 116–34<br />
42 The most substantial reading of Herrick’s title belongs to Coiro, Robert Herrick’s<br />
“Hesperides” and the Epigram Book Tradition, ch.1; an earlier version of this chapter<br />
appeared in ELH 52 (1985):311–36.<br />
43 Castiglione, The Book of the Courtier, trans. Charles S.Singleton, New York:<br />
Doubleday, 1959, p. 66.<br />
44 Sir Thomas Browne: Religio Medici and Other Works, ed. L.C.Martin, Oxford:<br />
Clarendon Press, 1964, p. 124.<br />
45 Claude J.Summers, “Herrick’s Political Counterplots,” Studies in English Literature 25<br />
(1985):165–82.<br />
46 The most thoughtful exposition of this view is Leah S.Marcus, The Politics of Mirth:<br />
Jonson, Herrick, Milton, Marvell, and the Defense of Old Holiday Pastimes, Chicago:<br />
University of Chicago Press, 1986, ch. v. See also Peter Stallybrass, “‘Wee feaste in<br />
our Defense’: Patrician Carnival in Early Modern England and Robert Herrick’s<br />
Hesperides,” English Literary Renaissance 16 (1986):234–52.<br />
47 The Poetical Works of Robert Herrick, p. xvi. See also Coiro, Robert Herrick’s<br />
“Hesperides” and the Epigram Book Tradition, pp. 178–9, for further reasons for<br />
questioning the view of Herrick as a strict Laudian.<br />
48 The Poems of Richard Corbett, ed. J.A.W.Bennett and H.R.Trevor-Roper, Oxford:<br />
Clarendon Press, 1955, p. 50.<br />
49 I have made this point in greater detail in “Robert Herrick: A Minority Report,”<br />
The George Herbert Journal 14 (1990):16–18.<br />
50 See Martin’s extended note to ll. 57–70 in The Poetical Works of Robert Herrick, pp.<br />
514–15.<br />
51 Others would include his cousin Thomas Stanley (1625–78), John Hall (1627–57),<br />
and Charles Cotton (1630–87)—all better known in their day and ours as important<br />
translators rather than as original poets.<br />
52 Further references to Lovelace’s poems are to The Poems of Richard Lovelace, ed. C.H.<br />
Wilkinson, Oxford: Clarendon Press, 1930.<br />
53 Quoted from The Poems of Richard Lovelace, p. lxiii.<br />
54 Richard Lovelace: Selected Poems, ed. Gerald Hammond, Manchester: Carcanet Press,<br />
1987, pp. 10–12.<br />
55 See Annabel Patterson, “Fables of Power,” in Politics of Discourse: The Literature and<br />
History of Seventeenth-Century England, ed. Kevin Sharpe and Steven N.Zwicker,<br />
Berkeley, CA: University of California Press, 1987, pp. 271–96.<br />
56 Norman K.Farmer, Poets and the Visual Arts in Renaissance England, Austin, TX:<br />
University of Texas Press, 1984, p. 57.<br />
57 Miner, The Cavalier Mode from Jonson to Cotton, Princeton, NJ: Princeton University<br />
Press, 1971, p. 291.<br />
58 Noted in Allen, Image and Meaning: Metaphoric Traditions in Renaissance Poetry, 1960;<br />
revised edn, Baltimore, MD: Johns Hopkins University Press, 1968, p. 161, n. 27.<br />
Allen’s early analysis has had considerable impact on later intepretations of the<br />
poem. His framing assumption, however, that “this poem was written and sent by<br />
Lovelace to his fellow poet and royalist, Charles Cotton, sometime after the collapse<br />
of the great cause and the execution of King Charles” (p. 152), is certainly open to<br />
question on bibliographical grounds. Lucasta was licensed on February 4, 1647/8;<br />
Charles was not executed until nearly a year later on January 30, 1648/9. Some three<br />
months after that, on May 14, 1649, Lucasta was entered with the Stationers’<br />
Registers (Wilkinson, p. lxxii).<br />
59 Along with the studies of Lovelace cited above, see also Bruce King, “Green Ice and<br />
a Breast of Proof,” College English 26 (1965):511–15.<br />
60 The Poetical Works of Robert Herrick, pp. 225, 333.<br />
61 The Poems of Richard Lovelace, p. lii.<br />
297