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