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. 146–65<br />
in meaning, which it is not, only about the purpose of difficulty in the poem, which<br />
he views more as an elaborate reflex to absolutist power than to issues of moral and<br />
artistic intentions. Where he emphasizes the inherent instability of “My God, my<br />
King,” I would argue that Herbert is already there ahead of him with his stress on<br />
“plainly.”<br />
18 For my emphasis here and later on Herbert’s different audiences, I am indebted to an<br />
early reading of this poem by Summers, George Herbert: His Religion and Art, p. 112.<br />
19 In attributing the reference of the pronoun (“He”) to God, I follow Summers, George<br />
Herbert: His Religion and Art and Richard Strier, Love Known: Theology and Experience<br />
in George Herbert’s Poetry, Chicago: University of Chicago Press, 1983, p. 203.<br />
20 Strier, Love Known, p. 208. In an essay to which I am more generally indebted,<br />
Robert Shaw’s, “Farewells to Poetry,” Yale Review 70 (1980):187–205, discusses “The<br />
Forerunners” in the context of other “Farewell” poems by Herrick, Yeats, and<br />
Stevens. As will be clear to those familiar with his essay, I found his discussion of<br />
authorship in Herbert’s poem especially suggestive.<br />
21 Vendler, The Poetry of George Herbert, p. 267.<br />
22 Fish, Self-Consuming Artifacts: The Experience of Seventeenth-Century Literature,<br />
Berkeley, CA: University of California Press, 1972, ch. 3 (“Letting Go: The Dialectic<br />
of the Self in Herbert’s Poetry”).<br />
23 Michael J.Colacurcio, “‘The Corn and the Wine’: Emerson and the Example of<br />
Herbert,” Nineteenth-Century Literature 42 (1987):1–28.<br />
24 Works, p. 233 (“The Parson preaching”).<br />
25 James Merrill, Recitative: Prose by James Merrill, ed. J.D.McClatchy, San Francisco:<br />
North Point Press, 1986, p. 33.<br />
6 THE ONCE AND FUTURE POET<br />
1 Thomas N.Corns, “Milton’s Quest for Respectability,” MLR 77 (1982):769–79. See<br />
also Corns, Uncloistered Virtue: English Political Literature, 1640–1660, Oxford:<br />
Clarendon Press, 1992, ch. 3.<br />
2 All references to Milton’s work are to John Milton: Complete Poems and Major Prose,<br />
ed. Merritt Y.Hughes, Indianapolis, IN: The Odyssey Press, 1957. The quotation is<br />
from The Reason of Church Government as Urged Against Prelaty, p. 671. I have also<br />
consulted the Scolar Press Facsimile edition of Milton’s Poems 1645.<br />
3 Revard, Milton and the Tangles of Neaera’s Hair: The Making of the 1645 “Poems,”<br />
Columbia, MO: University of Missouri Press, 1997.<br />
4 Quoted in John Milton: The Complete Poetry and Major Prose, p. 1021.<br />
5 Selections from Ralph Waldo Emerson, ed. Stephen E.Whicher, Boston, MA:<br />
Houghton Mifflin, 1957, p. 158 (from “Self-Reliance”).<br />
6 Martz, “The Rising Poet, 1645,” in The Lyric and Dramatic Milton, ed. Joseph H.<br />
Summers, New York: Columbia University Press, 1965, pp. 3–33.<br />
7 Samuel Johnson: Selected Poetry and Prose, ed. Frank Brady and W.K.Wimsatt,<br />
Berkeley, CA: University of California Press, 1977, p. 429.<br />
8 Wilding, “John Milton: The Early Works,” in The Cambridge Companion to English<br />
Poetry: Donne to Marvell, ed. Thomas Corns, Cambridge: Cambridge University<br />
Press, 1993, p. 221. See also David Loewenstein, “‘Fair Offspring Nurs’t in Princely<br />
Lore’: On the Question of Milton’s Early Radicalism,” Milton Studies 28 (1992): 37–<br />
48. By contrast, Barbara K.Lewalski regards Milton as unquestioningly “radical” from<br />
his earliest years as a poet. See her “How Radical was the Young Milton?” in Milton<br />
and Heresy, ed. Stephen B.Dobranski and John P.Rumrich, Cambridge, Cambridge<br />
University Press, 1998, ch. 3.<br />
9 Barker, “The Pattern of Milton’s ‘Nativity Ode,’” collected in Milton: Modern<br />
Judgements, ed. Alan Rudrum, London: Macmillan, 1969, p. 49.<br />
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