ENG LYRIC POETRY.pdf - STIBA Malang

NOTES TO PP. 165–84
10 Budick, The Dividing Muse: Images of Sacred Disjunction in Milton’s Poetry, New
Haven, CT: Yale University Press, 1985, ch. 2 (“Pattern of Division in the Nativity
Ode,” especially pp. 21–2.
11 See Revard, Milton and the Tangles of Neaera’s Hair, pp. 79–83.
12 Peter Lake, “Anti-popery: The Structure of a Prejudice,” in Conflict in Early Stuart
England: Studies in Religion and Politics 1603–1642, ed. Richard Cust and Ann
Hughes, London: Longman, 1989, pp. 72–3.
13 Samuel Johnson: Selected Poetry and Prose, p. 429.
14 Christopher, “Subject and Macrosubject in L’Allegro and Il Penseroso,” Milton Studies
28 (1992):27.
15 See Edward R.Weismiller, “Studies of Verse Form in the Minor English Poems,” in
A Variorum Commentary on the Poems of John Milton, ed. A.S.P.Woodhouse and
Douglas Bush, New York: Columbia University Press, 1972, vol. II (part 3), pp.
1026–37.
16 Quoted from Christopher Grose, Milton and the Sense of Tradition, New Haven, CT:
Yale University Press, 1988, p. 40.
17 Quoted from “The Redress of Poetry,” in Seamus Heaney, The Redress of Poetry:
Oxford Lectures, London: Faber and Faber, 1995, p. 1.
18 Samuel Johnson: Selected Poetry and Prose, p. 430.
19 Poems upon Several Occasions, English, Italian, and Latin, with Translations, by John
Milton, London: James Dodsley, 1785, p. 338. For an extended inquiry into the
effects of retitling Milton’s sonnet “When I consider,” see Dayton Haskin, Milton’s
Burden of Interpretation, Philadelphia, PA: University of Pennsylvania Press, 1994,
pp. 90–117.
20 Prince, The Italian Element in Milton’s Verse, Oxford: Clarendon Press, 1954, p. 96.
21 The Complete Prose Works of John Milton, ed. Don M.Wolfe et. al., 8 vols, New
Haven, CT: Yale University Press, 1953–82, vol. I, p. 319.
22 W.R.Parker, Milton: A Biography 2 vols, Oxford: Clarendon Press, 1968, vol. I, ch. 5.
23 See Cedric C.Brown, John Milton’s Aristocratic Entertainments, Cambridge:
Cambridge University Press, 1985, ch. 1, for a careful account of the context.
24 See Barbara Breasted, “Comus and the Castlehaven Scandal,” Milton Studies 3
(1971):201–24, and the response by John Creaser, “Milton’s Comus: The Irrelevance
of the Castlehaven Scandal,” Notes and Queries 31 (1984):307–17. Brown, John
Milton’s Aristocratic Entertainments, pp. 175–8, is also skeptical about the extent to
which Milton’s masque is informed by the scandal.
25 Samuel Johnson: Selected Poetry and Prose, p. 429.
26 Fletcher, The Transcendental Masque: An Essay on Milton’s “Comus,” Ithaca, NY:
Cornell University Press, 1971, pp. 195–209.
27 Norbrook, “The Reformation of the Masque,” in The Court Masque, ed. David
Lindley, Manchester: Manchester University Press, 1984, pp. 94–110.
28 Maryann Cale McGuire, Milton’s Puritan Masque, Athens, GA: University of
Georgia Press, 1983, ch. 4 (“Merriment Well Managed: Chastity as a Rule of Life”),
helpfully distinguishes Milton’s version of chastity from that celebrated in court
masques under Henrietta Maria.
29 John Milton: The Complete Poetry and Major Prose, p. 832.
30 On the complicated subject of Milton’s revisions, see Brown, John Milton’s
Aristocratic Entertainments, ch. 6, and the appendix (pp. 171–8).
31 For a selection of representative modern responses, see the many essays collected in
Milton’s “Lycidas”: The Tradition and the Poem, ed. C.A.Patrides (1961; revised edn.,
Columbia, MO: University of Missouri Press, 1983). For “Lycidas” as a poem of
“crisis,” see J.Martin Evans, The Road from Horton: Looking Backwards in “Lycidas,”
University of Victoria: ELS Monograph Series No. 28, 1983; for “Lycidas” as a poem
300