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. 184–94<br />
of mourning, see Peter Sacks, The English Elegy: Studies in the Genre from Spenser to<br />
Yeats, Baltimore, MD: The Johns Hopkins University Press, 1985, pp. 90–117.<br />
32 Brown, Milton’s Aristocratic Entertainments, ch. 7 (“The Sense of Vocation in the<br />
1630s”), and David Norbrook, Poetry and Politics in the English Renaissance, London:<br />
Routledge & Kegan Paul, 1984, ch. 10 (“The Politics of Milton’s Early Poetry”).<br />
33 See Parker, Milton: A Biography, I: 155; and John Leonard, “‘Trembling Ears’: The<br />
Historical Moment of Lycidas,” JMRS 21 (1991):59–81.<br />
34 Ransom, “A Poem Nearly Anonymous,” in Milton’s “Lycidas”, p. 75.<br />
35 Quoted from the entry for “Monody” in the Princeton Encyclopedia of Poetry and<br />
Poetics, ed. Alex Preminger, 1965; enlarged edn, Princeton, NJ: Princeton University<br />
Press, 1974, p. 529.<br />
36 Milton privileges poetry over logic and rhetoric as “being less subtle and fine but<br />
more simple, sensuous, and passionate” in Of Education (1644). See The Complete<br />
Poetry and Major Prose, p. 637.<br />
37 Fish, “Lycidas; A Poem Finally Anonymous” in Milton’s “Lycidas”: The Tradition and<br />
the Poem, p. 335.<br />
38 Sacks, The English Elegy, p. 114.<br />
39 John Milton: The Complete Poetry and Major Prose, p. 637.<br />
40 The exact meaning of “the Genius of the shore” and the next two lines has been<br />
much debated. Lawrence Lipking, “The Genius of the Shore: Lycidas, Adamastor,<br />
and the Poetics of Nationalism,” PMLA 111 (1996):205–21, argues for the<br />
nationalistic over the global or “sublunary” reach of Milton’s sentiments here, and<br />
concludes, learnedly but rather fantastically in my view, that the poet, continuing<br />
King’s “mission,” seeks to “enlist fresh recruits” in order “to convert the Irish” (p.<br />
212).<br />
7 ARENAS OF RETREAT<br />
1 Rich, Blood, Bread, and Poetry: Selected Prose, 1979–1985, New York: W.W.Norton,<br />
1986, p. 170.<br />
2 Quoted from “Regeneration,” p. 397. Further quotations of Vaughan’s writings are<br />
from The Works of Henry Vaughan, ed. L.C.Martin, 2nd edn, Oxford: Clarendon<br />
Press, 1957. Serious students of Vaughan will also want to consult the more recent,<br />
annotated editions by Alan Rudrum (Harmondsworth: Penguin, 1976) and Louis<br />
Martz (Oxford: Oxford University Press, 1986).<br />
3 Although there is much criticism on the subject of retreat and retirement in the<br />
seventeenth century, my most immediate debt is to Lois Potter, Secret Rites and Secret<br />
Writings: Royalist Literature, 1641–1660, Cambridge: Cambridge University Press,<br />
1989.<br />
4 See James D.Simmonds, Masques of God: Form and Theme in the Poetry of Henry<br />
Vaughan, Pittsburgh, PA: University of Pittsburgh Press, 1972; and my Henry<br />
Vaughan: The Unfolding Vision, Princeton, NJ: Princeton University Press, 1982. For<br />
interesting treatments of Thalia Rediviva, focusing on “Daphnis: an Elegiac Eclogue,”<br />
see Cedric C.Brown, “The Death of Righteous Men: Prophetic Gesture in Vaughan’s<br />
‘Daphnis’ and Milton’s Lycidas,” The George Herbert Journal 7 (1983–4): 1–25; and<br />
Graeme J.Watson, “Political Change and Continuity of Vision in Henry Vaughan’s<br />
‘Daphnis. An Elegiac Eclogue,’” Studies in Philology 83 (1986):158–81.<br />
5 The Works of Henry Vaughan, p. 186.<br />
6 ibid., p. 392.<br />
7 ibid., p. 217 (“To the Reader” of Flares Solitudinus).<br />
8 ibid., p. 391.<br />
9 Seamus Heaney, The Redress of Poetry: Oxford Lectures, London: Faber & Faber,<br />
1995, p. 9.<br />
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