ENG LYRIC POETRY.pdf - STIBA Malang

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