ENG LYRIC POETRY.pdf - STIBA Malang

NOTES TO PP. 213–24
Bucknell University Press, 1998, pp. 169, 173. The best-known of the daughters is
Ann Bacon, second wife of Nicholas Bacon, mother of Francis, and English
translator of Bishop John Jewel’s Apologia Ecclesiae Anglicanae, 1562.
7 Quoted from Juliet Fleming’s review of Lewalski’s Writing Women in Jacobean
England, The Huntington Library Quarterly 57 (1994):203–4.
8 Quoted from Kissing the Rod: An Anthology of Seventeenth-Century Women’s Verse, p.
158.
9 Dryden, “Preface to the Fables” [1700] in Essays of John Dryden, ed. W.P.Ker, 2 vols,
Oxford: Clarendon Press, 1926, vol. 2, p. 247.
10 The idea of a conscious tradition of female poetry is a later historical development,
although how much later is a matter for debate: see, for instance, Cheryl Walker,
The Nightingale’s Burden: Women Poets and American Culture before 1900,
Bloomington, IN: Indiana University Press, 1982; Isobel Armstrong, Victorian Poetry:
Poetry, Poetics and Politics, London: Routledge, 1993, ch. 12 (“‘A Music of Thine
Own’: Women’s Poetry—An Expressive Tradition?”); and, most relevant to the
present inquiry, Carol Barash, English Women’s Poetry, 1649–1714: Politics,
Community, and Linguistic Authority, Oxford: Clarendon Press, 1996, introduction.
11 This point is developed by Margaret P.Hannay,” ‘Your vertuous and learned Aunt’:
The Countess of Pembroke as a Mentor to Mary Wroth” in Reading Mary Wroth:
Representing Alternatives in Early Modern England, ed. Naomi J.Miller and Gary
Waller, Knoxville, TN: University of Tennessee Press, 1991, pp. 15–34.
12 See Ann Rosalind Jones, The Currency of Eros: Women’s Love Lyric in Europe, 1540–
1620, Bloomington, IN: Indiana University Press, 1990, pp. 141–8, and Wall, The
Imprint of Gender: Authorship and Publication in the English Renaissance, pp. 330–40.
13 See Nona Fienberg, “Mary Wroth and the Invention of Female Poetic Subjectivity,”
in Reading Mary Wroth: Representing Alternatives in Early Moaern England, pp. 175–
90.
14 Quotations from Wroth’s poetry are taken from The Poems of Lady Mary Wroth, ed.
Josephine A.Roberts, Baton Rouge, LA: Louisiana State University Press, 1983.
15 See, for instance, Barbara Kiefer Lewalski, Writing Women in Jacobean England,
Cambridge, MA: Harvard University Press, 1993, p. 253, and Jeff Masten, “‘Shall I
turne blabb?’: Circulation, Gender, and Subjectivity in Mary Wroth’s Sonnets,” in
Reading Mary Wroth: Representing Alternatives in Early Modern England, pp. 67–87.
16 The First Part of the Countess of Montgomery’s Urania, ed. Josephine A.Roberts,
Binghamton, NY: Medieval and Renaissance Texts and Studies for the Renaissance
English Text Society, 1995, p. 350.
17 The Poems of Robert Sidney, ed. P.J.Croft, Oxford: Clarendon Press, 1984, pp. 26–7,
174–81.
18 Quotations from Lanyer’s poetry are from The Poems of Aemilia Lanyer, ed. Susanne
Woods, New York: Oxford University Press, 1993; the passage from the
commendatory poem to Queen Anne occurs on p. 3. For biographical information
about Lanyer, see Woods’s Introduction.
19 The Poems of Aemilia Lanyer, pp. xx–xxi.
20 Commentary on the Harmony of the Evangelists, Matthew, Mark, and Luke, trans. Rev.
William Pringle, 3 vols, Edinburgh: Calvin Translation Society, 1846, vol. 3, p. 283.
It should be noted that Calvin rejects this common view, as does Lanyer.
21 The Southwell-Sibthorpe Commonplace Book, ed. Jean Klene, C.S.C., Tempe, AZ:
Medieval and Renaissance Texts and Studies, 1997, p. 81. In Of the Nobilitie and
Excellencie of Womankynde, 1542, a text with important parallels to Lanyer’s,
Cornelius Agrippa noted the heroic labors of Pilate’s wife. See Esther Gilman
Richey, The Politics of Revelation in the English Renaissance, Columbia, MO:
University of Missouri Press, 1998, p. 66.
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