ENG LYRIC POETRY.pdf - STIBA Malang

NOTES TO PP. 225–41
22 See Mueller, “The Feminist Poetics of Aemilia Lanyer’s ‘Salve Deus Rex Judaeorum,’”
in Feminist Measures: Soundings in Poetry and Theory, ed. Lynn Keller and Cristanne
Miller, Ann Arbor, MI: University of Michigan Press, 1994, pp. 230–4.
23 The Poems of Aemilia Lanyer, p. xxv.
24 On this point in particular, see Judith Scherer Herz, “Aemilia Lanyer and the Pathos
of Literary History,” in Representing Women in Renaissance England, ed. Claude J.
Summers and Ted-Larry Pebworth, Columbia, MO: University of Missouri Press,
1997, pp. 121–35.
25 Fleming, The Huntington Library Quarterly, p. 201.
26 Schweitzer, “Anne Bradstreet Wrestles with the Renaissance,” Early American
Literature 22 (1988):291–312. Quotations from Bradstreet’s poetry are from The
Works of Anne Bradstreet, ed. Jeannine Hensley, Cambridge, MA: Harvard University
Press, 1967. Readers interested in the exact contents of The Tenth Muse will want to
consult the facsimile edition introduced by Josephine K.Piercy, Gainesville, FL:
Scholars’ Facsimiles & Reprintings, 1965.
27 “My Name Was Martha”: A Renaissance Woman’s Autobiographical Poem, ed. with
commentary by Robert C.Evans and Barbara Wiedemann, West Cornwall, CT:
Locust Hill Press, 1993, p. 9. All references to Moulsworth’s poem are to this edition.
28 See Elaine Hobby, “‘Discourse so Unsavoury’: Women’s Published Writings of the
1650s,” in Women, Writing, History, 1640–1740, ed. Isobel Grundy and Susan
Wiseman, Athens, GA: The University of Georgia Press, 1992, pp. 16–32.
29 Diane Purkiss, “Producing the Voice, Consuming the Body: Women Prophets of the
Seventeenth Century” in Women, Writing, History, 1640–1740, p. 141.
30 An Collins: Divine Songs and Meditations, ed. Sidney Gottlieb, Tempe, AZ: Medieval
and Renaissance Texts and Studies for the Renaissance English Text Society, 1996,
p. 1. Further references to Collins’s poetry are to this edition.
31 An Collins: Divine Songs and Meditocions, pp. xvii–xviii.
32 Wilcox, “‘You that Indeared are to Pietie’: Herbert and Seventeenth-Century
Women,” in George Herbert in the Nineties: Reflections and Reassessments, ed.
Jonathan F.S.Post and Sidney Gottlieb, Fairfield, CT: George Herbert Journal,
Special Studies & Monographs, 1995, p. 209.
33 Vendler, “Herbert and Modern Poetry: A Response,” in George Herbert and the
Nineties, p. 85.
34 See Gottlieb’s commentary, pp. 111–14.
35 Woolf, A Room of One’s Own, New York: Harcourt, Brace & World, 1929, p. 65.
36 Marilyn L.Williamson, Raising Their Voices: British Women Writers, 1650–1750,
Detroit, MI: Wayne State University Press, 1990, p. 37.
37 A student of William Peake, painter to Charles I, Faithorne produced engraved portraits
of many famous people. Those from the middle to the late seventeenth century include
Charles I, Henrietta Maria, Cromwell, Davenant, Cowley, Fairfax, and Milton. For a
partial list of his work, see A Catalogue of an Exhibition of Portraits Engraved by William
Faithorne, New York: Grolier Club, 1893; Philips is number 88. A more comprehensive,
detailed list can be found in Louis Fagan, A Descriptive Catalogue of the Engraved Works
of William Faithorne, London: Bernard Quaritch, 1888.
38 Quoted from The Collected Works of Katherine Philips, ed. Patrick Thomas, G.Greer,
and R.Little, 3 vols, Brentford: Stump Cross Books, 1990–3, vol. I, p. 24. Further
references to Philips’s poetry are to this edition and volume.
39 Gallagher, “Embracing the Absolute: The Politics of the Female Subject in
Seventeenth-Century England,” Genders 1 (1988):24–39. Quotations from
Cavendish’s Poems and Fancies are from the original 1653 edition.
40 For an excellent account of Cavendish’s problematic place in the political and
intellectual milieu of the mid-seventeenth century see John Rogers, The Matter of
Revolution: Science, Poetry, and Politics in the Age of Milton, Ithaca, NY: Cornell
305