Royalist polemic and a sophisticated use of classical allusion are at the heart of the two 1648 volumes which are the focus of this study, yet there are striking differences in their politics and in the ways they represent their relation to poetry of the past. Pugh's study of these brilliant but neglected poets brings nuance to our understanding of literary royalism, and considers the interconnections between politics and poetics. Through a series of detailed close readings revealing the complex and nuanced significance of classical allusion in individual poems, together with an historically informed consideration of the polemical force of both publishing acts, Pugh aligns the two poets with competing factions within the royalist camp. These political differences, she argues, are reflected not only in the idea of monarchy explicitly articulated in their poetry, but also in the distinctive theories of intertextuality foregrounded in each volume, Herrick's absolutism going hand-in -hand with his peculiarly transcendental image of poetic imitation as an immortal symposium, Fanshawe's constitutionalism with a distinctly humanist approach. Offering a new argument for the unity of Herrick's vast collection Hesperides, and making a case for the rehabilitation of Richard Fanshawe, this engaging book will also be of wider interest to anyone concerned with politics in seventeenth-century literature or with classical reception.
Exemplary Spenser analyses the reading experience of The Faerie Queene, as it is construed through the didactic poetics espoused in the Letter to Ralegh. Grogan pays close attention to Spenser's interrogation of visual as well as literary paradigms of knowledge and moral learning, and to his influences, including Sidney, Plutarch, and, importantly, Xenophon.
Using Hannah Arendt’s account of the Greek polis to explain Milton’s fascination with the idea of public speech, this book reveals what is distinctive about his conception of a godly, republican oratory and poetics. Setting Milton’s poetry and prose in the context of Civil War polemic; classical political theory and its early modern reinterpretations; and Renaissance writing on rhetoric and poetic language, the volume culminates in an Arendtian reading of his ‘Greek’ drama Samson Agonistes.
Early Modern Catholics, Royalists, and Cosmopolitans looks at how the perspective of 16th-century English Catholic exiles and 17th-century English royalist exiles helped to generate a form of cosmopolitanism that was rooted in, but also transcended, contemporary religious and national identities. Lockey considers the experiences of English exiles and the influence that they had on writers such as Edmund Spenser, Sir Philip Sidney, Anthony Munday, Sir John Harington, Sir Richard Fanshawe, John Milton, and Aphra Behn.
Exploring the idea of luxury in relation to a series of neighbouring but distinct concepts including avarice, licentiousness, indulgence, vitality, abundance and waste, this study combines intellectual and cultural historical methods to trace discontinuities in the conceptual development of extravagance in seventeenth-century England. Scott traces how ‘luxury’ developed encompassing meanings that connect with eighteenth-century debates even as they oppose their so-called demoralizing thrust.
Ovidian Bibliofictions and the Tudor Book examines the historical and the fictionalized reception of Ovid’s poetry in the literature and books of Tudor England. It does so through the study of a particular set of Ovidian narratives-namely, those concerning the protean heroines of the Heroides and Metamorphoses. In the late medieval and Renaissance eras, Ovid’s poetry stimulated the vernacular imaginations of authors ranging from Geoffrey Chaucer and John Gower to Isabella Whitney, William Shakespeare, and Michael Drayton. Ovid’s English protégés replicated and expanded upon the Roman poet’s distinctive and frequently remarked ‘bookishness’ in their own adaptations of his works. Focusing on the postclassical discourses that Ovid’s poetry stimulated, Ovidian Bibliofictions and the Tudor Book engages with vibrant current debates about the book as material object as it explores the Ovidian-inspired mythologies and bibliographical aetiologies that informed the sixteenth-century creation, reproduction, and representation of books. Further, author Lindsay Ann Reid’s discussions of Ovidianism provide alternative models for thinking about the dynamics of reception, adaptation, and imitatio. While there is a sizeable body of published work on Ovid and Chaucer as well as on the ubiquitous Ovidianism of the 1590s, there has been comparatively little scholarship on Ovid’s reception between these two eras. Ovidian Bibliofictions and the Tudor Book begins to fill this gap between the ages of Chaucer and Shakespeare by dedicating attention to the literature of the early Tudor era. In so doing, this book also contributes to current discussions surrounding medieval/Renaissance periodization.
Innovative and highly readable, this study traces George Herbert's and John Donne's development of a distinct poetics through close readings of their poems, references to their letters, sermons, and prose treatises, and to other contemporary poets and theorists. In demonstrating a relationship between poetics and religious consciousness in Donne's and Herbert's verse, Frances Cruickshank explores their attitudes to the cultural, theological, and aesthetic enterprise of writing and reading verse. Cruickshank shows that Donne and Herbert regarded poetry as a mode not determined by its social and political contexts, but as operating in and on them with its own distinct set of aesthetic and intellectual values, and that ultimately, verse mattered as a privileged mode of religious discourse. This book is an important contribution to the ongoing scholarly dialogue about the nature of literary and cultural study of early modern England, and about the relationship between the writer and the world. Cruickshank confirms Donne's reputation as a fascinating and brilliant poetic figure while simultaneously rousing interest in Herbert by noting his unique merging of rusticity and urbanity and tranquility and uncertainty, allowing the reader to enter into these poets' imaginative worlds and to understand the literary genre they embraced and then transformed.
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