DOCSLIB.ORG

Hesperidean Herrick, the Two Figures Cannot Be Regarded As Identical

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hesperidean Herrick, the Two Figures Cannot Be Regarded As Identical ROBERT HERRICK’S SELF-PRESENTATION IN HESPERIDES AND HIS NOBLE NUMBERS A thesis submitted in fulfilment of the requirements for the degree of MASTER OF ARTS of RHODES UNIVERSITY by LIONEL FAULL February 2010 2 i Abstract Literature has tended to be cut from the moorings of its authorial origins under the influential literary criticism of the past forty years. This thesis is an attempt to re-moor a work of literature to its authorial origins; particularly a work of literature in which the author-poet‘s self-referential markers are so overtly and persistently present as is the case in Hesperides and His Noble Numbers. Although there is a significant overlap between the real-life Herrick and the Hesperidean Herrick, the two figures cannot be regarded as identical. Instead, Herrick‘s deployment of specific genres and not of others, his chosen conventions for ordering a collection of miscellaneous poems, and his adoption of certain conventional poetic stances provide him with a semi-fictionalised way of declaring who he understands himself to be and how he wants himself to be understood. At the same time, the rich classical mythological associations of Herrick‘s title, Hesperides, declare his status as an inheritor of the classical literary tradition, whose hallmark during the Renaissance was the melding of classical, Christian and secular associations into new and complexly polyvalent literary works. For example, Herrick‘s appropriation of the classical mythological figure of Hercules provides him with both a narrative way and an allegorical way of reconciling the so-called secular, or profane poetry of Hesperides with the so-called religious, or divine poetry of Noble Numbers. In Noble Numbers, Herrick reveals new facets of his self-presentation to the reader, whilst also making explicit the theological congruencies between the two works. Herrick‘s religious self-presentation demonstrates his expansive scholarly interests, as well his instinct to include, rather than to exclude, the religious beliefs of others within his syncretistic sense-of-self. Finally, the placement of Noble Numbers after Hesperides is not a signal that Herrick privileged the ii former, or took his religion less seriously than he did his love for classical poetry, but rather that in Herrick‘s understanding of his world, man‘s fleeting glimpses of God in the secular sphere give way to a fuller comprehension of Him in the divine sphere. (336 words) iii Table of contents List of short titles/cue titles ……………………………………………………. iv List of tables, figures, illustrations, plates …………………………………….. iv Acknowledgements ……………………………………………………………. v Introduction ……………………………………………………………………. vi CHAPTER ONE: The ‗real Herrick‘ and the ‗Hesperidean Herrick‘ ………… 1 CHAPTER TWO: Herrick‘s self-presentation as a poet ……………………… 18 CHAPTER THREE: Herrick‘s classical self-presentation ……………………. 80 CHAPTER FOUR: Herrick‘s religious self-presentation …………………….. 134 Conclusion …………………………………………………………………….. 191 Select bibliography ……………………………………………………………. 194 General index ………………………………………………………………….. 202 iv List of short titles/ cue titles The Bible: Authorized Version (Bible) The Booke of common prayer, and administration of the sacraments. And other rites and ceremonies of the Church of England (BCP) The Loeb Classical Library Series (Loeb) – NB. Not all Herrick‘s classical sources are available in Loeb translations, see bibliography. The Oxford Classical Dictionary (OCD) The Oxford Dictionary of the Christian Church (ODCC) The Oxford Dictionary of National Biography online (ODNB) The Oxford English Dictionary online (OED) The Princeton Encyclopaedia of Poetry and Poetics (Princeton Encyclopaedia) List of tables, figures, illustrations, plates Fig. 1: Frontispiece engraving, Hesperides (1648) ................................................... 13 Table 1: Distribution of major classical sources across Hesperides.......................... 104 v Acknowledgements I wish to acknowledge, and thank, the Mandela Rhodes Foundation, who provided me with a two-year Mandela Rhodes Scholarship to undertake this study. The Foundation also sponsored my trip to Buckfast Abbey, near Robert Herrick‘s vicarage of Dean Prior, in Devon, where I participated in a Herrick conference entitled ―‗Lords of Wine and Oil‘: Community and Conviviality in the work of Robert Herrick and his contemporaries‖ in July 2008. vi Introduction Literature has tended to be cut from the moorings of its authorial origins under the influential literary criticism of the past forty years. My thesis is an attempt to re-moor a work of literature to its authorial origins; particularly a work of literature in which the author-poet‘s self-referential markers are so overtly and persistently present as is the case in Hesperides and His Noble Numbers. 1 This study aims to recover the notion that a poem and its poet are indivisible, that poetry is an essential part of what poets do in constituting their identity, and that poetry cannot exist without the author‘s intention to write poetry in a particular context, under particular conditions and with a particular outcome in mind. When one reads Hesperides one is made aware of a figure, a presence if you will, with an engaged life, who has directed the material one reads in such a way as to make one aware of his existence, and whose poetic conduct cannot be understood without reference to that life, without ever being identical with it. In each of the chapters which follow, I shall attempt to show, by focussing on four main aspects of Herrick‘s life in turn, how and why he is able to make us aware of his presence as an agent shaping and directing his work. Taken together, these chapters will provide a holistic understanding of Herrick‘s poetic project which helps to make sense of much that has been misunderstood about him and his work. In the first chapter, I shall sketch Robert Herrick‘s biography briefly, before proceeding to discuss the autobiographical elements in Hesperides. Even though it remains the richest primary source of biographical details we possess about Herrick to this day, however, I shall argue that Hesperides is not an autobiography. The chronology of Herrick‘s life is disrupted to a great extent by the arrangement of his poems. The most that can be said about Hesperides is that it is a manifestation of Herrick‘s conduct as a poet, and therefore contains autobiographical traces, while always remaining a fictional 1 Combined under the title Hesperides, and hereafter both subsumed under the one title in my discussion, except when I am explicitly referring to Noble Numbers. References to specific poems in this thesis provide the poem number in J. Max Patrick‘s 1968 Norton edition (e.g. H-1), followed by the page number in L.C. Martin‘s 1956 Clarendon edition (e.g. 5), and followed by the line number in the poem, when appropriate. Each reference is separated by the slash/virgule, as in the following example: ―The Argument of his Book‖, (H-1 / 5 / 1-2). vii construct. Nevertheless, it is between the interstices of fact and fiction that Herrick is able to present himself both as what kind of person and poet he understands himself to be, and as what kind of person and poet he aspires to be. By rejecting the notion that Hesperides is autobiographical, one can move away from making simple, reductive and misleading one-to-one equivalences between the ―real Herrick‖ and his Hesperidean persona. In the second chapter I shall argue that Herrick‘s poetic practices – his deployment of specific genres and not of others, his chosen conventions for ordering a collection of miscellaneous poems, and his adoption of certain conventional poetic stances – are manifestations of his poetic conduct. They enable him to declare who he understands himself to be and how he wants himself to be understood as a poet. Genre theory is a particularly revelatory entry point to Herrick‘s self-presentation, because genres constitute a mutually comprehensible code of communication between poet and reader. However, genres constantly shift and change, which requires that we study the constituent genres of Hesperides within their seventeenth century context, and within what we know about Herrick‘s biographical context, as far as is possible. On their own, genres provide the reader with minimal understanding about what the poet is attempting to say. As such, genres cannot be considered apart from the contexts and purposes in which they are used. In a second, related, section of Chapter 2, I shall outline the ways in which Herrick guides his reader through Hesperides, using generic signals, literary conventions and a persona who is a poet grappling with the challenges of creating such a large work. At the same time, Herrick creates a sense of place (the partly-mythological, partly-allegorical Hesperidean isles) and a sense of time passing (the poet gets older, for example, and historical events intrude) to heighten the impression that he and the reader have both embarked on a poetic journey towards an increasingly distinctive and defined destination. The destination is not only the end of the work, but also the point at which Herrick fulfils his aspirations as a laureate poet, and is acknowledged as such by the reader. In the third chapter, I shall discuss Herrick‘s self-understanding as a Renaissance humanist inheritor of the classical tradition. Having lost the thoroughgoing classical education of the Renaissance, modern critics are wont to either understate or overstate the extent to which poets like Herrick
Load more

Recommended publications
  • Adam Winthrop's Library Draft: 30 January 96; Not to Be Quoted Or Cited
    Adam Winthrop's Library draft: 30 January 96; Not to be quoted or cited Adam Winthrop (1548-1623) was the father of John Winthrop (1588-1649), the first governor of the Massachusetts Bay Colony. He was the youngest son of Adam Winthrop (1498-1562), Master of the Clothworkers. Born in London in 1548, he probably spent some of his youth at Groton, in Suffolk, his father having purchased the former monastic manor in 1544 and taken up residence there in around 1552 . The elder Adam Winthrop died in 1562 and his widow, young Adam's mother, married William Mildmay. Young Adam inherited little land from his father. At the time he was enrolled in a private grammar school run by John Dawes in Ipswich. In 1567 he matriculated fellow commoner at Magdalene, Cambridge where he stayed for a few years, making friendships with John Still, John Knewstub, and Henry Sandes among others. In 1574 Adam married Alice Still and around then presumably began legal studies at the Inns of Court. In 1575 the fellows of St John's College, where John Still was Master, appointed Adam steward of the college's Kentish manors. In 1577 his wife Alice died and two years later he married Anne Browne, son of Henry Browne, former clergyman of Groton. In 1584 Adam was called to the outer bar of the Inner Temple following a recommendation to the benchers from Robert Dudley, the earl of Leicester. He was one of the signatories of a declaration of loyalty to the Queen signed by the barristers of the Inner Temple in 1585.
    [Show full text]
  • Poet's Corner in Westminster Abbey
    Poet’s Corner in Westminster Abbey Alton Barbour Abstract: Beginning with a brief account of the history of Westminster Abbey and its physical structure, this paper concentrates on the British writers honored in the South Transept or Poet’s Corner section. It identifies those recognized who are no longer thought to be outstanding, those now understood to be outstanding who are not recognized, and provides an alphabetical listing of the honored members of dead poet’s society, Britain’s honored writers, along with the works for which they are best known. Key terms: Poet’s Corner, Westminster Abbey, South Transept. CHRISTIANITY RETURNS AND CHURCHES ARE BUILT A walk through Westminster Abbey is a walk through time and through English history from the time of the Norman conquest. Most of that journey is concerned with the crowned heads of England, but not all. One section of the Abbey has been dedicated to the major figures in British literature. This paper is concerned mainly with the major poets, novelists and dramatists of Britain, but that concentration still requires a little historical background. For over nine centuries, English monarchs have been both crowned and buried in Westminster Abbey. The Angles, Saxons and Jutes who conquered and occupied England in the mid 5th century were pagans. But, as the story goes, Pope Gregory saw two fair-haired boys in the Roman market who were being sold as slaves and asked who they were. He was told that they were Angles. He replied that they looked more like angels (angeli more than angli) and determined that these pagan people should be converted to Christianity.
    [Show full text]
  • The Christmas Poems of Robert Herrick
    Now, Now The Mirth Comes Now, Now The Mirth Comes Christmas Poetry by Robert Herrick Christs Birth. One Birth our Saviour had; the like none yet Was, or will be a second like to it. The Virgin Mary. To work a wonder, God would have her shown, At once, a Bud, and yet a Rose full-blowne. Compiled and Edited By Douglas D. Anderson 2007 Now, Now Comes The Mirth Christmas Poetry by Robert Herrick Douglas D. Anderson 2007 Cover Art: “The Boar's Head” Harper's Monthly Jan 1873 The text of this book was set in 12 point Palatino Linotype; Display used throughout is Arial. Printed and Published by Lulu, Inc. Morrisville, North Carolina 27560 Lulu ID 871847 http://www.lulu.com/content/ 871847 Douglas Anderson's Christmas Storefront http://stores.lulu.com/carols_book Christmas Poetry By Robert Herrick Contents Christmas Eve On Christmas Eve (“Come Bring The Noise”) On Christmas Eve (“Come, Guard This Night”) Christmas An Ode Of The Birth Of Our Saviour A Christmas Carol ("What sweeter music can we bring") Tell Us, Thou Cleere And Heavenly Tongue (Also known as The Star Song) The New Year A New Year's Gift Sent To Sir Simeon Steward The New-Year's Gift (“Let others look for pearl and gold”) The New-yeeres Gift, or Circumcisions Song, Sung to the King in the Presence at White-Hall. Another New-yeeres Gift, or Song for the Circumcision To His Saviour. The New Year's Gift Epiphany Twelfth Night, or King and Queen (“Now, Now, The Mirth Comes”) St.
    [Show full text]
  • The Sacred and the Secular
    Part 3 The Sacred and the Secular Allegory of Fleeting Time, c. 1634. Antonio Pereda. Kunsthistorisches Museum, Vienna, Austria. “I write of groves, of twilights, and I sing L The court of Mab, and of the Fairy King. I write of hell; I sing (and ever shall) Of heaven, and hope to have it after all.” —Robert Herrick, “The Argument of His Book” 413 Erich Lessing/Art Resource, NY 00413413 U2P3-845482.inddU2P3-845482.indd 413413 11/29/07/29/07 10:19:5210:19:52 AMAM BEFORE YOU READ from the King James AKG Images Version of the Bible he Bible is a collection of writings belong- ing to the sacred literature of Judaism and- TChristianity. Although most people think of the Bible as a single book, it is actually a collec- tion of books. In fact, the word Bible comes from the Greek words ta biblia, meaning “the little books.” The Hebrew Bible, also called the Tanakh, contains the sacred writings of the Jewish people and chronicles their history. The Christian Bible was originally written in Greek. It contains most of the same texts as the Hebrew Bible, as well as twenty-seven additional books called the New Testament. The many books of the Bible were written at different times and contain various types The Creation of Heaven and Earth (detail of writing—including history, law, stories, songs, from the Chaos), 1200. Mosaic. Monreale proverbs, sermons, prophecies, and letters. Cathedral, Sicily. Protestants living in Switzerland; and the Rheims- “I perceived how that it was impossible Douay Bible, translated by English Roman to establish the lay people in any truth Catholics living in France.
    [Show full text]
  • Algernon Charles Swinburne: the Causes and Effects of His Sapphic
    ALGERNON CHARLES SWINBURNE: THE CAUSES AND EFFECTS OF HIS SAPPHIC POSSESSION By ANTHEA MARGARET INGHAM A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of English College of Arts and Law The University of Birmingham October 2010 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The thesis regards the extraordinary power of Sappho in the 1860s as resulting in a form of “Sapphic Possession” which laid hold on Swinburne, shaped his verse, produced a provocative new poetics, and which accounted for a critical reception of his work that was both hostile and enthralled. Using biographical material and Freudian psychology, I show how Swinburne became attracted to Sappho and came to rely on her as a substitute mistress and particular kind of muse, and I demonstrate the pre-eminence of the Sapphic presence in Poems and Ballads: 1, as a dominant female muse who exacts peculiar sacrifices from the poet of subjection, necrophilia, and even a form of “death” in the loss of his own personality; as a result, he is finally reduced to acting as the muse’s mouthpiece, a state akin to that of Pythia or Sibyl.
    [Show full text]
  • FRANCIS TURNER PALGRAVE and the GOLDEN TREASURY By
    FRANCIS TURNER PALGRAVE AND THE GOLDEN TREASURY By MEGAN JANE NELSON M. A., Flinders University of South Australia, 1978 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Department of English) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 1985 (^Megan Jane Nelson, 1985 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. English Department of The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date 15 April 1985 )E-6 (3/81) ii ABSTRACT In spite of the enormous resurgence of critical interest in minor figures of the Victorian era over the last twenty years, almost no attention has been paid to Francis Turner Palgrave (1824-1897). In his own age, he was respected as a man of letters, educator, art critic, poet, friend of Alfred Tennyson, and editor of The Golden Treasury of the Best Songs and Lyrical Poems in the English Language, first published in 1861. This dissertation attempts to make good that neglect in two ways: firstly, through an analysis of his life and times, an assessment of his writings as an art and literary critic, an examination of his considerable corpus of original poetry, and the compilation of the first comprehensive bibliography of his own publications.
    [Show full text]
  • Stuart Debauchery in Restoration Satire
    Stuart Debauchery in Restoration Satire Neal Hackler A thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfilment of the requirements for the PhD degree in English Supervised by Dr. Nicholas von Maltzahn Department of English Faculty of Arts University of Ottawa © Neal Hackler, Ottawa, Canada, 2015. ii Contents Acknowledgements ............................................................................................................ iii Abstract .............................................................................................................................. iv List of Figures and Illustrations.............................................................................................v List of Abbreviations .......................................................................................................... vi Note on Poems on Affairs of State titles ............................................................................. vii Stuart Debauchery in Restoration Satire Introduction – Making a Merry Monarch...................................................................1 Chapter I – Abundance, Excess, and Eikon Basilike ..................................................8 Chapter II – Debauchery and English Constitutions ................................................. 66 Chapter III – Rochester, “Rochester,” and more Rochester .................................... 116 Chapter IV – Satirists and Secret Historians .......................................................... 185 Conclusion
    [Show full text]
  • Latin Tragedy, Truth and Education in Early Modern England
    chapter 8 A fabulis ad veritatem: Latin Tragedy, Truth and Education in Early Modern England Sarah Knight At the start of his 1582 Ash Wednesday sermon delivered in St. Mary’s church Apud Academicos Oxonienses (Before the University of Oxford) and entitled De fermento vitando (On Avoiding Leaven), the Magdalen President and Regius Professor of Divinity Lawrence Humphrey (1525/27–1589) put a stern end to dramatic entertainment: Satis iam satis (Auditores) Theatricis spectaculis aures & oculos oblec- tauimus: satis laruarum ac lemurum, vidimus, audiuimus: satis & risui Comico, & luctui Tragico indulsimus … Listeners, we have entertained our ears and eyes enough, enough by now, with theatrical spectacles: we have seen, we have heard enough of specters and ghosts; we have indulged enough both in comic laughter and tragic lamentation …1 By 1582 Humphrey had been one of Oxford’s most prominent theologians for over two decades, who had returned to Oxford in 1560 after a seven-year visit to Zurich, Basel and Geneva during Mary i’s reign. His sermon vividly illustrates a leading Puritan’s perspective on early modern institutional plays, and shows how we can look to contemporary Latin tragedy to see how scholars used the genre to communicate ideas and impart pedagogical lessons. Humphrey turns towards Lenten austerity by rejecting the ephemeral pleasures of drama and arguing that ‘hoc festi quasi Cineritium’ (‘this Ashen feast, as it were’) ‘asks of every single one of us other habits, another prescribed lifestyle, another 1 Lawrence Humphrey, De fermento vitando (London: Henry Middleton for George Bishop, 1582), pp. 163–186, esp. p.
    [Show full text]
  • The Lyrical Poems of Robert Herrick
    The Lyrical Poems Of Robert Herrick Francis Turner Palgrave *The Project Gutenberg Etext of Lyrical Poems Of Robert Herrick* Arranged with introduction by Francis Turner Palgrave Copyright laws are changing all over the world, be sure to check the copyright laws for your country before posting these files!! Please take a look at the important information in this header. We encourage you to keep this file on your own disk, keeping an electronic path open for the next readers. Do not remove this. **Welcome To The World of Free Plain Vanilla Electronic Texts** **Etexts Readable By Both Humans and By Computers, Since 1971** *These Etexts Prepared By Hundreds of Volunteers and Donations* Information on contacting Project Gutenberg to get Etexts, and further information is included below. We need your donations. A Selection From The Lyrical Poems Of Robert Herrick Arranged with introduction by Francis Turner Palgrave February, 1998 [Etext #1211] *The Project Gutenberg Etext of Lyrical Poems Of Robert Herrick* ******This file should be named 1rbnh10.txt or 1rbnh10.zip****** Corrected EDITIONS of our etexts get a new NUMBER, 1rbnh11.txt VERSIONS based on separate sources get new LETTER, 1rbnh10a.txt Project Gutenberg Etexts are usually created from multiple editions, all of which are in the Public Domain in the United States, unless a copyright notice is included. Therefore, we do NOT keep these books in compliance with any particular paper edition, usually otherwise. We are now trying to release all our books one month in advance of the official release dates, for time for better editing. Please note: neither this list nor its contents are final till midnight of the last day of the month of any such announcement.
    [Show full text]
  • Quam Oblationem : the Act of Sacrifice in the Poetry of Saint Robert Southwell
    INFORMATION TO USERS This manuscript )las been reproduced from the microffim master. UMI films the text directly from the original or copy submitted Thus, some thesis and dissertation copies are in eypewriter face, while others may be from any m>e of computer printer. The quality or this reproduction is dependent upon the quality or the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and hnpzoper alignment can adversely affect reproduction. In the unlikely_ event that the author did not send UMI a complete ma.DllSCl'ipt and there are missing pages, these will be noted. Also, if unauthorized copy.right material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and co• '' i• •• ,; ng from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6"' x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell tnformat10n Company 300 North Zeeb Road. Ann Amor. M! 48106-1346 USA 313!761-4700 800.'521-QSOO OYAM OBI.ATIONEM: THE A<::r OF SACRIFICE IN THE POETRY OF SAINT ROBERT SOUTHWELL by Mary O'Donnell A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina in Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Greensboro 1994 Approved by OMI Number: 9520540 Copyright 1994 by 0 • Donnell, Mary Al~ rights reserved.
    [Show full text]
  • The Poetics of Conversion in Early Modern English Literature
    THE POETICS OF CONVERSION IN EARLY MODERN ENGLISH LITERATURE Christians in post-Reformation England inhabited a culture of conversion. Required to choose among rival forms of worship, many would cross – and often recross – the boundary between Protestantism and Catholicism. This study considers the poetry written by such converts, from the reign of Elizabeth I to that of James II, concentrat- ing on four figures: John Donne, William Alabaster, Richard Crashaw, and John Dryden. Murray offers a context for each poet’s conversion within the era’s polemical and controversial literature. She also elaborates on the formal features of the poems themselves, dem- onstrating how the language of poetry could express both spiritual and ecclesiastical change with particular vividness and power. Proposing conversion as a catalyst for some of the most innovative devotional poetry of the period, both canonical and uncanonical, this study will be of interest to all specialists in early modern English literature. molly murray is Assistant Professor of English and Comparative Literature at Columbia University. She has published articles on medieval and Renaissance literature and culture in English Literary History, Studies in English Literature, and a variety of edited collec- tions, including Catholic Culture in Early Modern England, edited by Ronald Corthell, Frances Dolan, Christopher Highley, and Arthur Marotti (2007). THE POETICS OF CONVERSION IN EARLY MODERN ENGLISH LITERATURE Verse and Change from Donne to Dryden MOLLY MURRAY Columbia University cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi Cambridge University Press The Edinburgh Building, Cambridge cb28ru,UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521113878 © Molly Murray 2009 This publication is in copyright.
    [Show full text]
  • Complexity in the Verse of George Herbert
    University of Kentucky UKnowledge Literature in English, British Isles English Language and Literature 1966 Utmost Art: Complexity in the Verse of George Herbert Mary Ellen Rickey University of Kentucky Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Rickey, Mary Ellen, "Utmost Art: Complexity in the Verse of George Herbert" (1966). Literature in English, British Isles. 50. https://uknowledge.uky.edu/upk_english_language_and_literature_british_isles/50 Ut01ost Art lllustration for Superliminare from the tenth ( 167 4) edition of The Temple (From a copy in the University of Kentucky library) UtutostArt Complexity in the Verse of George Herbert by Mary Ellen Riekey UNIVERSITY OF KENTUCKY PRESS Copyright © 1966 by the University of Kentucky Press Manufactured in the United States of America Library of Congress Catalog Card No. 66-16230 For my parents This page intentionally left blank Acknowledgments HAD I soME MEASURE of Herbert's skill, I could with brevity and grace indicate the extent of my gratitude to the scholars and critics who have provided readers of this century with accurate Renaissance poetic texts and have done much to illuminate the poetry. I do not, however, and so must remain content to thank those whose favors stand immediately behind this book: the Kentucky Research Foundation, for the fellowship which enabled me to com­ plete it in an interval away from normal academic responsi­ bilities; my colleague Professor Thomas B.
    [Show full text]