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Franc Is Q.Uar FRANC I S Q.UAR LES: A STUDY OF HI S LITERAR T ANCESTRY AND CONTEMPORARY SETTING AS A RELIGIOUS POET Raymond E. Tner ii ABSTRACT In his choice or biblical material, in his attitude towards biblical matter in poetry, in his efforts to supplant secular poetry with divine poetry, and In his style and metre, Francis Quarles is in an established tradition of religious poetry which dates from the mid-sixteenth century. He used this poetry to support the Established Church and a Monarchy based on Divine Right when these institutions were being attacked. He criticized particularly Roman Catholics, Arminians, Puritans, and Separatists. However, his poetry is not purely propagandist. He shared a contem p orary interest in the vocabulary of the language and made many additions to it, and in his syncretizing of classical mythology with Christianity he followed conteinoorary practice. He favoured the Authorized Version of the Bible, and he satisfied demands f or moralistic and didactic literature in his poetic renderings of biblical material, which Is developed through the use of long speeches, long similes, descriptive action, and exegesis. In Em lemes, where the poems are but extended paraphrases of biblical text, the same techniques of develop ent re used. iii In his invocations Q.uarles follows prevailing practices in addressing the Holy Spirit, God, or Christ. There was contemporary confusion concerning the muse Urania, but she retains her primary classical associations and Is never more than the Christian poet's tutelary spirit or a personification of his poetic genius. The high esteem in which Quarles' works were held is shown in the comments of many of his contemporaries. In Cowley's criticism his lack of artistry in handling biblical material Is pointed out. uarlea shows more poetic powers in his occasional lyrics and his satirical ability Is at times suggested. Had be concentrated on these powers, quite possibly he would today hold a higher place as a poet in English literature. iv PREFACE Francis Quarles (l592-161ê1.) during his lifetime enjoyed an enviable popularity, but after the Restoration, along with many of his more prominent contemporaries, he suffered a sharp decline in reputation from which he has never risen. With the increasing interest of recent years in the seventeenth century he has had some attention, but he still lacks a modern edition, since his collected works are accessible only in the edition of A. B. Grosart (1880-81), the champion of Queries in the nineteenth century. The untempered enthusiasm of Grosart did not attract attention to Quarles' work and the limitation of his edition to one hundred copies makes it accessible primarily in libraries, to which most of the copies have found their way. It was almost a half century after Grosart's publication before Quarles again received any attention, and then it was in the United States. A. H. Nethercot in his RThe Literary Legend of Francis Quarles* (MP, XX, 1922) traced the reputation of Quarles to the present century. A decade later G. S. Haight made a study of Quarles' Emblemes (Yale University dissertation, unpublished, 1933), publishing the major conclusions of his work in Library (XV, XVI: 193t-36). Since Haight's work there have appeared two studies on the V Einblemes: one on the imagery by E. James (University of Texas Studies in English, 1911.3), and the other in English Emblem Books (1911.8) by Rosemary Freeman. More recent scholarship has shown interest in other aspects of Quarles. John Horden has compiled a bibliography of his works to 1800 (Oxford Bib. Soc., New Series Vol. II, l9S3), and he has recently published "Edmund Martnion's Illustrations for Francis Quarle8' Argalus and Parthenla" (Trans. of the Cambridge Bib. Soc., Vol. II, 19). It is generally granted that Quarles will have a place in English literature because of his Emblemes. Enthusiasts like Grosart and Thoreau have even seen Quarles as a great poet, but they are exceptional. The fairest of judgements can only conclude that most of Quarles' poetic effort is inferior. But to the literary historian and the specialist Quarles is an interesting figure of the seventeenth century. The number of editions of his individual works, as well as the collections of two or more works, indicate that there was a wide contemporary demand for them. This demand arose out of the almost universal concern of the age for religion, and Quarles, in his own way, is as much a product of that age as are Donne, the Fletchers, Herbert, Vaughan, and Milton. A study of his work, therefore, is important In that it will add to our knowledge and appreciation of the literary scene of the first half of the seventeenth century. vi The flr'st chapter of this study examines the background of seventeenth-century religious poetry, starting with the early sixteenth century, 1 with a view to determining ape5 relation to it. Chapter II considers the use uarles made of his poetry in expressing his views about the religious conflicts of his day, end in the light of these views determines his position in relation to the various factions both within and outside the Established Church. Quarles' interest in vocabulary, his use of classical nithology in religious poetry, and his techniques of dpjng biblical material are studied in Chapter III. Attention will be concentrated In Chapter IV on the practice of the religious poets in invocations, and the question of Urania as the muse of religious poetry will be considered. Finally Chapter V will be concerned with what Q.uarles' contemporaries thought of him and his work. have chosen the early sixteenth century as the date for the beginning of the study because religious poetry changed in intention and in content as the English Reformation progressed. In both the Old English and Middle English periods there was a religious poetry, and for discussions of It see the following: C, W. Kennedy, The Eprilest English Poetry (191i3); J. E. Wells, A Manual of the Writings In Middle English, lOSO-1OO (New Haven, I]637 with periic supplements. vii Abbreviations used in this work. ELH English Literary History HLB --- Huntington Library Bulletin HI. --- Huntington Library Quarterly .ThGP --- Journal of English and Germanic Philology MP --- Modern Philology NED --- New English Dictionary Notes and Queries PML& --- Publication of the Modern Language Association BES --- Review of English Studies SPE --- Society for Pure English CONTENTS Abtract• . • 1•••S• • • .. • • • • • • • • • , • • • • • • • • • • • ••••,••• . 11 Preface. , • , , • • • • • • . • • •• • • , , . , . • . • , • , • . • • , . • • .. , . , iv I.The Background of Religious Po.try.................,,1 II. Quarles and the Religious Conflicti of His Time.......tI..9 III, Aspects of LiteraryPractice..............,...........]07 IV. Practice in Invocations.. •..... .. .•. • . ......, . 188 V. The Contemporary Reception of uarles.......,......,,,2].5 VI.AnAssessnientofuar].es' Poetry............,......,..211]. Appendices and Bibliography............,,.....,.......2116 Appendix I. Textual Changes in Divine Poemes(1630)...211.6 Appendix II. Vocabulary. .. .. 26 Bibliography. 27]. CHAPTER I THE BACKGROUND CF RELIGIOUS POETRY 2 Apart from one play, The Virgin WId (l61..9), and a heroic romance, Argalus and Parthenia (1629), the poetry of Queries rails into the category of religious poetry. The works consist of occasional elegies on the death of friends and acquaintances; the Divine Fancies (1632 )-- four books of epigrams, meditations, observations; the Emblemes ( 1635)-- r books of religious lyrics based on biblical texts; ptero1yohk.g. the 11P1. g.r M (1638), a work similar to the Emblemes; Hosanna (161i7), meditations on the passion of Christ; and the paraphrases of Old Testament material. The preparation and publication of these paraphrases extended over the whole period of his poetic activity: fo WIorme (1620), a paraphrase of Jonah; Hadassa: or the History of Queene Ester (1621); Job Militant (l62i..); Slons Elegies (16211..), a paraphrase of Lamentations; Sions Sonets (162S), a paraphrase of the Song of Solomon; The Historie of Samson (1631); Solomons Recantation (16145), a paraphrase of Ecciesiastes. When one considers that by 1620, the date of the publication of the first of Quarles' biblical paraphrases, the English reading public had at its disposal several translations of the Bible, including the i6ii version, the question arises as to why a poet would spend so much time end effort paraphrasing biblical matter. But not only 3 (uarles, but other contemporary poets, Sandys and Wither for example, were engaged on such activity, and judging from the number of paraphrases, as well as their numerous editions, there was a large demand for such literature during the first half of the seventeenth century. In fact the activity of paraphrasing had begun in the sixteenth century, along with the English Reformation, and by Quarles' time a tradition of such work had become securely established. TUE MOVE?1ENT TOWARDS A RELIGIOUS POETRY (]$39-15S9) In his Do Veritate Sacrae Scripturae (1378) Wyolif denounced the authority of the traditions of the Church and proclaimed the Gospels as the only law. 1 The acceptance of such a doctrine made it necessary for the Bible to become known to the laity, and. Wyolif and his followers laboured to provide an English translation. This work was interrupted in 11408,when unauthorized translating was expressly forbidden with an uncompromising threat 1De Veritate Sacrae Scripturae, ed. R. Buddensieg (190S),Vol. I, pp. 1-2. of excommunication by the Constitution passed by Convocation at Oxford. 1 It was over a century later before Tndale began hi8 translation, finishing his New Testament in 1525. This work was followed by the Pentateuch in 1530, Jonah in 1531, two revisions of the New Testament in l53L-35, all translated by Tyndale, and by a translation of the complete Bible by Coverdale in 1535.2 The English Reformers were at last supplied with their principal weaDon, and the immediate prestige and authority acquired by the Bible is evident in Thomas Becon's The Glorious Triumphe of Gods Most Blessed Worde (1563).
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