Chapter 9. Robert Herrick, Clipsby Crew, and the Politics of the English Epithalamium in 1625

Author(s):  
Kevin Laam
Keyword(s):  
XVII-XVIII ◽  
1988 ◽  
Vol 27 (1) ◽  
pp. 141-155
Author(s):  
Gérard Gacon
Keyword(s):  

Author(s):  
Margaret J. M. Ezell

During the Commonwealth period, manuscript circulation networks continued to disseminate texts although at a lesser level than in the 1620s. Some were formed prior to the war at the Universities or Inns of Court, others were based on family or geography, and some had international reach. Samuel Hartlib’s extensive correspondence network circulated information between England and the Continent, while informal networks of friends and family likewise sustained communications. Catholic families had well-developed networks for circulating manuscripts, books, and people. Others such as Katherine Philips in Wales developed networks of literary friends. Thomas Stanley supported numerous friends and family, including Andrew Marvell and Robert Herrick, as they engaged on translation projects and collected their poems for publication.


Early Music ◽  
2020 ◽  
Author(s):  
Steven Plank

Abstract This article considers questions relating to the performance practice of listening to music in early modern contexts. The evidence of paintings by Pieter Lastman, Gerard ter Borch and Hendrik Sorgh, poetry by Robert Herrick, William Shakespeare and Edmund Waller, and accounts of performances by Francesco da Milano, Nicola Matteis and Queen Elizabeth I all help to bring into focus questions of attentiveness, affective response and analogical understanding. The source material also interestingly raises the possibility of occasionally understanding the act of listening within a frame of erotic relationship modelled on Laura Mulvey’s well-known concept of the ‘male gaze’.


2019 ◽  
pp. 235-278
Author(s):  
Colin Burrow

This chapter shows that Ben Jonson’s practice in imitating classical poetry was far more deeply indebted to the kinds of ‘formal’ imitation described in Chapter 6 than Jonson himself would have wished to admit. The epigrams of Martial in particular were not in a simple sense ‘sources’ of material for Jonson’s poetry: rather he sought to imitate the rhetorical figurations and manner of Martial and other authors. The chapter argues Jonson’s own (highly derivative) remarks on imitation in the Discoveries should not be simply taken as guides to his practice. It argues for strong affinities between Jonson’s work as a translator and his practice as an imitator. As both an imitator and as a translator Jonson responded not just to the vocabulary and sense of his originals but also to what Cicero in De Optimo Genere Oratorum had termed their ‘figura’, or rhetorical shape. The chapter concludes by showing how Jonson’s mode of ‘formal’ imitation enabled him to create a style which subsequent imitators—both of his works and of classical poetry—could imitate, and how Thomas Randolph, Robert Herrick, and others imitated Jonson’s style and practice.


1973 ◽  
Vol 20 (5) ◽  
pp. 182-c-184
Author(s):  
JAY A. GERTZMAN
Keyword(s):  

1894 ◽  
Vol s8-VI (156) ◽  
pp. 493-494
Author(s):  
F. C. Birkbeck Terry
Keyword(s):  

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