17th-century and Restoration Literature

This book studies the poetry and polemics of one of the greatest of early modern writers, a poet of immense lyric talent and political importance. The book situates these writings and this writer within the patronage networks and political upheavals of mid-seventeenth-century England. It tracks his negotiations among personalities and events; it explores his idealizations, attachments, and subversions; and it speculates on the meaning of the narratives that he told of himself within his writings — what we call Andrew Marvell’s ‘imagined life’. The book draws the figure of this imagined life from the repeated traces that Marvell left of lyric yearning and satiric anger, and it suggests how these were rooted both in the body and in the imagination. The book sheds new light on some of Marvell’s most familiar poems — Upon Appleton House, The Garden, To His Coy Mistress, and An Horatian Ode; but at its centre is an extended reading of Marvell’s The unfortunate Lover, his least familiar and surely his most mysterious lyric, and his most sustained narrative of the self. By attending to the lyric, the polemical, and the parliamentary careers together, this book offers a reading of Marvell and his writings as an interpretable whole.

This book is the first study to reconstruct the political origins of English women's poetry between the execution of Charles I and the death of Queen Anne. The book shows that, between Katherine Philips (1632–1664) and Anne Finch, Countess of Winchilsea (1661–1720), English women's poetic tradition developed as part of the larger political shifts in these years and particularly in women's fascination with the figure of the female monarch. Writers discussed in the book include Aphra Behn, Katherine Philips, Anne Killigrew, Jane Barker, and Anne Finch.

The first such collection to be issued since 1991, the essays presented here read Herrick’s poetry in the context of his literary, musical, political, and religious affiliations and look at how he both presents and constructs ideals of community in his work. Herrick is best known for his poetry’s grace, good humour, and a spirit of tolerant inclusiveness at odds with the publication of his work close to the end of the Civil Wars. This collection places Herrick’s poetry in a much wider chronological context beginning with his early career as a manuscript poet in Jacobean London. Contributors use original research to situate Herrick within the coteries of Ben Jonson and Thomas Stanley, to uncover the royalism of Herrick’s publishers and identify the printer of Hesperides. Others examine how the context of publication in 1648 gives a political colouring to Herrick’s imitations of Ovid and Anacreon and how Herrick, like Katherine Philips, uses the theme of friendship and the mode of print to construct an idea of the autonomous author. Two essays explore Herrick’s musical collaborations with Henry Lawes, the first such work since 1976, and analyse the influence of musical settings and group performance on the interpretation of Herrick’s lyrics. The collection also showcases an important debate on the challenges posed by Herrick’s work for formalist, historicist, and postmodernist literary criticism. Contributors include Stella Achilleos, Line Cottegnies, John Creaser, Achsah Guibbory, Stacey Jocoy, Leah Marcus, Katharine Eisaman Maus, Nicholas McDowell, Michelle O’Callaghan, Graham Parry, Syrithe Pugh, and Richard Wistreich.

This book is about the things which could unite, rather than divide, poets during the English Civil Wars: friendship, patronage relations, literary admiration, and anticlericalism. The central figure is Andrew Marvell, renowned for his ‘ambivalent’ allegiance in the late 1640s. Little is known about Marvell's associations in this period, when many of his best-known lyrics were composed. The London literary circle which formed in 1647 under the patronage of the wealthy royalist Thomas Stanley included ‘Cavalier’ friends of Marvell such as Richard Lovelace but also John Hall, a Parliamentarian propagandist inspired by reading Milton. Marvell is placed in the context of Stanley's impressive circle of friends and their efforts to develop English lyric capability in the absence of traditional court patronage. By recovering the cultural values that were shared by Marvell and the like-minded men with whom he moved in the literary circles of post-war London, we are more likely to find the reasons for their decisions about political allegiance. By focusing on a circle of friends and associates we can also get a sense of how they communicated with and influenced one another through their verse. There are innovative readings of Milton's sonnets and Lovelace's lyric verse, while new light is shed on the origins and audience not only of Marvell's early political poems, including the ‘Horatian Ode’, but lyrics such as ‘To His Coy Mistress’.

This study of seven poets challenges the postmodernist assumption that no definite or constant self can be traced in the works of a writer. Distinct modes of self-awareness, different emphases in the perception of time and space, and various ways of grasping the sensible and the spiritual, the human and the divine, jointly or separately characterize the minds of John Donne and George Herbert, Richard Crashaw and Henry Vaughan, Edward Herbert, Andrew Marvell, and Thomas Traherne. Fundamental mental structures affect their attitudes to love, death, and God, and dictate their privileged modes of composition and expression. Without neglecting the relations between these individual traits and the general evolution of thought from classical antiquity to the Renaissance, or the immediate cultural environment in which each poet wrote, this critical study maintains the primacy of individual choice, of the ‘unchanging self’. The book is not based on a theory, but on a close scrutiny of the characteristic interplay of personal modes of thought and sensibility.

This is a study of a group of Jacobean Spenserian poets, William Browne, George Wither, and Christopher Brooke, and of the ways in which these writers represented themselves as a distinctive oppositional community in the years 1612 to 1625. This Spenserian community had its social basis in the culture of early modern London and was given physical expression through the practice of collaboration and an innovative use of print. Yet, it was also an ‘imagined community’ expressed through fictions that drew on common literary and political traditions. The result was a type of literary commonwealth that claimed the authority to engage in public debate on issues of politics and culture. By drawing attention to the relationships between writers and the traditions and environments that enable textual communities, this book provides a new perspective for studying early modern culture.