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The praise of great men : politics and patronage in Italy and France -- Royal encomia : Ronsard and his followers in France and England -- The political Pindaric in Commonwealth England -- Cowley and the Pindarique odes : text and subtext -- Stuart apologetics : Aphra Behn and John Dryden -- The art of the funeral Pindaric : Threnody in Italy and France -- "Melodious tears" : the English ode-elegy -- The poetics of the familiar Pindaric -- The celebration of place : the early modern city ode
This book considers Samuel Taylor Coleridge’s engagement with ‘Whig poetry’: a tradition of verse from the eighteenth century which celebrated the political and constitutional arrangements of Britain as guaranteeing liberty. It argues that, during the 1790s, Coleridge was able to articulate radical ideas under the cover of widely accepted principles through his references to this poetry. He positioned his poetry within a mainstream discourse, even as he favoured radical social change. Jacob Lloyd argues that the poets Mark Akenside, William Lisle Bowles, and William Cowper each provided Coleridge with a kind of Whig poetics to which he responded. When these references are understood, much of Coleridge’s work which seems purely personal or imaginative gains a political dimension. In addition, Lloyd reassess Coleridge’s relationship with Thomas Percy’s Reliques of Ancient English Poetry, to provide an original, political reading of ‘The Rime of the Ancyent Marinere’. This book revises our understanding of the political and poetic development of a major poet and, in doing so, provides a new model for the origins of British Romanticism more broadly
The first account of the bilingualism of English poetic culture from the mid-sixteenth to the early eighteenth century.
How rhyme became entangled with debates about the nature of liberty in sixteenth- and seventeenth-century English poetry In his 1668 preface to Paradise Lost, John Milton rejected the use of rhyme, portraying himself as a revolutionary freeing English verse from “the troublesome and modern bondage of Riming.” Despite his claim to be a pioneer, Milton was not initiating a new line of thought—English poets had been debating about rhyme and its connections to liberty, freedom, and constraint since Queen Elizabeth’s reign. The Fetters of Rhyme traces this dynamic history of rhyme from the 1590s through the 1670s. Rebecca Rush uncovers the surprising associations early modern readers attached to rhyming forms like couplets and sonnets, and she shows how reading poetic form from a historical perspective yields fresh insights into verse’s complexities. Rush explores how early modern poets imagined rhyme as a band or fetter, comparing it to the bonds linking individuals to political, social, and religious communities. She considers how Edmund Spenser’s sonnet rhymes stood as emblems of voluntary confinement, how John Donne’s revival of the Chaucerian couplet signaled sexual and political radicalism, and how Ben Jonson’s verse charted a middle way between licentious Elizabethan couplet poets and slavish sonneteers. Rush then looks at why the royalist poets embraced the prerational charms of rhyme, and how Milton spent his career reckoning with rhyme’s allures. Examining a poetic feature that sits between sound and sense, liberty and measure, The Fetters of Rhyme elucidates early modern efforts to negotiate these forces in verse making and reading.
For much of Western history, Pindar's work was recognized as the pinnacle of lyric poetry. This book presents an introduction to different aspects of Pindar's art, while demonstrating its importance for the coming into being of literature as it has been conceived of in the West.
This volume explores various perceptions, adaptations, and appropriations of Horace in the Early Modern age across textual, visual and musical media. It thus intends to advocate an interdisciplinary and multi-medial approach to the exceptionally rich and variegated afterlife of Horace.
On July 14th, 1790, a key figure in the French Revolution honoured Milton as a founding father of the French republic. In the light of this connection, it was appropriate that the 8th International Milton Symposium (7-11 June 2005) was held in Grenoble, cradle of the French Revolution. But the connection of Milton and Rights takes us well beyond the specific link with France, and the fascinating selection of essays assembled in this volume, many by leading Milton scholars, addresses the question in the poetry as well as the prose. Milton's fervent but changing attitude to liberties is debated from various points of view, so that the volume contains essays on topics ranging from the musical adaptations of Samson Agonistes to its angrily argued parallel with contemporary terrorism, from air pollution in Paradise Lost to Milton's supposed Puritanism and putative parallels with a French pornographer.
This new approach to Malherbe's odes interweaves political, cultural, rhetorical, and literary history to show how they constitute a unified sequence whose ambition is to forge a new national community in the aftermath of the Wars of Religion, dislodging Malherbe from his moribund critical reception as a grammarian and technician and recovering the brilliance of a poetic genius whose political mythmaking stems from an impassioned patriotism.
In The Politics of Print During the French Wars of Religion, Gregory Haake examines how, in late sixteenth-century France, authors and publishers used the new medium of the printed text to control the terms of public discourse and determine history, or at least their narrative of it. The creativity of the Renaissance ushered in new instability of discourse and a decline of traditional centres of authority. Gregory Haake shows that poets, authors, printers, and polemicists — including historians, such as Simon Goulart; the great poets of the time, such as Pierre de Ronsard or Agrippa d’Aubigné; or anonymous authors of polemical texts — rushed in to take advantage of discursive uncertainty to discredit their enemies and shape the meaning of history as it unfolded.