By Paul Hammond
This e-book explores the advanced ways that authors, publishers, and readers contributed to the making of recovery poetry. The essays partially I map a few vital facets of recovery poetic tradition: how poetic canons have been proven via either print and manuscript; how censorship operated in the manuscript transmission of erotic and politically delicate poems; the poetic features of authorial anonymity; the paintings of allusion and intertextual reference; the interpretation and edition of classical poetry; and the poetic representations of Charles II. half II turns to person poets, and charts the making of Dryden's canon; the ways that Mac Flecknoe operates via intertextual allusions; the connection of the variation texts of Marvell's "To his Coy Mistress"; and the therapy of Rochester's canon and textual content by way of his smooth editors. The discussions are complemented through illustrations drawn from either published books and manuscripts. PAUL HAMMOND is Professor of Seventeenth-Century Literature on the collage of Leeds.
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Additional resources for The Making of Restoration Poetry (Studies in Renaissance Literature)
It started life as an Oxford publication by an Oxford scholar, but quickly migrated into metropolitan literary circles, being taken up by Tonson, argued over in coffee houses (Dryden was asked to settle a dispute over Creech’s grammar),35 and accumulating commendatory poems from Behn, Otway, Tate and others. 37 By 1700, readers without the classical languages, or those who were interested in translation as an art, would have had access to complete translations of Virgil and Persius by Dryden, and of Horace, Lucretius, and Theocritus by Creech; to volumes assembling translations by various hands from Horace, Ovid, and Juvenal; and to a large number of shorter translations from Latin and Greek scattered through the miscellanies.
Women admirers of Dryden were responsible for a whole volume of elegies on his death, The Nine Muses (London, 1700): see Macdonald, Bibliography, p. 297. On translations and adaptations of the classics see chapter 5. See Poems of John Dryden, i 307–12. Hoole, A New Discovery. 9 The Making of Restoration Poetic Culture collected translations by a variety of writers from the mid-century; this was sufficiently successful to be revised in 1671 and again in 1680, with new translations being added. 31 Tonson in his miscellanies offered readers further examples of Horace by various hands, and published Thomas Creech’s complete translation in 1684.
33 Restoration taste also relished the burlesque versions of Books I and IV produced by Charles Cotton (1664–5, much reprinted). 31 32 33 Paul Hammond, John Oldham and the Renewal of Classical Culture (Cambridge, 1983). s. 39 (1988) 64–74. Lawrence Venuti, ‘The Destruction of Troy: Translation and Royalist Cultural Politics in the Interregnum’, Journal of Medieval and Renaissance Studies, 23 (1993) 197–219. Later, 10 The Restoration Poetic Canon Among those classical writers who appealed especially to Restoration taste was Anacreon: Thomas Stanley had published a complete translation of Anacreon in 1651, but in 1683 a volume called Anacreon Done into English collected versions by various hands (including Cowley and Oldham).
The Making of Restoration Poetry (Studies in Renaissance Literature) by Paul Hammond