I

7Qcent Studies in the €ngZiJh 5Qvaissance

ELR bibliographical articles are intended to combine a topical review of research with a reasonably complete bibliography. Scholarship is organized by authors or titles ofanonymous works. Items included represent the combined entries listed in the annual bibliographies published by PMLA, SP, YWES, and M H R A from 1945 through, in the present instance, 1971, supplemented by a selective list of general studies and additional annual bibliographies. Preliminary enumerative bibliography and editorial work are done by Terence P. Logan, Ilirector, and Elizabeth H. Hageman at the Renaissance English Bibliography Center, Uni- versity of New Hampshire, which is supported by funds from the Graduate School and the Department of English, University of New Hampshire, Durham, N.H.

R E C E N T S T U D I E S I N H E R R I C K

ELIZABETH H. HAGEMAN

H E standard edition of Herrick‘s poetry is L. C. Martin’s T h e Poetical Works ofRobert Herrick (1956), reissued, with most of the commentary excised, as The Poems ofRobert Herrick (1965). A Concordance to the Poems 4 Robert Herrick by MalcolmL. MacLeod (1936; rpt. 1971) is based on F. W. Moorman’s edition

of T h e Poetical Works ofRobert Herrick (191s), but may also be used with Martin’s texts.

1. GENERAL

A. Biographical. L. C. Martin surveys Herrick‘s life in his edition of T h e Poetical Works. Of the full-length studies of Herrick‘s career, Floris Delattre’s Robert Herrick: Contribution it I’&tude de la Poksie Lyrique in Angleterre au Dix-rept ihe Sihcle (1912) is the most reliable. I:. W. Moorman, in Robert Herrick: A Biographical and Critical Study (1910; rpt. 1962), derives many of his suppositions about Herrick‘s character and activities from the lyrics. lllarchette Chute’s T w o Gentle Men: T h e Lives ofGeorge Herbert and Robert Herrick (1959) is a graceful recreation of Herrick‘s social milieu.

13. General Critical Studies. Much of the recent criticism responds to evaluations ofHerrick‘s work made earlier in this century by F. R. Leavis and T. S . Eliot. In “The Line of Wit,” :L review of T h e Oxford Book ofSeventeenth Century Verse, rpt. in Revaluation: Tradition and

Elizabeth H. Hagernan 463 Development in English Poetry (1936; rpt. 1963), Leavis claims that Herrick, in contrast to Marvell, writes in a “trivially charming way.” In “What is Minor Poetry?” published in S R , 54 (1946), 1-18, rpt. in On Poetry andpoets (1957; rpt. 1969), Eliot argues that a writer of lyrics may be a major poet if he constructs a volume with a “unity of underlying pat- tern,” such as George Herbert’s The Temple. Herrick, on the other hand, cannot qualify as a major poet because The Hesperides lacks “continuous conscious purpose.”

Allan H. Gilbert, in “Robert Herrick on Death,” MLQ, 5 (1944). 61-67, argues against the prevailing opinion that “Herrick is chiefly a fairy poet” by pointing to his constant awareness of death and change; Herrick is “aided by two muses, one jocund, the other diviner.” And in The Universe ofRobert Herrick (1950), Sydney Musgrove, the first scholar to present an extended argument that Herrick is a serious, Christian poet, explicates a number of the poems in order to show that for Herrick “the created world is a place of joy; but, at the same time, it is a divine creation.” More recently, Ronald Berman, in “Herrick‘s Secular Poetry,” ES, 52 (i97i), 20-30, notes that Herrick, like Ben Jonson, Jeremy Taylor, Sir Thomas Browne, John Donne, and Owen Feltham, is acutely aware of the brevity of human life and the “permanence of that greater life in which it is located”; for Herrick, secular experience is a hieroglyph of the sacred.

Roger B. Rollin addresses Eliot and Leavis directly in Robert Herrick (1966). Rollin praises the “intellectual and emotional poise” with which Herrick faces life and the “superb artistic poise” with which he “recreate[s] his reactions to it.” He examines representative poems, showing that Herrick‘s imaginative realm is a pastoral world, a microcosm in which he explores a series of human problems: transciency, the good life, love, faith, and immortality. John Press, on the other hand, emphasizes Herrick‘s sensuality and technical skill in his Robert Herrick (1961): “within certain limits,” Press concludes, “he is a consum- mate artist.”

ThomasR. Whitaker, in “Herrickand theFruits oftheGarden,”ELH, 22 (1955), 16-33, suggests that a selection of some fifty of the lyrics would reveal an “imaginative realm of some scope and . . . an awareness of its limitations, its dangers, and its proper uses.” The mythical garden of the Hesperides is a place in which the “Christian-Dionysian ambi- guity” of Herrick‘s view of life is almost reconciled. Following Whitaker’s analysis, Daniel H. Woodward, in “Herrick‘s Oberon Poems,”]EGP, 64 (1965). 270-84, shows how “The Fairie Temple,” “Oberon’s Feast,” and “Oberon’s Palace’’ contribute to the whole volume by “providing a miniature mythology within the larger mythology of the garden of Hesperides.”

In a trio ofarticles, John L. Kimmey treats Herrick‘s use ofhis fictive persona as a unifying device in Hesperides and Noble Numbers. In “Robert Herrick‘s Persona,” SP, 67 (1970), 221-36, he argues that in Hesperides the persona alternately plays the roles of the poet writing to gain immortality, the aging lover striving for renewed vitality, and the exile longing for London; in Noble Numbers, the persona is an aging penitent. In both works, Kimmey believes, the persona searches for permanence within “Times-transhifting.” In “Robert Herrick‘s Satirical Epigrams,” ES, 5 1 (1970), 312-23, he notes that in the epi- grams, which are scattered throughout the volume as commentary on the crude and base aspects of Herrick‘s microcosm, the persona assumes the “position of the preacher, the social critic, the shrewd observer of men and manners.” The whole volume, Kimmey argues in “Order and Form in Herrick‘s Hesperides,”]EGP, 70 (1971), zzs-68, is carefully arranged to reflect the changing moods of the fictive persona approaching death. Richard

464 English Literary Renaissance L. Capwell, in “Herrick and the Aesthetic Principle of Variety and Contrast,” SAQ, 71 (1972), 488-95, suggests that the principle of variety and contrast governs the seeming disorder in the arrangement of the lyrics within Herrick‘s volume.

Two recent books discuss the literary movements of which Herrick was a part. In his chapter “Gentlemen of the Court and of Art” in The Heirs ofDonne andJonson (1970), Joseph H. Summers compares poems by Herrick and Ben Jonson to show that their excel- lence is of two different kinds. Herrick is one of a “school” of poets treated by Earl Miner in The Cavalier Modefromlonson to Cotton (1971). After defining the “social voice” of the Cavaliers as a mean between the “private voice” of the Metaphysicals and the “public voice ” ofMilton, Dryden, and Pope, Miner devotes chapters to the themes of “The Good Life,” “The Ruines and Remedies of Time,” “Order and Disorder,” “Love,” and “Friend- ship.”

Samuel A. and Dorothy R. Tannenbaum have compiled Robert Henick ( A Concise Bibliography) (1949). George Robert Guffey has a checklist of more recent editions and criticism, Elizabethan Bibliographies Supplements 111: Robert Herrick (1949-1965), Benlonson (1947-1965), Thonias Randolph (1949-1965) (1968).

11. STUDIES O F SELECTED TOPICS

A. Classical and Christian Sources. The copious list of sources and parallcls from classical, biblical, patristic, and Elizabethan literature given in Martin’s Poetical Works raises the vexing problem of Herrick‘s “classical temper” versus his professed Christianity. Graydon W. Regenos, in “The Influence of Horace on Robert Herrick,” PQ, 26 (1947), 268-84, sees Horace as “most congenial to the very spirit and soul ofRobert Herrick,” but Martin believes that Herrick is influenced most by Horace and Ovid in his early work and by Martial and Tacitus in the later pocms. Karl P. Wcntersdorf, in “Herrick‘s Floral Imagery,” SN, 36 (1964), 69-81, studies the many contexts in which flowers occur in the secular poetry and concludes that Herrick was drawn to pagan celebrations of life rather than to Christianity. In “Herrick and the Ceremony of Mirth,” a chapter in Poetry and the Fountain ofl ight: Observations on the Congict between Christian and Classical Traditions in Seventeenth- Century Poetry (1962), H. R. Swardson maintains that Harrick felt a codict between the light-hearted pagan values of many of his poems and the Christian standards in which he believed. In only a few poems, Swardson asserts, does Herrick create a “mirthful world” that overcomes the usual Christian distinctions between the sacred and the profane. Victor P. Staudt, on the other hand, in “Horace and Herrick on Carpe Diem,” Classical Bulletin, 33 (1957), 55-56, uses “To the Virgins, To Make Much of Time” to demonstrate that Herrick uses thc classical carp diem theme in the service of the Christian position that one must live for eternity and the Last Judgment. And in “Noble Nurnbers and the Poetry of Devotion,” in Reason and the Imagination: Studies in the History o f Ideas, 1600-1800, ed. J. A. Mazzeo (1962), pp. 1-27, Miriam K. Starkman surveys Herrick‘s sacred poems and fmds in them the doctrines of orthodox Anglicanism. For her, the distinctive voice of the 272 poems is that of the adult Christian in the role of the irzgenu.

In a series of articles based on his dissertation, “The Classical Ceremonial in the Poetry of Robert Herrick,” DA, 26:5430-31 (Wis.), Robert H. Deming argues that the ceremonies described in Herrick’s poems are derived not only from classical poets and historians and from Renaissance classical dictionaries, but also from conteniporary practices of Anglican

Elizabeth H. Hageman 46s and Roman Catholic Churches. In “Robert Herrick‘s Classical Ceremony,” ELH, 34 (1967). 327-48, Deming suggests a “humanistic fusion” designed by Herrick to measure the “significance of the ceremonies of the past for the present.” In “The Use of the Past: Herrick and Hawthorne,”]PC, 2 (1968), 278-91, Deming contrasts “The May-Pole of Merry Mount” with “Corinna’s Going A-Maying,” showing that whereas Hawthorne’s resolution of the conflict between paganism and Christianity (the forces of “jollity” and “gloom”) requires the triumph of the sober Puritan idea of duty over pagan irresponsi- bility, Herrick‘s imaginative world achieves a successful fusion of “Christian seriousness” and “the delight in physical nature.” In “Herrick‘s Funereal Poems,” SEL, 9 (1969), 153-67, he analyzes a dozen poems in order to show that Herrick’s funeral ceremonies sanctify the dead. Deming points to Herrick‘s insistence on the enactment of the proper ceremonies and to his assertions of the poem itself as a mnemonic device.

Paul R. Jenkins, in “Rethinking What Moderation Means to Robert Herrick,” ELH, 39 (197z), 49-65, concludes that Herrick‘s idea of moderation is not a moral imperative, but one aspect of “an aesthetic formula-a careful carelessness-which Herrick believes will produce the most satisfying sensations.” After discussing Herrick’s many variations on the ballad stanza in “Literature and Music,” in Relations ofliterary Study, ed. James Thorpe (1967), pp. 127-50, Bertrand H. Bronson suggests that those lyrics which are ‘‘seasonally festive, and folklike in spirit . . . tend to confirm the conjecture that Herrick, for all his fastidious classicism, was in familiar touch with the popular singing tradition.”

B. Other Topics. G. R. Hibbard examines the relationships between such poems as Jonson’s “To Penshurst” and Herrick‘s “A Panegerick to Sir Lewis Pemberton” and “A Country- Life: to his Brother Mr. Thomas Herrick,” the social (and architectural) realities of life in seventeenth-century country houses, and contemporary notions of “nature” and “use” in “The Country House Poem of the Seventeenth Century,”]WCl; 19 (1956), 159-74.

Mark L. Reed, in “Herrick Among the Maypoles: Dean Prior and the Hesperides,” SEL, 5 (1965). 133-50, uses evidence that the folk customs described in Hesperides are not unique to Devonshire and that the life of groves and fields was well known to every Londoner to point to Herrick‘s real achievement: his lyrics, more than any others of his century, “grow from and sing of England.”

A. Leigh DeNeef, in “Herrick and the Ceremony ofDeath,” RenP 1970,2~39, suggests that the poet’s art unites the reader, the speaker, and the dead in a ceremonial, ritual cele- bration “in which death itself often becomes simply irrelevant.” DeNeef develops his idea of the “ceremonial mode” in his dissertation, “The Ceremonial Mode of Poetic Expression in Robert Herrick’s Hesperides,” DAI, 30:4981A-82A (Penn. State), (See 111, A for DeNeef’s discussion of “Corinna.”)

111. STUDIES O F INDIVIDUAL POEMS

A. “Corinna’s Going A-Maying.” In Chapter IV, “What Does Poetry Communicate?” in The Well- Wrought Urn: Studies in the Structure ofPoetry (1947; rpt. 1965). CleanthBrooks examines the verbal texture of “Corinna” and demonstrates that for Herrick, “the claims of the pagan ethic-however much they may be overlaid-exist, and on occasion emerge, as on this day.” J. Rea, in “Persephone in ‘Corinna’s Going A-Maying’,” CE, 26 (1965), 544-46, argues that Herrick probably knew from his reading of Ovid’s Art ofLove that

466 English Literary Renaissance “Corinna is the diminutive form of Cora. . . the name that the Greeks used for Persephone when they celebrated the Ekusinian mysteries in Attica”; when the poet calls Corinna, then, he is summoning the goddess of the springtime herself. Richard E. Hughes, in “Herrick‘s ‘Hock Cart’: Companion Piece to ‘Corinna’s Going A-Maying’,” CE, 27 (1966), 420-22, replies that “The Hock Cart” celebrates the corresponding harvest ritual. A. Leigh DeNeef, in “Herrick‘s ‘Corinna’ and the Ceremonial Mode,” SAQ, 70 (igy), 530-45, sees “Corinna” as written in what he calls the “ceremonial mode”; it is a dramatic, mimetic, ritual celebration of reality. In this poem the May-Day festivities become “a cosmic ritual of unification,” and “the permanence of the artistic rendering is itself the ultimate ceremonial act.”

B. “Good Friday: Rex Tragicus, or Christ Going to His Crosse.” D. C. Allen explicates this work as a complex contemplative poem in “Herrick‘s Rex Tragicus,” Studies in Honor of Dewitt T . Starnes, ed. Thomas P. Harrison, et al. (1967). pp. 215-25, rpt. in Allen, hiage and Meaning: Metaphoric Traditiotis in Renaissance Poetry (enlarged ed., 1968), pp. 13 8-51. He refers to such writers as Piero Valeriano, Scaliger, Hugo St. Victor, and Plotinus as backgrounds for his suggestion that Herrick views the Crucifixion in terms of a great tragedy of a king’s fall. Allen views Herrick as a minor poet, however, and concludes darkly, “But that he intended what I have expressed will never be known.”

C. State of Criticisnz. Thanks to such appreciative critics as Gilbert, Martin, Rollin, Brooks, and (more recently) Deming, DeNeef, and Kimmey, Herrick can no longer be dismissed as a trivial, slightly immoral poet. Happily, Herrick scholars have continued to admire his vitality and wit as they have pointed to his Christian, sacramental view of this world. Martin and Patrick have provided excellent editions for the scholar and general reader, but a comprehensive critical biography has yet to be written. An examination of Herrick‘s use of the Church Calendar and related Biblical texts prescribed by The Book ofCommon Prayer would be useful, as would a study of the relationships between his lyrics and the music written for them by seventeenth-century musicians in the court of Charles I. A preliminary list of works relevant to the latter topic appears under II, B in the “See also” section below.

IV. C A N O N A N D TEXTS

A. Canon. Because Herrick collected and arranged the over fourteen hundred poems in Hesperides and Noble Numberr, his canon presents no major problems. A number of extant manuscripts (Martin lists fifty-two) provide variant readings for some forty poems, and there is some question whether some forty more poems found in seventeenth-century commonplace books and other manuscripts are Herrick‘s. In 1956 Martin added thirty-one poems to the ten “Additional Poems” collected by Moorman. In 1958, however, R. G. Howarth argued in “Attributions to Herrick,” N&Q, N.S. 5 (1958)~ 249, that the “R.H.” to whom seventeen of the eighteen poems in the Rosenbach commonplace book are attributed is more likely Robert Heath, and Martin chose to omit the eighteen poems from his Oxford Standard Authors edition of 1965. In “A Case of Insufficient Evidence: L. C. Martin’s ‘R.H.’ Poems and Herrick,” BSUF, ii (ig~o), 54-59, John M. Ditsky argues that the style of the Rosenbach poems is not Herrick‘s.

Elizabeth H. Hageman 467 Margaret Crum, in “An Unpublished Fragment ofverse by Herrick,” RES, ii (ig6o),

186-89, describes a manuscript acquired by the Bodleian Library too late for inclusion in Martin’s list of variants. And Norman K. Farmer Jr., in “Robert Herrick and ‘King Oberon’s Clothing’; New Evidence for Attribution,” YES, 1 (1971)~ 68-77, points to a seventeenth-century copy of “King Oberon’s Clothing” ascribed to “Ro: Herricke” in Folger Library MS. v.a.322 as further evidence that the poem is by Herrick, not by Sir Simeon Steward as some have thought. Poor Robin’s Visions (1677), once thought to be either by Herrick or by William Winstanly, is in fact by Robert Winstanly, according to H. Ecroyd Smith‘s “Poor Robin,”NGQ, 6th Ser. 7 (1883), 321-22. The case for Herrick‘s authorship of “Herracke on a Kisse to his Mrs.,” published from the Bell/White MS in the Library of the University of Newcastle upon Tyne, is presented by T. G. S. Cain in ELR, 2 ( igp) , 260-70.

In “Robert Herrick‘s Commonplace Book? Some Observations and Questions,” PESA, 66 (1972), 21-34, Norman K. Farmer Jr. describes a commonplace book, purchased in 1965 by the University of Texas, which seems to have been compiled by Herrick. Two poems from Hesperides appear in the hand thought to be Herrick‘s, as do seventeen poems hitherto not associated with him. An edition ofthe book is scheduled for the Winter, 1974, issue of TSLL; it will subsequently be published by the University of Texas Press.

Very few of Herrick’s poems can be dated with any certainty. See the studies by Wood- ward, Kimmey, Capwell, and Reed in Sections I and II above for suggestions that, contrary to Martin’s conclusions, Herrick arranged his poems according to conscious artistic princi- ples rather than in chronological order.

B. Critique ofthe Standard Edition. Martin’s Poetical Works, an expansion of The Poetical Works ofRobert Herrick, ed. F. W. Moorman for the Oxford English Texts series (igis), is a fine text. Martin includes a succinct outline ofHerrick‘s life, a survey ofhis reputation since 1625, an examination ofhis canon, and a rather convincing argument that the poems appear in Hesperides in approximately the order of their composition. He prints thirty-one poems not attributed to Herrick by Moorman and fourteen letters from Herrick to his uncle Sir William Herrick. Extensive notes collate versions of the 1648 edition with extant manu- script copies and texts published in anthologies and music books before Herrick‘s death in 1674. Eighty-seven pages of commentary locate the poems in their classical, Christian, and contemporary contexts. Unfortunately, all of this apparatus is replaced by a four-page introduction and a glossary in the voIume reissued as The Poems ofRobert Herrick (1965).

C. Other Editions. The Complete Poetry ofRobert Herrick, ed. J. Max Patrick (1963). relies primarily on the 1648 edition ofHesperider; the poems have, however, been slightly mod- ernized and emended. Patrick supplements Martin’s earlier work with collations &om the Rosenbach manuscripts, but he refers his readers to Martin’s edition for other variants. Extensive notes, many of which refer to biblical passages, are intended for the general reader. Patrick omits twenty-five poems attributed to Herrick by Martin on the grounds that neither internal evidence, proximity to poems known to be Herrick‘s, nor attributions to “R.H.” is adequate proof of authorship. This text has been reprinted, with minor alterations, for the Norton Library Seventeenth-Century Series (1968). MacLeod’s Con- cordance may be used with Patrick‘s work.

Major Poets ofthe Earlier Seventeenth Century: Donne, Herbert, vaughan, Crashaw,]onson,

468 English Literary Renaissance Herrick, Marvell, ed. Barbara K. Lewalski and Andrew J. Sabol (1973), includes a large selection of the lyrics, an introduction reflecting current critical judgments, and--’ in an appendix-musical settings by Nicholas Lanier, Robert Ramsey, Henry Lawes, and Wil- liam Lawes for four of Herrick‘s poems.

Music by Ramsey, the Lawes brothers, and John Hilton for eight of Herrick‘s poems is available in English Songs, 1625-1660, ed. Ian Spink, Musica Brittannica, vol. 33 (1971).

See also

I. GENERAL STUDIES

Bateson, F. W. English Poetry: A Critical Introduction (1950: rpt. 1966). Briggs, K. M. The Anatomy ofpuck: An Examination $Fairy Belit$ among Shakespeare’s

Broadbent, J. B. Poetic Love (1964) [sees H. as a “specialist in decadent Spenserianism”]. Bush, Douglas. English Literature in the Earlier Seventeenth Century, 1600-1660,znd ed. rev.

-- . Mythology and the Renaissance Tradition in English Poetry (1932; rev. 1963). Chute, Marchette. “A Biographer and Two Dear Friends She Never Met,” N e w York

-- . “HOW a Book Grows,” L., 84 (igsg), 2431-32. Hamilton, George Rostrevor. English Verse Epigram (1965). Hess, M. Whitcomb. “Herrick‘s Golden Apples,” Cath W, 167 (1948), 140-45. -- . “Nature and Spirit in Herrick‘s Poetry,’’ Person, 27 (1946), 299-305. Hinman, Robert B. “The Apotheosis of Faust: Poetry and the New Philosophy in the

Seventeenth Century,” in Metaphysical Poetry, ed. Malcolm Bradbury and David Pahner (ig70), pp. 148-79.

Ishii, Shsnosuke. Essays on Robert Herrick with a Selectionfrom his “Hesperides” Done into Japanese (1968) [in Japanese].

&laxwell, Sue. “Robert Herrick, the Metrician,” Poet Lore, 52 (1946), 353-59. Rau, Fritz. “Kleine Beitrage, Robert Herrick,” NS, 4 (igss), 357-63 [in German]. Richmond, Hugh M. The School o f love: The Evolution ofthe Stuart Love Lyric (1964). Rastvig, Maren-Sofie. The Happy Man: Studies in the Metamorphoses o f a Classical Ideal,

Song, Kyung-Joon. “Robert Herrick as a Love-Poet,” ELL (Korea), 14 (1963), 40-55. Van Doren, Mark. “A Visit to the Home of Robert Herrick,” Reporter, March 22, 1956,

Wedgwood, C. V. Poetry and Politics Under the Stuarts (1960). Whitehead, J. G. 0. “The Tudor Rose,” CoA, 10 (1968), iic-is. Willey, Basil. “Robert Herrick: 1591-1674,” Church Quarterly Review, 156 (1955). 248-55.

Contemporaries and Successors (1959).

(1962).

Herald Tribune, Book Review Section, December 27,1959, pp. 1 and 10.

1600-1700 (1954).

pp. 47-49.

11. STUDIES OF SELECTED TOPICS

A. Sources and Influences Aiken, Pauline. The Influence ofthe Latin Elegists on English Lyric Poetry, 1600-1650, with

Particular RReference to the Works ofRobert Herrick (1932; rpt. 1970).

Elizabeth H. Hageman 469 Candelaria, Frederick H. “Ovid and the Indifferent Lovers,” RN, 1 3 (1960), 294-97.

DeNeef, A. Leigh. “Herrick and John Heywood,” NGQ, 17 (1970), 408. Eckhoff, Lorentz. “Stoicism in Shakespeare. , . and Elsewhere,” studies in English Language

Fletcher, G. B. A. “Herrick andLatin Authors,” NGQ, N.S. 6 (~gsg), 231-32.

Heath-Stubbs, John. The Ode (1969). Howarth, R. G. “Notes on Skelton,” N&Q, 193 (1948), 186. McEuen, Kathryn Anderson. Classical Iny%ence upon the Tribe ofBen (1939). Maddison, Carol. Apollo and the Nine: A History ofthe Ode (1960). Rollin, Roger B. “The Decorum of Criticism and Two Poems by Herrick,” C E A Critic,

-. “A Thief in Herrick‘s Hesperides,” NGQ, N.S. 14 (1967), 343-45. Shafer, Robert. TheEnglish Ode to 1660: An Essay on Literary History (1918; rpt. 1966). Shuster. George Nauman. The English Odefrom Milton to Keats (1940; rpt. 1964). Simmons, J. L. ‘‘Mawell’s ‘The Picture of Little T.C. in a Prospect of Flowers’,” Expl,

. “Ronsard and Herrick,” NGQ, N.S. 5 (1958), 286-87.

and Literature Presented to Dr. Karl Brunner, ed. Siegfried Korninger (1967), 32-42.

3 1 (1969h 4-7.

22 (1964), Item 62.

B. Herrick and Music Cutts, John P. Seventeenth Century Songs and Lyrics (1959). Evans, Wills McClung. Henry Lawes: Musician and Friend ofPoets (1941). Hollander, John. The Untuning ofthe Sky: Ideas ofMusic in English Poetry, 1500-1700 (1961;

Lefkowitz, Murray. William Lawes (1960). Mellers, Wilfrid. Harmonious Meeting: A Study ofthe Relationship Between English Music,

Poetry, and Theatre, c. 1600-1900 (1965). -. “Words and Music in Elizabethan England,” in The Age ofshakerpeare, Vol. 2

of The Pelican Guide to English Literature, ed. Boris Ford (1956: rev. 1961). Pattison, Bruce. Music and Poetry ofthe English Renaissance (1948; rpt. 1971). Phillips, James E. “Music and Literature in the Seventeenth Century,” in Music and Lit-

rpt. 1970).

erature, Clark Library Seminar (1953).

C. Miscellaneous Topics “Herrick’s Church Threatened-& Appeal,” SCN, 23 (1965), 56-57. Holtgen, Karl Joseph. “Herrick and Mrs. Wheeler,” T L S , March 17, 1966, p. 288.

Howarth, R. G. “An Early Elevation of Herrick,” NGQ, N.S. 2 (lgss), 341 [Richard . “Herrick, the Wheeler Family, and Quarles,” RES, 16 (1965), 399-405.

James’s mention of Herrick in 16251. . “Verses in Herrick‘s Church,” NGQ, N.S. 1 (1954), 177.

Ishii, Masanosuke. “Herrick no ‘Good Friday’,’’ EigoS (Tokyo), 115 (1969), 411-13

Kirby, Thomas A. “The Triple Tun,” MLN, 62 (1947), 191-92. Smyth, Charles. “A Herrick Epitaph,” T L S , May 13,1955, p. 253.

[in Japanese].

4.70 English Literary Renaissance 111. STUDIES OF I N D I V I D U A L POEMS

fi. “Upon Julia’s Clothes” I)aniels, Earl. “Herrick‘s ‘Upon Julia’s Clothes’,” Expl, i (1943), Item 35. (’Jodshalk, WiUiamLeigh. “Art andNature: HerrickandHistory,”EIC, 17 (1967). 121-24. I-Jarris, William 0. “Herrick‘s ‘Upon Julia’s Clothes’,’’ Expl, 21 (1962). Item 29. Henry, Nat. “Herrick’s ‘Upon Julia’s Clothes’,” Expl, 5 (1947), Item 46. --. “Herrick‘s ‘Upon Julia’s Clothes’,’’ EXPI, 14 (1955), Item 15. Ixiter, Louis H. “Herrick’s ‘Upon Julia’s Clothes’,” MLN, 73 (1958), 331. -- . “Herrick‘s ‘Upon Julia’s Clothes’,’’ Expf, 25 (1967), Item 41. ]toss, Richard J. “Herrick‘s Julia in Silks,” EIC, IS (1965), 171-80. Schneider, Elisabeth. “Herrick‘s ‘Upon Julia’s Clothes’,” Eqd, 1 3 (19$5), Item 30. !jhuchter, J. D. “Herrick‘s ‘Upon Julia’s Clothes’,” Expl, 25 (1966), Item 27. ’weeks, Lewis E., Jr. “Julia Unveiled: A Note on Herrick‘s ‘Upon Julia’s Clothes’,’’ CEA

Weinberg, Gail S. “Herrick‘s ‘Upon Julia’s Clothes’,” Expi, 27 (1968), Item 12.

:B. “The Hock-Cart, or Harvest Home” Clark, Paul 0. “Herrick‘s ‘The Hock-Cart, or Harvest Home,’ 51-55,” Expl. 24 (1966),

Cowan, S. A. “A Note on ‘The Hock-Cart’ by Robert Herrick,” SCN, 25 (1967), 68-70. ILougy, Robert, “Herrick‘s ‘The Hock-Cart, or Harvest Home,’ 51-5s,” Expl. 23 (1964)’

:Rollin, Roger B. “Missing ‘The Hock-Cart’: An Explication Re-explicated,” SCN, 24

Critic, 25 (1963). 8.

Item 70.

Item 13.

(1966), 3940-

(C. “Delight in Disorder” Bateson, F. W. English Poetry and the English Language (1934; rpt. 1961). Shadoian, Jack. “Herrick‘s ‘Delight inDisorder’,” Studiesin theHumanities, 2 (1971), 23-25. Spitzer, Leo. “Herrick’s ‘Delight in Disorder’,” MLN, 76 (1961), 209-14, rpt. in Spitzer,

Essays on English and American Literature, ed. Anna Hatcher (1962), pp. 132-38.

D. “The Carkanet” Huttar, Charles A. “Herrick‘s ‘The Carkanet’,” Expl, 24 (1965), Item 35. Sanders, Charles. “Herrick‘s ‘The Carkanet’,” Expl, 23 (1964), Item 24.

E. Miscellaneous Poems Cohen, Hennig. “Herrick‘s ‘To Electra’,” Expl, 17 (1959). Item 44. Cronin, James E. “ ‘The Hag’ in ‘The Cloud’,” NGQ, 195 (igso), 341-42. D’Av~zo , Mario L. “Herrick‘s ‘The Mad Maid’s Song’,” ANCQ, 4 (1965), $ 5 . Mill, Anna Jean. “Herrick‘s ‘Another Grace for a Child’,” Expl, 3 (1945), Item 61. Osgood, Charles G. “Epithalamion and Prothalamion: ‘and theyr eccho ring’,” MLN, 76

Toback, Phyllis Brooks. “Herrick’s ‘Corinna’s Going A-Maying’ and the Epithalamic

Tyner, Raymond. “Herrick‘s ‘Crisped Yew’,” NGQ, iz (1965), 380-81. - . “Herrick‘s ’To M.Denham, on His Prospective Poem’,”Expl, 23 (1965)’ Item 72.

(1961), 205-08.

Tradition,” SCN, 24 (1966), 13.

Elizabeth H. Hageman 471 IV. CANON A N D TEXTS A. Canon Archibald, R. C. “There is a Lady Sweet and Kind,” NGQ, 195 (1953), 357-58. Howarth, R. G. “Herrick‘s Epitaph on his Niece Elizabeth,” NGQ, N.S. 2 (igss), 341-42.

. “Two Poems by Herrick?” NGQ, N.S. 2 (igss), 380-81 [response by J. C. Max- well, NCQ, N.S. 2 (igss), 5001.

B. Other Editions Alston, R. C., ed. Hesperides (1648; Scolar Press facsimile rpt., 1969). Hayward, John, ed. Robert Herrick: Poemsfrom “Hesperides” and “Noble Numbers” (1961). Smith, William Jay, ed., Herrick (1962) [a selection]. Untermeyer, Louis, ed. TheLoue Poems ofRobert Herrick andjohn Donne (1948) [a selection].

UNIVERSITY OF N E W HAMPSHIRE, D U R H A M