Ovidian Exile in the Hesperides: Herrick's Politics of Intertextuality

Pugh, Syrithe

doi:10.1093/res/hgl126

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“…Pugh suggests that this is an intertextual gesture intended to demonstrate poetic solidarity between generations of poets who live on through each others’ use and re‐use of their work. See Syrithe Pugh, ‘Ovidian Exile in the Hesperides : Herrick’s Politics of Intertextuality’, 2006.…”

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New Approaches to the Work of Robert Herrick

Connolly

2009

Literature Compass

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The new edition of Robert Herrick’s works Hesperides and His Noble Numbers will enable readers to study the poems he circulated in manuscript alongside printed versions of the same poems. As scholarly work continues on the intersection of print and scribal culture in the 17th century in general and in relation to Stuart lyric poetry in particular, there is increasing interest in examining how the technologies of manuscript and print affect the composition of poetry. Herrick is one of first poets personally to gather and rework his verses for print but does so having spent three decades circulating his poems exclusively in manuscript. An analysis both of individual poems and of his entire printed collection reveal that Herrick’s revisions and the order and structure of his book are heavily influenced by the scribal method of serial composition and by 17th‐century readers’ habits of compiling poetry into verse miscellanies. Both discoveries challenge the tendency to consider Herrick’s printed versions as invariably representing his final intention for his poetry and suggest that Hesperides as a whole work should be read as participating in the trend for compiling verse miscellanies in both manuscript and print between the 1620s and 1650s.

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New Approaches to the Work of Robert Herrick

Connolly

2009

Literature Compass

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H errick, R obert

Connolly¹

2017

The Encyclopedia of English Renaissance Literature

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The canonical status of Robert Herrick (1591–1674) rests on his 1648 collection Hesperides . The title refers only to his secular poems; the divine are called His noble members and given their own title page. Herrick's personal supervision of the volume makes it a landmark in the history of authorship and its ostentatiously Royalist frontispiece signals its importance within London's counter‐revolutionary literary culture during the Second Civil War. The collection's poetry was composed in the decades between 1610 and 1647 and reflects in its often noted variety the shifting poetic sensibilities of Jacobean and Caroline literature. Herrick was a native Londoner, born in 1591 to a family of prosperous London goldsmiths. His father's suicide in 1592 led to the break‐up of his family and Herrick was fostered by his uncle, Sir William Herrick, who subsequently apprenticed him to the same profession, though not before providing him with what was likely to have been a solid grammar school education. The adolescent apprentice's ambitions exceeded those proposed for him by his uncle, and his skill in composing poetry may have pointed him towards an alternative calling. The most expert poem datable to these years, ‘The country life: to his brother Master Thomas Herrick’, written in or before 1613, shows the influence of Ben Jonson's ‘To Sir Robert Wroth’, a poem then circulating solely in manuscript. Jonson, one of the city's leading literary figures, was himself a former apprentice bricklayer, and his literary and personal example is likely to have been formative for Herrick.

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Jonson and the Cavalier Poets

Pugh¹

2018

A Companion to Renaissance Poetry

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Ovidian Exile in the Hesperides: Herrick's Politics of Intertextuality

Cited by 3 publications

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New Approaches to the Work of Robert Herrick

New Approaches to the Work of Robert Herrick

H errick, R obert

Jonson and the Cavalier Poets

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