Low, Anthony, 248n34, 259n104
Lowell, Robert, “Quaker Graveyard in Nantucket,” 235
Luborsky, Ruth Samson, 253n8
Luckyj, Christina, 84, 258n89, 266n88
Luther, Martin, 75, 120–21
Lynche, Richard, Diella, 8, 173
lyric: classical, 39–41
commentaries on, 39–47
defining, 1–6, 15–18, 39–47, 156
interplay with narrative, 189–94, 195–215
and irony, 28
and motion, 19, 24
and music, 25
as pharmakon, 21
and song, 5–6, 11, 216
transhistorical definitions, 3–6
use of term, 1–3, 11, 39, 41. See also gender and gendering; Good Lyric and Evil Lyric verb tense
lyric moment, 201
MacCallum, Hugh, 145, 267n97
Machaut, Guillaume, Remedy of Fortune, 127
Macovski, Michael, 70, 255n41, 280n11
madness, and song, 222–23
maenads, 50
Magnusson, Lynne, 95, 260n120
maker, poet as, 30–31
Makluire, John, 34
Malcolmson, Cristina, 83, 253n18
malleability of lyric, 157, 159–65
Manning, Peter, 51, 251n96, 268n2
manuscripts: Newberry Library, Chicago, Case MS A.15.179, 11
Oxford, Bodleian Library, Ashmole 1486, 162
Oxford, Bodleian Library, Rawlinson poetry 148, 181
Washington, D.C., Folger Library V.a.104, 173, 184–86
Mardock, James, 256n56
marginalia, as mediating device, 125
marginalized characters, and role of song, 215–16, 218–27
Margolin, Uri, 205, 271n58, 276n50
Marotti, Arthur F., 45, 59, 95, 126, 158–60, 166, 170, 181, 183, 247n16, 253n13, 258n86, 265n55, 268n4, 268n9
Martz, Louis, 80, 229, 257n75, 264n44, 280n3
Marvell, Andrew: “Bermudas,” 121, 132–33, 142–45
“Damon the Mower,” 133, 135
“Horatian Ode,” 208
“Nymph Complaining of the Death of her Faun,” 87–88
masculinity, 46, 48, 165, 168, 238
blocked, 48–49
and Orpheus myth, 22–23, 26
masonry image, 167–68, 171
masques, and interplay of narrative and lyric, 210–11
Masten, Jeffrey, 141, 266n90, 272n75
materiality of lyric, 27, 30–31, 39, 95, 100, 110, 160, 171, 173, 174, 180, 187–88, 232, 239–40. See also artifact, poem as; object, poem as; product, and lyric
mathematics, 36
Maus, Katharine Eisaman, 232–33
Maynard, John, 236, 280n14, 281n16
McClung, William Alexander, 258n84
McColley, Diane Kelsey, 248n34, 258n90, 260n108
McHugh, Heather, 28, 195, 247n24, 274n13
McKeon, Michael, 7, 245n32
measurement, 36
Mede, Joseph, Clavis Apocalyptica, 146
mediating devices, 110–12, 122–30; effects of, 130–39
in Marvell’s “Bermudas,” 143–45
in Milton’s Nativity Ode, 145–50
in Wroth’s Pamphilia to Amphilanthus, 141–42
meditation, in devotional poetry, 88–89
meditor, 63, 202
melic, 40, 42
melopoiós, 40
melos, 40
memorializing, 58, 139–41
metapoetic devices, and mediation, 128–29
methodological issues: and audiences, 63
in defining lyric, 1–6, 15–18, 39–47, 156
and form, 85, 126, 188, 239–40
and genre criticism, 195
and immediacy and distance, 109–17
and relationship between narrative and lyric, 194–98
and song, 217–18
in transhistorical definitions, 6–8
Mill, John Stuart, 1, 196
“Thoughts on Poetry and its Varieties,” 64–66, 254n30
Miller, Naomi J., 277n69
Mills-Courts, Karen, 263n25
Milton, John, 16, 42–44
“At a Solemn Music,” 25
Comus, 25, 136, 202, 228–32
Eikonoklastes, 80
letter 7 to Charles Diodati, 63
“Lycidas,” 31, 135, 164–65, 178
Maske Presented at Ludlow Castle, 228–32
Nativity Ode, 12, 92, 121, 138, 145–50, 203
“On the Late Massacre in Piedmont,” 208
Poems (1645), 178
Reason of Church Government, 42–44
“To the Lord General Cromwell…,” 208
Miner, Earl, 4, 243n12, 275n35
modes, triadic division of, 42
monologue, 62–63
Senecan, 208. See also dramatic monologue
Monteverdi, Claudio (Orfeo), 202
Montemayor, Diana, 174, 211–12
Morgan Library, New York City, 54–55
mottoes, 153–55
music, 25, 32, 84, 168, 169–70
and airs, 31–35
and gender, 47–50. See also singing; song
musical instruments, stringed and wind, 23, 32–33, 40, 51
myth: of Orpheus, 13, 16, 18–26, 28–29, 32, 50, 116, 164, 242
of sirens, 25–26, 32, 228–30. See also Orpheus
narrative and lyric, 189–94, 195–215
conflict between, 196–200, 203, 213
cooperation between, 198, 200–215
hierarchization of, 195–96
narrativity, and sonnet cycles, 178–79
narratology, 70, 178, 193, 198, 276n50
nativity poems, 145–50
Nelson, Lowry, Jr., 267n100
Neoplatonism, 220
New Criticism, 239
new formalism, 239–40
Newstok, Scott, 24, 246n13
Noel, Henry, 162
North, Marcy, 162, 183, 266n76, 269n13, 269n17
Nouvel, Jean, 54–55, 132
“numbers,” use of term, 36
Nuttall, A. D., 80, 257n77, 273n10
object, poem as, 127, 129, 134, 147, 151–55
observer, and voicing, 100–101
ode, 11, 50–51, 150
Oldenburg, Claes, 124, 165
onlooker figure, 60–61
opening of poem, and voicing, 99–100
O’Reilly, Mary Oates, 138, 266n86
Orgel, Stephen, 50, 251n91
Orpheus, 13, 16, 18–26, 32, 50, 116, 164, 242
death of, 20, 22–23, 28–29
overhearing, 67–68, 86–87
Ovid, Metamorphoses, 21–24, 28–29, 164
Owen, Stephen, 26, 96, 247n19, 261n124
Oxenbridge, John, 142
oxymoron, 179
Palmer, Thomas, Two Hundred Poosees, 39, 169
Pan, 25
Paradise of Dainty Devices, The, 176
paradox, 17–18
in myth of Orpheus, 20
in tropes, 26–27
paraklausithyron (“by the open door”), 153–54
paratexts, 123, 132, 180, 209, 215
and Milton’s Nativity Ode, 146–47
parent, author as, 187
Parker, Patricia, 247n30
pastoral, 38, 57–61, 96, 116, 133, 210, 218
and multiple audiences, 85, 92–93. See also names of poets
patronage culture, 208
patronage poetry, 85, 93–94
patter, 122–23
pattern poems, 153
Patterson, Annabel, 142, 256n58, 266n91
Pelli, Cesar, 54
“performance,” use of term, 152
performance theory, 150–52
performance and lyric, 5, 40, 67–68, 83, 100, 128, 116–17, 150–52, 154. See also singing; song
periodization, 6–9
Perloff, Marjorie, 4, 243n11
persuasion poems, 88, 202
Peterson, Douglas L., 251n89, 26
2n5
Petrarch, Francesco, Rime sparse, 15–16, 119, 126, 163
Petrarchan mistress, 86–87, 134
Petrarchism, 31, 46, 63, 86–87, 174, 179, 195
Phelan, James, 198, 206–7, 274n24, 274n25, 276n54
Piano, Renzo, 54–55, 132
Pickard-Cambridge, A. W., 246n14
pillar poems, 167, 171–72, 174
Pimlott, Steven, 85
Pindar, 39
plague, “air” and, 34–35
Plato, Timaeus, 36, 170
Platonism, and furor, 17, 30–31
“poem,” use of term, 28
poem-within-a-poem, 127–28, 143
“poesy,” use of term, 28, 39
poetry readings, 122–23
poietés, 40
polyphony, 32–33
“posies,” 153–55, 165
Post, Jonathan F. S., 267n92, 270n40, 275n32
poststructuralism, 116
“posy,” use of term, 37–39
Pound, Ezra, 238
power and powerlessness, in Shakespearean song, 218–24
Prendergast, Maria Teresa Micaela, 246n10, 274n14, 277n70
Prescott, Anne Lake, 180, 271n63
presence and absence, 62, 65–66
and immediacy, 110–12, 121
in portrayal of scriptural events, 119–20. See also distance; immediacy
Preston, William, 245n39
Prince, Gerald, 179, 190, 205, 271n58, 273n4
Prins, Yopie, 164, 269n23
print culture, 72, 81, 141, 158, 161
and authorial agency, 37, 160
and collections of lyrics, 177–78
and fixity, 158–59, 172
and sonnet cycles, 179–83
privacy, personal, 82
product, and lyric, 100, 152–55, 209
prose romances, 211–15
prosopopoeia, 4, 6–7, 83, 94, 114, 151
analogues to, 6, 83, 94, 137, 154
prospective narrative, 205
prototypes, classical, 39
psalms, 20, 75–79, 119, 209
psalm singing, 75–79
Puccini, Giacomo, Turandot, 199
Puritanism, 142–45
purity of lyric, 65–66, 69
Puttenham, George, 16, 41–43, 113, 166–67, 169
Arte of English Poesie, 28
quatrozain, quaterzain, 173
queering, 29, 48
Quint, David, 145, 267n98, 270n52
Quintilian, 21, 36, 40–41, 83, 112–13
Rader, Ralph W., 94, 260n114, 281n16
Radzinowicz, Mary Ann, 209, 256n58, 276n57
Rajan, Balachandra, 267n101
Ralegh, Sir Walter, 162
Ravenscroft, Thomas, 32
Raynaud, Claudine, 209, 276n61
reader: diegetic and nondiegetic, 61–62
female, 97
and mediating devices, 135–36
as writer, 102, 136, 160
reading aloud, 96, 98, 122–23, 151
“record,” use of term, 58, 61
refrain, 130, 138, 175–76, 225
religion and lyric, 46
biblical events, representation of, 119–20, 145–50
Catholicism, 75, 91–92, 120–21
devotional manuals, 90
devotional poetry, 62, 96, 259n95
devotional practices, 75–81, 96
and direction of address, 57, 62, 80–81, 85, 88–92, 98
Eucharist, Real Presence, 120–21, 150
and fluidity of lyric, 180
Geneva Bible, 119
and mediatory techniques, 119
millenarianism, 121, 146
minister, poet as, 89–90, 193
prayer, 80
preaching and lyric, 43, 69, 80, 193
and presence, 117, 119–22
Reformed Church, 75–79, 91–92, 120–21, 146
theological traditions and dialogue, 119
theology, and immediacy/distance, 119–22
and voicing, 96. See also names of poets; psalms; psalm singing
repetition, 96, 224–26
representation, 116–17, 119–20
in Milton’s Nativity Ode, 147–48
in Wroth’s Pamphilia, 140–42
research, future directions of, 232–42
Revard, Stella P., 229, 267n96, 270n52, 280n4
rhetoric, 83–84, 112–13
Rhetorica ad Herennium, 117
rhetorical treatises, 83, 117
Riche, Barnabe, translation of Herodotus by, 47
riddles, 162
Riffaterre, Michael, 205, 276n51
ritual, 133, 136, 151–52, 220, 225
Roberts, Josephine A., 184
Roche, Thomas P., Jr., 271n67
Roe, John, 272n68
Rogers, John, 35, 249n52
Rogers, Richard, treatise on Scriptures, 79
romances, prose, 211–15
Rose, Mark, 187, 268n10
Rosenmeyer, Patricia, 248n43, 250n67, 250n83, 261n127
round robin, 238
Rowe, Donald, 272n79
Rudenstine, Neil L., 179, 262n16, 271n54
Rukeyser, Muriel, 19
sacred space, creation of, 138
Sagaser, Elizabeth, 256n54
Sandys, George, 23
Santillana, Marquis of, Proemio e carta, 41
Sappho, 164
Scaliger, Julius Caesar, Poetices libri septem, 41
scattering, 164–67
Schalkwyk, David, 63, 95, 151, 254n26, 255n41, 267n105
Schechner, Richard, 96, 137, 260n121, 266n73
Schiffer, James, 203, 275n42
Schleiner, Louise, 248n34
Schoenfeldt, Michael C., 81, 88, 192, 257n82, 273n8
Scholes, Robert, 209, 276n59
Schwyzer, Philip, 280n1
scribal culture, 45, 47, 61, 81, 141, 158, 161, 172, 238
and authorial agency, 37, 159–60, 211
and grouping of poems, 177, 183–86. See also print culture
second person pronoun, use of, 96–97, 99–100, 103, 234–35
Semler, Liam, 241
serenade, operatic, 153
Shakespeare, William, 28, 187
As You Like It, 211, 218–19, 221
Hamlet, 85, 208, 218–19, 221–22
1 Henry IV, 217
King Lear, 84, 220–21
“Lover’s Complaint,” 38, 202
Midsummer Night’s Dream, 85, 217, 221
Othello, 223–26
songs, 215–27
Sonnet 35, 103–5
Sonnet 73, 99; sonnets, 180
Taming of the Shrew, 85
Twelfth Night, 218
Two Gentlemen of Verona, 218
Shapiro, Marianne and Michael, 71, 255n46
Shawcross, John, 129, 153, 244n26, 265n62
Shelley, Percy Bysshe, 196
“Defence of Poetry,” 114
Sherwood, Terry G., 259n100
Shuger, Debora Kuller, 121, 233, 264n48, 280n8
side participants, 72–73, 83, 85, 87, 89–93, 231
Sidney, Robert, 8, 137, 179
Sonnet 7, 48
Sonnet 22, 129
Sidney, Sir Philip, 16, 42, 45–47, 113–14
Apology for Poetry, 45–47, 117
Arcadia, 195–96, 207, 211–14
Astrophil and Stella, 37, 45, 49, 207
“Eighth Song,” 163; “Fourth Song,” 163
silence, as beginning and end of poetry, 116
Sinfield, Alan, 280n14, 281n16
singing: of lyric, 151
as method of transmission, 212
in prose romances, 211–12
of psalms 75–79
of songs in drama, 215–27
“singing man,” 78, 81
sirens, 25–26, 32, 228–30
Sitney, P. Adams, 243n2
size of lyric, 156–65
Slights, William W. E., 125, 263n28, 265n53
Smith, Nigel, 9, 245
n36, 252n95, 256n58
social status, fears concerning, 45–46
social textuality, 158
soliloquy, 208
in drama, 82, 85
and Shakespearean song, 217–18
solitary and the social, the, 62–63
Frye on, 68–69
Mill on, 65–66
in Shakespearean song, 217–18
solitude, physical, 82–83
song, 5–6, 32, 58, 217, 221
associated with irrationality, 50, 222–23
and lyric, 5–6, 11, 21, 40, 42–43, 216
Shakespearean, 215–27
and speech rules, 220–21. See also psalm singing
“songwork,” 221–22
sonnet, 96, 123, 160, 162, 209
and stanza, 172–75. See also Petrarchism
sonnet cycle, 38, 128, 176–86, 209, 237
Southwell, Robert, “Burning Babe,” 117
speaker: change of, 135
embodied, 151. See also voice
speech act theory, 222
Spenser, Edmund: Amoretti, 36–37, 86, 99, 129, 178–79, 203
Amoretti and Epithalamion (1595), 180
“Daphnaïda,” 128, 130, 138
“Epithalamion,” 138, 156, 172
Faerie Queene, 29
“Prothalamion,” 128, 201
Shepheardes Calender, 25, 57–61, 98, 101–2
Spring, Matthew, 33, 249n44
Sprott, S. E., 230, 280n5
stability of lyric, 158, 166
“staff,” use of term, 168
Staiger, Emil, 4–5, 244n18, 263n20
Stanford, Henry, 162, 183, 203–4
Stanley, Thomas, 251n99
stanza, 3–4, 166, 169
complex, 170
as lyric unit, 157–59
and size/structure of lyric, 165–76
“stave,” use of term, 168
Sternhold-Hopkins psalter, 75–77
Stevens, John, 31, 45, 248n37, 250n78, 258n84
Stevens, Wallace, 34
“Like Decorations in a Nigger Cemetery,” 33
Stewart, Susan, 7, 34, 80, 114, 116, 129, 135, 137, 176, 199, 245n33, 249n48, 257n76, 262n3, 263n22, 266n77, 270n48, 275n29
Stillman, Robert, 212, 274n19, 277n70
storytelling. See narrative; narrativity
Strand, Mark, 19
Strier, Richard, 192, 258n82, 273n9
“strophe,” use of term, 27
structure of lyric, 156–65
Stubbes, Philip, 49, 51
subjectivity, issues of, 232–35. See also agency, authorial; direction of address; reader; voice
Summers, Joseph, 191, 273n6
Summit, Jennifer, 269n14
summoning in lyric, 135–36
tactility, 110–11, 129
Targoff, Ramie, 90, 233, 257n73, 278n87, 280n10
temporality, 209–10
and mediating devices, 136–37
and narrative, 189–91. See also verb tense
then/now structure, 209–10
Tiffany, Daniel, 34, 249n47, 251n90
titling of works, 5, 32, 73, 74, 78, 100, 112, 115, 117–18, 134–36, 154, 173, 176, 202
as mediating device, 123–26
The Challenges of Orpheus Page 44