By Keith Walker, Nicholas Fisher
Development at the power of Keith Walker’s acclaimed The Poems of John Wilmot, Earl of Rochester (1984), major student Nicholas Fisher offers a completely revised and up-to-date variation of the paintings of 1 the best recovery wits.
- Includes the textual content of Lucina’s Rape, Rochester’s edition of Fletcher’s revenge tragedy Valentinian, in a textual content that conveniently identifies Rochester’s revisions
- Presents the poems in types that have been present in the course of Rochester’s lifetime, permitting the reader to event the poems as Rochester’s contemporaries did
- Incorporates insights and discoveries revamped the final twenty-five years and texts of manuscripts that in the past have been unavailable for study
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Additional resources for John Wilmot, Earl of Rochester: The Poems and Lucina's Rape
Departures from copy-text: 11 ev’ry] e’ry 12 ev’ry] e’ry Love Poems 21 [Song] 1 How happy Chloris, were they free, Might our enjoyments prove, But you with formall° Jealouzy, Are still tormenting Love. ° 5 person vain of appearance, dress or manners 3 There’s not a briske° Insipid Spark,° That flutters° in the Town, But with your wanton Eyes you mark The Coxcombe° for your own. sharp-witted, pert, spruce / fop moves aimlessly, restlessly, ostentatiously 10 vain, showy, superficial person, a fop 4 You never thinke it worth your Care, How empty nor how Dull, The heads of your admirers are, Soe that their Purse be full.
Now in Esteem in Town or Court ([London], 1676), as lines 17–24 (p. 43) of ‘While on those lovely looks I gaze’. [Another version] Another Song In Imitation of Sir John Eaton’s Songs Too late, alas! I must confess You need no Arts to move me: Such Charms by Nature you possess, ’Twere madness not to love you. 5 surprize: ‘Not in its modern sense of “amaze” but one closer to the military sense of “ambush” or “take by storm” ’ (Love, p. 361). Title: Eaton ‘was Gentleman Usher of the Black Rod during Rochester’s earlier years at court’; the poem is ‘Another Song’ because the preceding poem in the copy-text is headed ‘In Imitation of Sir John Eaton’s Songs’, distinctively, according to Love, through the use of a disyllabic rhyme in the second and fourth lines of the stanza (Love, p.
Which are seen . . as the reward of the sexual activity being urged on Celia, derive from the language of courtly adoration repeatedly employed in the poem to disguise an aggressive assertion of male superiority’. Treglown quotes Every Man out of his Humour, II. iii. 26–27, and Lord Herbert of Cherbury’s ‘A Description’, lines 51–4, as more straightforward uses of the figure (see ‘The Satirical Inversion of Some English Sources in Rochester’s Poetry’, Review of English Studies, 24 (1973), 42–8).