Edward Benlowes

From Whiki
Jump to navigation Jump to search

look into --> Cressing-Temple; mentioned by Bellows in Lusus and Sphinx


On Chetham Library's copy of Theophila: http://chethamslibrary.blogspot.com/2015/08/theophila-and-curious-letter-m.html

Slideshare with human alphabets: https://www.slideshare.net/mobile/sotos1/human-alphabets-2

Menschenalphabet by Peter Flötner (1534) is alphabet used in "To my fancie upon Theophila"

Genesis woodcut that is interleaved in some copies -- mentioned here: http://www.wired.com/2014/04/tree-diagrams-the-most-important-data-viz-tool-in-history/#slide-10;

engravings pasted over woodcuts in Folger copy of Orlando Furioso: http://collation.folger.edu/2015/05/a-renaissance-best-seller-of-love-and-action/

emblem engravings pasted in: http://www.emblems.arts.gla.ac.uk/french/bib-desc.php?id=FBOa

George Saintsbury, intro in Minor Poets of the Caroline Periods


“The earlier, larger, and better part of his poem is a really remarkable, and beyond all reasonable doubt a perfectly genuine, example of that glowing intensity of mystical devotion which plays, like a sort of Aurora, on the Anglican High Churchmanship of the seventeenth century, and has made it, to some, one of the most attractive phases of religious emotion to be found in all history. It may be prejudice or partisanship, but there seems to me some reason for connecting Bellows’ return to Anglican orthodoxy, as contrasted with Crashaw’s permanent estrangement, with the freedom from over-lusciousness which is remarkable in the lesser poet.”

Samuel Butler, Character of a small poet


Waller edition of Characters (1908): https://archive.org/stream/charactersandpa00butlgoog#page/n61/mode/2up

Characters in ms: BL Add. MS 32625, 32626

“He sets up Haberdasher of small Poetry, with a very small Stock, and no Credit.”

“Whatsoever he hears well said he seizes upon by poetical Licence; and one Way makes it his own, that is by ill repeating of it — This he believes to be no more Theft, than it is to take that, which others throw away. By this means his Writings are, like a Taylor’s Cushion, of mosaic Work, made up of several Scraps sewed together.”

“He is but a Copier at best, and will never arrive to practice by the Life: For bar him the Imitation of something he has read, and he has no Image in his thoughts.”

“For Similitudes, he likes the hardest and most obscure best: For as Ladies wear black Patches, to make their Complexions seem fairer than they are; so when an Illustration is more obscure than the Sense that went before it, it must of Necessity make it appear clearer than it did: For Contraries are best set off with Contraries.”

writes too much —“For certainly it is more noble to take four or five Grains of Sense, and, like a Gold-Beater, hammer them into so many Leaves as will fill a whole Book; than to write nothing but Epitomies, which many wise Men believe will be the Ban and Calamity of Learning.”

“There was one, that lined a Hat-Case with a Paper of Benlowse’s Poetry — Prynne bought it by Chance, and put a new Demi-Castor into it. The first Time he wore it he felt only a singing in his Head, which within two Days turned to a Vertigo — He was let Blood in the Ear by one of the State-Physicians and recovered; but before he went abroad he writ a Poem of Rocks and Seas, in a Stile so proper and natural, that it was hard to determine, which was ruggeder.”

“There was a Tobacco-Man, that wrapped Spanish Tobacco in a Paper of Verses, which Bellows had written against the Pope, which by a natural Antipathy, that his Wit has to any Thing that’s Catholic, spoiled the Tobaco; for it presently turned Mundungus. This Author will take an English Word, and, like the Frenchman, that swallowed Water and spit it out Wine, with a little Heaving and Straining would turn it immediately into Latin, as plunderat ille Domos — Mille Hocopokiana, and a thousand such.”

ends with possible extended reference to Theophila, naming poets who produce women as mistresses, making absurd names for them

Benlowes's Library

1504 Caxton copy of Golden Legend — Catholic book of saints’ lives

1586 — Annotations in Thomas Lupton — cf. to Iowa’s copy: http://www.adamghooks.net/2011/04/notable-notes.html

Villegas, Lives of the Saints — everything before pg 37 is ripped out?

Cambridge divine: Anthony Wotton;

2 of Thomas Bilson’s works are bound with “fragments of an apocrypha”

friend Giles Fletcher; Donne

wide range of types of literature — catholic, anti-catholic, donna’s pseudo-martyr

on taking oath of allegiance: Donne, Sheldon

initials R. W. in pinpricks, Chassanion volume

The Buckler of the Faith — bound with interesting fragments of psalms?

“The point is that sexuality is only phantasmatically cordoned off to some private sphere; in truth, sexuality structures and restructures the social.” (6)

Francis Quarles

Lady Anne Southwell’s acrostic poem to Quarles

—> read Sarah Ross, Women Poetry and Politics in 17c Britain

Linda Dove, “Composing (to) a Man of Letters: Lady Anne Southwell’s Acrostic to Francis Quarles”

  • experimented with alphabet poetry, saw alphabet as alpha/omega — connected to God, beginning and end
  • echoes of this in Southwell,m who also paraphrased scripture
  • Southwell may have borrowed term “Hierogliphicks” from him

“Milton, Sir Henry Vane, and the Brief but Significant Life of Godly Republicanism,” by Feisal G. Mohamed, HLQ (2013)

Milton likely knew of quarles’s reputation of Quarles, his predecessor at Christ’s College, Cambridge

May have been borrowing FQ’s language in Areopagitica (see examples on 89)

Not sure whether Christ’s College portrait is of Milton or Quarles, “and the resembleance might also have haunted Milton’s entry into literary life” (89)

“William Marshall’s engravings gave the two poets a single face in 1645, a visage appearing on the frontispiece to Quarles’s Solomons Recantation, released May 15, and on the frontispiece to Milton’s Poems, released in the final months of that years.” (89)

“How supremely annoyed Milton must have been not only that Marshall produced a poor likeness, but also that a collection of poems so carefully crafted to assert its place in the highest echelon of Renaissance culture would be fronted by an image resembling that of the populist Quarles.” (89)

Comparing Quarles and Milton’s Samson

“The Imagery of Francis Quarles’ Emblemes”, Eleanor James (1943)

Emblems — 12 editions before 1700, 44 up to 1943

Emblemes “is an anthology in the true sense of the word, a collection of scriptures, patristic quotations, and emblem plates, drawn from various available sources, and assembled by him to accompany his emblem poems and epigrams. It is possible that, until Edmund Arwaker translated and edited Herman Hugo’s Pia Desideria in 1686, the general English public had not realized the extent to which the Jesuit book had served as pattern for Quarles’ Emblems.” (28)

A short relation of the life and death of Mr. Francis Quarles, by Ursula Quarles, his sorrowfull Widow

in Solomons Recantation, Entituled Ecclesiastes, Paraphrased (1645)

much of what is known of his life comes from this

not inclined to court preferment "but his mind was chiefly upon his devotion and study" (A2v)

“He was a true sonne of the Church of England; an even Protestant, not in the least degree biassed to this hand of superstition, or that of schisme, though both those factions were ready to cry him down for his inclination to the contrary. His love to his King and Country in these late unhappy times of distraction, was manifest, in that he used his pen and powred out his continuall prayers and tears to quench this miserable fire of dissention, while too many others added dailyfewell unto it.” (A2v)

Emblemes lawsuit

"In February 1639/40 Quarles’s son-in-law, Euseby Marbury, was in need of £30. Not being able to supply that amount himself, Quarles decided to obtain a loan and approached Eglesfield, who, at the time, owed him £100 for copies of Emblemes and Hieroglyphikes. Eglesfield was unable to provide the neces- sary £30 from his own resources, but he was willing to help. Eventually, the requisite sum was obtained of one Paul Tey upon Eglesfield’s bond, in which he was joined by Williams. By way of security Quarles deposited the text- copy and the engraved copperplates of Emblemes and Hieroglyphikes with Eglesfield and Williams. "

Phineas Fletcher

Purple Island, edition of 2017

Modeled on Spenser; pastoral divided into 12 cantos as shepherd Thirsil recounts his story over the course of seven days

Anatomical and devotional perspectives on the body

“Fletcher combines detailed anatomical description with religious devotion in order to produce an allegorical epic that explores the body as the contexted terrain on and over which virtues and vices battle.” (2)

“Fletcher’s text is intended to address this paradox of the native foreignness of the body, emphasizing the alterity of that which is closest to us and our need ot overcome it by learning about the body from a devotional perspective.” (2)

“colonial gains and losses are no more than distracting plots and scenes that contribute nothing to the salvation of either the individual or the nation” (4) — Fletcher instead promotes “self-colonization”

Know thyself was commonplace maxim in 17c England, but “by employing this maxim in an allegorical context that links the self with body, island, and nation, however, Fletcher pushes that maxim to a logical extremity that idealizes an asocial, anchoritic body. Fletcher’s ideal England is isolationist, focused on internal, domestic issues rather than concerns beyond its shoreline.” (4)

Sexual overtones in narrative moments

Fletcher’s self-referencing and recyling — Langdale has listed Fletcher’s self-repetition, counting 215 instances across the poet’s body of work

Humoralism; Sawday says it is “last gasp” of medieval way of thinking about the body, but this way persisted throughout 17c

Structurally follows outline of anatomical lecture

Temporal structure follows Du Bartas, La Semaine

William Cowper, The Anatomy of a Christian Man (1613)

Poem something of a failure, but “we must remain attentive to Fletcher’s structural goals for the poem as a whole” (18) — must read like chpater of an anatomy book, not as narrative progression — “Narrative cohesion or even progression is not the goal of the anatomist” (19)


Van Pelt Library. BX5179 .C43 2013.

Van Pelt Library. BX1492 .Q47 2006.

an Pelt Library. PN721 .M42 2016

Van Pelt Library. DA396.A5 H46 2008

an Pelt Library. HN373 .Y68 2006.

bespoke / handmade / "privately" printed verse assemblages / collections

Fraistat, Poems in their Place - PR403 .P64 1986 Van Pelt Library. PR441 .B38 1996

Van Pelt Library. PR428.P6 O335 2000.

Van Pelt Library. HQ1236.5.G7 W65 2004 Van Pelt New Books ; PR113 .L39 2016

in the 90s, reintegrating manuscript publication into communications circuit

  • Hobbs 1992
  • Love 1993
  • Marotti 1995
    • "These manuscript collections lay outside or on the periphery of an emerging literary institution shaped by print culture, one that valorized texts that escape their local, topical, coterie, and private circumstances, the very contexts that the manuscript system valued." (133)
  • Woudhuysen 1996
  • Beal 1998 - PR438.T42 B43 1998

followed by studies of individual authors:

importance to study of women:

more recent work:

  • Eckhardt 2009
    • introduces manuscript verse collectors to litany of authors, stationers, readers that “animate most literary histories” — instead served to recontextualize verse, creating new fields of meaning that radiated outward
  • Zarnowiecki 2013 - PR535.T47 Z37 2013
  • Eckhardt and Smith 2014
  • Millstone 2016 -- Manuscript circulation and the invention of politics in early Stuart England

moving into 18c:


Edward Hodnett, Francis Barlow: First Master of English Book Illustration


Anglo-Dutch Relations in the Field of the Emblem edited by Bart Westerweel

research Roger Norton

Susan Dackerman, Painted Prints: https://www.amazon.co.uk/Painted-Prints-Revelation-Renaissance-Engravings/dp/0271022353

Adam Crothers: http://www.pnreview.co.uk/cgi-bin/scribe?item_id=9304

On Harold Jenkins: https://www.britac.ac.uk/pubs/proc/files/111p553.pdf

Collectanea anglo-poetica: https://books.google.com/books?id=GDrRAAAAMAAJ&pg=PA254&dq=prynne+benlowes&hl=en&sa=X&ved=0ahUKEwju5ILbr8vXAhUHNiYKHRG-DvcQ6AEIJzAA#v=onepage&q=prynne%20benlowes&f=false -- includes quote: "Any one, however, who is an admirer of the writings of Du brats, of Dr. Henry More as a poet, and Dr. Joseph Beaumont, cannot do otherwise than entertain a favorable opinion of Bellows.

Chancery Final Decrees: http://www.uh.edu/waalt/index.php/Main_Page --> search "Schoren" or "Belowes"