Marotti 1995 - Revision history

Wtrettien: /* Compiler poetry */

2011-12-02T01:38:36Z

Compiler poetry

← Older revision		Revision as of 01:38, 2 December 2011
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	blank pages / spaces filled with verse (173)		blank pages / spaces filled with verse (173)

			poems metaphorizing the physical act of writing (173, 175)

			a few instances of Puritan participation in the manuscript system, despite the largely Royalist character, during the 17c (185-8)

			Ramsey's imitations of Spenser (190-2)

			:"By exercising the freedo mto add his own compositions to the contents of his miscellany of verse and prose, Ramsey assumed the poetic identity in a context conducive to literary appropriation." (194)

			plagiarism (196)

			these "selective compiler-poets ... have been almost invisible in literary history" (207)

	== Print and the Lyric ==		== Print and the Lyric ==

Wtrettien: /* Social Textuality in the Manuscript System */

2011-12-02T01:32:40Z

Social Textuality in the Manuscript System

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 :"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)
 == Social Textuality in the Manuscript System ==
 == Print and the Lyric ==

Wtrettien: /* Sex, Politics, and the Manuscript System */

2011-12-02T00:51:23Z

Sex, Politics, and the Manuscript System

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 many 17c collections, too; 1620s-30s as "golden age of MS verse cmpilation" (qting Peter Beal); especially interesting between 1620-1660, since fewer anthologies were printed
 == Sex, Politics, and the Manuscript System ==
 == Social Textuality in the Manuscript System ==

Wtrettien: /* Lyrics and the Manuscript System */

2011-12-02T00:50:54Z

Lyrics and the Manuscript System

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 ** 16c Devonshire Manuscript; sometimes reads like a series of love letters
 ** "Associated by scholars with women connected with the Howard family -- particularly Mary Shelton, Mary Fitzroy (nee Howard), and Margaret Douglas) -- this manuscript reveals how such a document could serve as the medium of socioliterary intercourse within a restricted social group and the repository of texts generated within such an environment." (39)
 * '''family, often aristocratic'''
 == Sex, Politics, and the Manuscript System ==

Wtrettien: /* Lyrics and the Manuscript System */

2011-12-01T20:34:33Z

Lyrics and the Manuscript System

← Older revision		Revision as of 20:34, 1 December 2011
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	poets giving instructions for layout of verse in print (29)		poets giving instructions for layout of verse in print (29)

			manuscripts of verse kept by people associated with:
			* '''universities'''
			** 17c is greatest period for university anthologies, especially 1620 to 1640s
			** many surviving originated at Christ Church, Oxford (32)
			** manuscript (vs. print) "allowed those who participated in it to feel that they were part of a social as well as an intellectual elite" (34)
			** sociopolitical ambitions led to political conservatism and gestures of privileged class (35)
			** "Whether or no they were from the ranks of the gentry, Oxford and Cambridge students who compiled miscellanies and anthologies thought of themselves as engaging in the leisure activities of the educated gentleman." (35)
			* '''Inns of Court'''
			** spill-over from universities once students left
			* '''the court'''
			** fewer manuscripts survive than from universities and the Inns of Court
			** 16c Devonshire Manuscript; sometimes reads like a series of love letters
			** "Associated by scholars with women connected with the Howard family -- particularly Mary Shelton, Mary Fitzroy (nee Howard), and Margaret Douglas) -- this manuscript reveals how such a document could serve as the medium of socioliterary intercourse within a restricted social group and the repository of texts generated within such an environment." (39)
			* '''family, often aristocratic'''

	== Sex, Politics, and the Manuscript System ==		== Sex, Politics, and the Manuscript System ==

Wtrettien: /* Patronage, Poetry, and Print */

2011-12-01T14:22:58Z

Patronage, Poetry, and Print

← Older revision		Revision as of 14:22, 1 December 2011
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	with Jonson, "the poet patronized the patrons" (318), presenting ideals through praise which the patrons must them live up to		with Jonson, "the poet patronized the patrons" (318), presenting ideals through praise which the patrons must them live up to

			:"By the early part of the seventeenth century, the competition for patronage support for printed texts, the restricted resources of the aristocracy, and the economics of the publishing industry had, in effect, changed the functions of patrons defined in and inherited from manuscript culture. Certainly publishers were more apt to use patrons' names for the purpose of promoting sales of books to a general readership than as signs of an actual patron-client relationship in the old sense." (321)

			== Conclusion ==

			William Drummond, using print for coterie circulation (325)

			print influenced manuscript practices as much as manuscript did print
			* title page of manuscript set up as if for a printed edition (327)
			* manuscript and print bound together (328)

			printer's poem apologizing for errata (331)

Wtrettien: /* Patronage, Poetry, and Print */

2011-12-01T03:31:58Z

Patronage, Poetry, and Print

← Older revision		Revision as of 03:31, 1 December 2011
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	== Patronage, Poetry, and Print ==		== Patronage, Poetry, and Print ==

			:"Willing or not, members of royalty and the aristocracy found themselves portrayed in print as the authorizers protectors, even owners of a wide variety of religious, historical, scientific, polemical, and literary texts -- thought in many cases, their connection with the authors or publishers was slight or nonexistent and their names mainly functioned as (misleading) signs of celebrity endorsement." (292)

			:"One can detect, in the juxtaposition of dedicatory letters and epistles to readers, an interesting friction developing between the old- and new-style patrons, or at the least a complexity in the relationship of author, stationer, patron, and reader that was exploited by both writers and publishers to their own advantage." (293)

			Skelton, published without dedicatory letters, with his poems presented in the same way they would be encountered in manuscripts

			Tottel self-consciously positions his miscellany as bringing his readers to the status of the poets contained therein

			first private individual to publish a collections of his own short poems: Barnabe Googe, ''Eglogs, Epitaphes, and Sonettes'' (1563); presented as if a friend took the manuscript and printed it for Googe while he was abroad, the book "has the marks of a deliberate authorial strategy" (297)

			authors could also hide behind narrative frames, as with Gascaoigne's '''A Hundreth Sundrie Flowres'' (1573) (302)

			Spenser's ''Shepheardes Calendar'' (1579) dedicated to Philip Sidney

			Sidney acting as a posthumous patron; the Countess of Pembroke's control over his publishing (312-3)
			* Nashe -- rhetoric of liberating Sidney's writing from the private "casks" of ladies; signals shift of literary power away from aristocratic coterie circles
			* patronage split -- Sidney brother "authorizing the printing of such verse and the sister serving as the dedicatee and protector" (314)

			:"In such a conflict, publishers could take the high moral ground of allegedly acting in the public interest, even if their basic motive were private economic gain. And they could hire someone like Nashe, a university-educated professional writer familiar with the dynamics of metropolitan culture, to defend the whole project on both social and intellectual grounds." (314)

			with Jonson, "the poet patronized the patrons" (318), presenting ideals through praise which the patrons must them live up to

Wtrettien: /* Donne, Herbert, and the Lyric Collection */

2011-12-01T01:47:26Z

Donne, Herbert, and the Lyric Collection

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 * index of titles allows the poetry to be used for devotional purposes (256)
 * "Justified, then, as serious religious writing by a saintly, learned parson whose exemplary life could edify readres, presented by the press of the university with which he was formerly affiliated, published in the handy portable form of the duodecimo, "''The Temple. Sacred Poems and Private Ejaculations''. By Mr. George Herbert" had no need for apology as a printed volume of lyrics. Posthumously glorifying its humble author through the print medium, it offered a model other religious writers of lyric verse could, and did, follow. '''After Herber, at least as far as the religious lyric is concerned, print was the proper medium for its dissemination -- one sign of how print culture paradoxically both made the private public and demarcated private life itself more clearly as a social space.'''" (257)
 === Some Features of the Physical Book ===

Wtrettien: /* Some Features of the Physical Book */

2011-12-01T01:11:12Z

Some Features of the Physical Book

← Older revision		Revision as of 01:11, 1 December 2011
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	:"The architecture of the printed book encouraged the special arrangement of lyric poems. There was, of course, a recurring tension between the anthology model and that of the structured collection: poems could be presented as ''rime sparse'' or as a carefully designed sequence, but even the former appeared to have aesthetic shape in print. From Petrarch to Jonson to Herrick, authors took pains to arrange their poems in larger aesthetic wholes: print encouraged this phenomenon." (285)		:"The architecture of the printed book encouraged the special arrangement of lyric poems. There was, of course, a recurring tension between the anthology model and that of the structured collection: poems could be presented as ''rime sparse'' or as a carefully designed sequence, but even the former appeared to have aesthetic shape in print. From Petrarch to Jonson to Herrick, authors took pains to arrange their poems in larger aesthetic wholes: print encouraged this phenomenon." (285)

	size: small, cheap quartos are ephemeral, because could remain unbound		size: small, cheap quartos are ephemeral, because could remain unbound; starting with ''Tottel'', most poetry anthologies were in quarto; later they began being printed in octavo, which was more prestigious, since 8vo books were more likely to be bound and preserved in libraries (288-9)

	== Patronage, Poetry, and Print ==		== Patronage, Poetry, and Print ==

Wtrettien: /* Donne, Herbert, and the Lyric Collection */

2011-12-01T00:29:11Z

Donne, Herbert, and the Lyric Collection

@@ Line 145: / Line 145: @@
 * index of titles allows the poetry to be used for devotional purposes (256)
 * "Justified, then, as serious religious writing by a saintly, learned parson whose exemplary life could edify readres, presented by the press of the university with which he was formerly affiliated, published in the handy portable form of the duodecimo, "''The Temple. Sacred Poems and Private Ejaculations''. By Mr. George Herbert" had no need for apology as a printed volume of lyrics. Posthumously glorifying its humble author through the print medium, it offered a model other religious writers of lyric verse could, and did, follow. '''After Herber, at least as far as the religious lyric is concerned, print was the proper medium for its dissemination -- one sign of how print culture paradoxically both made the private public and demarcated private life itself more clearly as a social space.'''" (257)
 == Patronage, Poetry, and Print ==