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Gender and occasional poetry in seventeenth-century manuscript cultureCoolahan, Marie-Louise January 2000 (has links)
No description available.
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"For I No Liberty Expect To See": Astronomical Imagery and The Definition of the Self in Hester Pulter'S Elegiac PoetryMahadin, Tamara 04 May 2018 (has links)
Hester Pulter’s (1605-1678) work was discovered in 1996 in the Brotherton Library at the University of Leeds. Pulter composed her poetry in the 1640s-1650s, but her works were not compiled until the 1660s. Overall, her manuscript contains one hundred and twenty poems and emblems in addition to an unfinished prose romance. Pulter recalls her personal life in her poems, and the collection includes her elegiac and lyrical poems on different topics such as politics, religion, childbirth, and the death of her children. In her elegiac poetry, Pulter explores of the experience of childbirth and sickness through a set of conventional Christian ideas about death. However, Pulter’s elegiac poetry also breaks away from Christian conventions, often through the use of astronomical imagery. In this thesis, I argue that Pulter’s grief and consolation strategies sometimes differ from her contemporaries; however, she eventually finds consolation using imagery drawn from her knowledge of the new astronomy, allowing her to reconstruct her identity. Through comparing Pulter with her contemporaries such as George Herber, Katherine Philips, and John Donne, Pulter’s poetry, which has been unstudied until recently, provides an example of a woman writer who is familiar with the seventeenth century poetical conventions; however, she is able to alter them to what is relevant to her condition.
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Tradition. Passio. Poesis. Retreat: Comments around “The Gallery”Lipson, Daniel B 01 January 2013 (has links)
Although Andrew Marvell wrote and published relatively little, his poetry collects from the full range of “schools” and idiosyncratic styles present in the seventeenth century: echoes of Herbert, Donne, Milton, Traherne, Herrick, Lovelace, and Jonson, among others, permeate throughout his work. Although much of his imagery seems novel, if not strange, it is clear that Marvell has a deep engagement with several important long-running traditions. His work is conversation with Ovid, Horace, and Theocritus as much as it responds directly to the poets whose lives overlapped with his own. In his engagement with such varied sources, Marvell demonstrates an astounding degree of poetic flexibility. He is a master of imitating voice and style.
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Tradition. Passio. Poesis. Retreat: Comments around “The Gallery”Lipson, Daniel B 01 January 2013 (has links)
Although Andrew Marvell wrote and published relatively little, his poetry collects from the full range of “schools” and idiosyncratic styles present in the seventeenth century: echoes of Herbert, Donne, Milton, Traherne, Herrick, Lovelace, and Jonson, among others, permeate throughout his work. Although much of his imagery seems novel, if not strange, it is clear that Marvell has a deep engagement with several important long-running traditions. His work is conversation with Ovid, Horace, and Theocritus as much as it responds directly to the poets whose lives overlapped with his own. In his engagement with such varied sources, Marvell demonstrates an astounding degree of poetic flexibility. He is a master of imitating voice and style.
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