Three centuries have passed since seventeenth-century vicar, poet, and cavalier Robert Herrick published his only book of poems. During this time, scholars and critics have periodically investigated a mysterious emphasis which the author placed upon mistresses in his rooms, or the 1402 poems entitled Hesperides which Herick 4 published in 1648, 140 deal with fourteen alleged mistresses--Anthea, electra, sapho, Silva, Diamene, Parents, Perilaa, Bianche, 3tanah, Corinna, one is given special in by the author. or these fourteen young ladies whom he sees to regard s paramours Horrick has entered particular attention upon Julia, the one he regards as "pride of all.

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Thesis (Ph. D.)--University of Wisconsin--Madison, 1966. / Typescript. Vita. Description based on print version record. Includes bibliographical references.

From the preface: Herrick was a prolific poet, and a remarkably consistent one. Hesperides encompasses a lifelong collection of poems on themes as diverse as serious reflections on life's brevity and the playful examination of the minutely imagined world of the fairies, yet his vision of life remains coherent. My purpose in this study is to try to see ·Herrick's secular work in its unity and as a whole, without claiming to consider every aspect of his secular poetry. (I have not attempted, for example, to consider his classical sources.) As my interest lies mainly in his values and vision, my emphasis is on theme and tone, and the way they indicate his conception of life. For this reason, I only occasionally consider Herrick's poetic techniques, such as his versification and language, and there are no detailed analyses of individual poems which examine them from every angle. In addition, I am almost entirely concerned here with Hesperides , the secular poetry, and not with Herrick's religious verse, which is collected under the title of His Noble Numbers. (Although Herrick calls his book Hesperides: or The Works both Humane and Divine, the arrangement within is clearly a division into Hesperides, the secular poetry, and His Noble Numbers, the religious verse.)

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In using the doctrine of the Incarnation as a lens to approach the devotional poetry of seventeenth-century Britain, ‘“And the Word was made flesh”: The Problem of the Incarnation in Seventeenth-Century Devotional Poetry' finds this central doctrine of Christianity to be a destabilising force in the religious controversies of the day. The fact that Roman Catholics, the Church of England, and Puritans all hold to the same belief in the Incarnation means that there is a central point of orthodoxy which allows poets from differing sects of Christianity to write devotional verse that is equally relevant for all churches. This creates a situation in which the more the writer focuses on the incarnate Jesus, the less ecclesiastically distinct their writings become and the more aware the reader is of how difficult it is to categorise poets by the sects of the day. The introduction historicises the doctrine of the Incarnation in Early Modern Europe through presenting statements of belief for the doctrine from reformers such as Martin Luther, John Calvin, and Huldryk Zwingli in addition to the Roman Catholic decrees of the Council of Trent and the Church of England's ‘39 Articles'. Additionally, there is a further focus on the Church of England provided through considering the writings of Richard Hooker and Lancelot Andrewes amongst others. In the ensuing chapters, the devotional poetry of John Donne, Aemilia Lanyer, George Herbert, Robert Herrick, and Richard Crashaw is discussed in regards to its use of the Incarnation and incarnational imagery in orthodox though diverse manners. Their use of words to appropriate the Word, and their embrace of the flesh as they approach the divine shows the elastic and problematic nature of a religion founded upon God becoming human and the mystery that the Church allows it to remain.