Introduction

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Notes

¹I do not use “marginalized” here with any critical or theoretical connotations, but only to suggest that by comparison Herrick, and the other writers I have mentioned, have taken on a marginal significance in seventeenth-century literary studies.

²Notable exceptions are of course Moorman's Robert Herrick: A Biographical and Criticial Study, Deming's Ceremony and Art, Coiro's Robert Herrick's Hesperides and the Epigram Book Tradition, Roger Rollin's Robert Herrick, and, recently, Syrithe Pugh's Herrick, Fanshawe and the Politics of Intertextuality.

³Northop Frye characterizes the lyric genre as one in which “the poet [presents] the image in relationship to himself” (249); M. H. Abrams states that the lyric represents the “state of mind” of the poet (108).