In the twentieth century, the pioneering work of such art historians as Erwin Panofsky and Edgar Wind heightened our awareness of the relationship between Renaissance literature and the visual arts. By focusing on that relationship in the work of such poets as Sir Philip Sidney, John Donne, Richard Crashaw, Edmund Waller, and Robert Herrick, Norman K. Farmer, Jr., convincingly shows that they and other writers of the late sixteenth and early seventeenth centuries in England wrote with a lively and creative sense of the visual—a sense richly informed by the theory and practice of Renaissance art. Farmer begins by describing the powerful visual matrix that underlies the narrative structure of Sidney's New Arcadia. He compares the role of the visual in the poetry of Donne and Ben Jonson, and demonstrates how works by both Thomas Carew and Lord Herbert exhibit poetic invention according to familiar Renaissance pictorial themes. Herrick's Hesperides is shown to be the major seventeenth-century poetic application of the Horatian idea ut pictura poesis. A special feature of this gracefully written and enlightening volume is Farmer's discussion of Lady Drury's oratory at Hawstead Hall. Published here for the first time are photographs of this uniquely decorated oratory, in which themes from a variety of English and Continental emblem books were painted on the walls of a room apparently designed for private meditation.

In this study, L.E. Semler begins with a comprehensive, historical definition of Mannerism in visual arts from which he derives four key terms that constitute the nucleus of the aesthetic: technical precision, elegance, grazia, and the difficulta:facilita formula. These principles - interwoven with one another and with maniera - are derived from visual arts but are specifically designed to be transferable to any medium. The rest of the book situates the English poets in relation to the visual arts - including painting, limning, gold- and silversmithery, architecture, and garden design - and discusses their verse in relation to the key Mannerist principles.

Anthology of a selection of early modern works on memory.

Roston demonstrates that what emerges is not a fixed or monolithic pattern for each generation but a dynamic series of responses to shared challenges. The book relates leading English writers and literary modes to contemporary developments in architecture, painting, and sculpture, exploring by a close reading of the texts and the artistic works the insights such comparison offers. Originally published in 1987. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

English Lyric Poetry is a comprehensive reassessment of lyric poetry of the early seventeenth century. The study is directed at both beginning and more advanced students of literature, and responds to more specialised scholarly inquiries pursued of late in relation to specific poets. This extremely lucid and elegantly written book avoids the limitations of much recent criticism. Donne, Jonson, the Spenserians, Herbert, Milton, Marvell, Vaughan, as well as many non-canonical and women poets, all receive sustained, fresh, and detailed analysis. Jonathan Post seeks to assimilate many of the post-New Critical theoretical concerns with readings of the major and minor, male and female, authors of the period.