Another look at 'Amyntor's Grove': pastoral and patronage in Lovelace's poem

Reichardt, Dosia (2006) Another look at 'Amyntor's Grove': pastoral and patronage in Lovelace's poem. Early Modern Literary Studies, 11 (3). - .

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Abstract

[Extract] The poetry of Richard Lovelace has undergone a re-evaluation in the past three decades as historical criticism has revealed him as a writer who confronts the turmoil of his times and articulates the changing dimensions of the Cavalier world. One of the poems in his first volume of mostly lyric verse which has hitherto been overlooked in this process is ‘Amyntor’s Grove, His Chloris, Arigo, and Gratiana. An Elogie’.[1] The poem’s interpretation has been overshadowed by an identification of the inhabitants of the grove as Endymion Porter and his family: an identification that has endured since 1864 when Hazlitt suggested that Lovelace had included references to several courtiers in this poem.[2] Hazlitt’s footnote, expanded by C. H. Wilkinson in the standard edition, travels through subsequent commentaries as an explanatory tag for the poem. It has also become attached to critical debates about the relationship of Lovelace’s poetry to Marvell’s, with reference to the latter’s ‘The Gallery’. Nigel Smith, for instance, in his recent edition of Marvell discusses the links between ‘Amyntor’s Grove’ and ‘The Gallery’ and notes that ‘Amyntor may refer to Endymion Porter’.[3] H. M. Margoliouth links Marvell with Lovelace, while L. N. Wall discusses Marvell’s admiration for Lovelace and his borrowings from a number of poems including ‘Amyntor’s Grove’.[4]

Item ID: 4152
Item Type: Article (Refereed Research - C1)
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ISSN: 1201-2459
Date Deposited: 07 Jan 2010 03:53
FoR Codes: 20 LANGUAGE, COMMUNICATION AND CULTURE > 2005 Literary Studies > 200503 British and Irish Literature @ 100%
SEO Codes: 97 EXPANDING KNOWLEDGE > 970119 Expanding Knowledge through Studies of the Creative Arts and Writing @ 100%
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