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"If I by miracle can be
This livelong minute true to thee
'Tis all that heav'n allows."
The Earl of Rochester was England's first celebrity poet, a man who epitomized the theatricality, licentiousness, and skepticism of the Restoration age. But his scandalous reputation belies the variety and sophistication of his work: his love poems set new standards not only for sexual explicitness but also for psychological acuity and lyric grace, while his satires broke new ground as much by the refinement of their ironies as by the brutality of their invective.
A fascinatingly contradictory figure, Rochester emerges more clearly than ever from this new edition, the first selection of his work in modern spelling to take account of recent revolutionary advances in textual scholarship. It includes only poems now securely attributed to the poet, in texts based not on the posthumous and unreliable printed editions but on the most authoritative manuscripts which circulated in his lifetime.
Paul Davis's superb Introduction places Rochester within the larger intellectual movement of libertinism, and his notes help readers unfamiliar with Restoration usage to catch the subtler connotations of words and phrases. Of particular interest, Davis includes in the notes the texts of the poems that Rochester translated and imitated, illuminating Rochester's creatively intricate involvement with the work of his ancient and modern counterparts, a crucial aspect of his poetic genius.
About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.
- Sales Rank: #746895 in Books
- Brand: Rochester, John Wilmot/ Davis, Paul (EDT)
- Published on: 2013-03-14
- Original language: English
- Number of items: 1
- Dimensions: 5.10" h x .70" w x 7.60" l, .0 pounds
- Binding: Paperback
- 208 pages
Features
- Used Book in Good Condition
Review
"A rich and stimulating exploration of the implications of Milton's study of the Ovidian tradition for the substance and ambitions of his verse as a whole ... a suggestive general model of some of the ways in which poetry of the past is constantly given new life in the present."--Notes and Queries
"An intricate, thought-provoking study, rich with detail and numerous flashes of brilliant insight. ... [The author's] lively and engaging manner ensures that both students and scholars alike will find her book a pleasure to read. This fine study is a major achievement and a significant contribution both to Milton criticism and to the history of the reception of Ovid, one that opens up many promising avenues for further exploration."--The Classical Review
"Every chapter in Kilgour's book offers something valuable, and the whole is richly informative and thought-provoking."--Milton Quarterly
"A fine study of Milton and Ovid ... a skilfully woven work of criticism without a thread awry in its scholarly fabric."--Erick Ramalho, Bryn Mawr Classical Review
"A major achievement ... as timely as other creative reinterpretations of Ovid today, and, though a scholarly work, belongs to the same rich field of our own transformations and interpretations of Ovid."--Goran Stanivukovic, Review of English Studies
"Many will welcome [the author's] occasional interjections of dry humor. Scholars of both classical and early modern literature and advanced graduate students should find this book essential to study of Milton's relationship to Ovid and other writers of antiquity."--Renaissance Quarterly
About the Author
Paul Davis is the author of Translation and the Poet's Life: the Ethics of Translating in English Culture, 1646-1726 (OUP, 2008).
Most helpful customer reviews
2 of 2 people found the following review helpful.
A very good selection
By Sid Nuncius
This is a very good little edition, containing most of Rochester's best poems. I have a now out-of-print Penguin Complete Rochester edition, but wanted a more portably-sized volume and was also interested in what a new editor had to say. I was very pleased on all counts.
Rochester's popular reputation is generally based more on his behaviour than on his poetry. It is true that he was a spectacular rake and that his debauchery leading to an early death was the stuff of legend. This is often reflected in his work, but there is far more to Rochester than that. This is a very good selection of all shades of his poetry, from the frankly filthy (but often amusing) to the introspective and rather deep. For example, this from Upon Nothing (although I admit it lacks mathematical rigour) is a prescient summation of our current view of the origin of the universe:
"Ere time and place were, time and place were not,
When primitive Nothing Something straight begot,
Then all proceeded from the great united - What?"
Do be warned (if you don't know already) that many of these poems are not for the faint of heart or prudish. They often deal frankly with all sorts of sexual practices, and use some very blunt language including the c-word (used to brilliant comic effect in The Imperfect Enjoyment, for example), but amongst the scurrilous satire and bawdiness there is some fine, and sometimes genuinely tender and thoughtful poetry.
There is a scholarly and readable introduction by Paul Davis which I very much appreciated, a helpful chronology of Rochester's life and full notes on the texts. I think this is an excellent book for anyone looking for somewhere to start with Rochester or for anyone who wants a well-edited selection, however familiar you may be with him. Very warmly recommended.
2 of 2 people found the following review helpful.
NO FRIBBLING
By DAVID BRYSON
`He died of drink and copulation,
A great discredit to this nation.'
Those lines are actually from a hopeful self-obituary by the composer Peter Warlock, real name Philip Heseltine. Warlock/Heseltine actually died from CO poisoning, quite likely self-inflicted, after a short life largely spent in libraries. The nearest he got to notoriety was on being once arrested for drunkenness in Chelsea: however he did give us a neat epitaph for John Wilmot, second earl of Rochester.
What I am reviewing here is not the poems of Rochester but an edition of these. Rochester would have got five stars from me. The edition also has a lot to commend it. It is a selection, but a good and varied one. It is in modern spelling, thank goodness, and one nice editorial feature is the use of the small circle normally used to indicate degrees of temperature or degrees of proof alcohol to refer to notes at the back of the book. Line numbers are printed with the poems, so the references can be traced easily and they do not fatigue the eye like a plethora of numbers attached to the text. There is also a lengthy and informative academic introduction, but for all its virtues this is where I have the problems.
The editor Paul Davis seems unable to keep to one subject at a time. This shows in the four sub-chapters that he provides, namely Court, Theatre, Country and Church. These are not mutually exclusive issues, the division is artificial and the section on Country in particular has trouble finding anything to say, or at least anything relevant to Wilmot much less to his poetry. More seriously, there is the familiar curse of Introductions, the confusion between literary comment and biography. To put the matter simply, using the poems to illustrate their author is the latter and not the former. Insofar as this Introduction concerns itself with literary issues, it sometimes seems laboured and unperceptive. As one example I do not myself perceive any `gross Eucharistic parody' on page xli, only a standard poetic image, an instance not of the `singular virulence and dynamism of Rochesterian profanity' that Davis has just been talking about, but actually of the lyricism that Rochester's contemporaries seem to have found in his work, and about which Davis has little or nothing more to say. We need not go looking for dirty meanings in Rochester, for heavens sake. When he intends that kind of thing we are left in no doubt.
Taking another instance, what is supposed to be clumsy about R's translation of the opening lines of Lucretius? Apparently that it is more like Latin than like English. What, I wonder, does Mr Davis think of Paradise Lost, twelve whole books of semi-Latinity, as both Dr Johnson and T S Eliot complained. That particular burthen is light so far as I am concerned. What I miss is anything at all about Rochester's prime virtue, the quality of both his diction and his versification. A dreadful stifling fog was already overtaking English poetry, and one does not even need to think of the wince-making texts of many of Handel's oratorios: no less than Dryden could grace his libretto for Purcell's King Arthur with the majestic line
`Foreign lands thy fish are tasting.'
Wilmot's sins were many, but of this kind of vice his verse is conspicuously free, he knows how to use the right word and not the wrong one, and in particular he knows how to end on a good punch-line.
Very properly, there is a note on the text. This is based on the complete edition by Harold Love. Every poem included here is genuine Rochester, so Mr Davis assures us without much elaboration, and I am happy enough to take his assurance. He is sound in principle about textual variants, give or take his innocent discovery that `leaning on one manuscript like Hope on her anchor' is not sound method. I suspect that Mr Davis may not know Housman's Preface to Juvenal, (just quoted), which once read is unlikely to be forgotten in what it has to say about decreeing any MS the best MS. Innocence also marks his admission that where Love has had to exercise judgment between several readings, Mr Davis sometimes favours another possibility. What did he expect? That's what textual criticism consists of.
Still, this edition should go a long way in bringing a major English versifier, and I would even say poet, to a wider public. By now we are hard to shock with potty-mouthing or to be excited by it, that left only the spelling as an obstacle to intelligibility, and this final obstruction has now been cleared away. I said above that Rochester knows how to write a punch-line, so I thank him for providing me with an envoi to the review
`But you are tired, and so am I. Farewell.'
1 of 1 people found the following review helpful.
'Tis all that heav'n allows
By P. McCauley
John Wilmot's legacy is rife with questions about authenticity, to such a degree now that it seems each age is almost able to choose what sort of poet they want him to be, and yet there does appear to be a single dark genius behind the poems chosen for this selection. It contains about two thirds of the poems now believed to be Rochester canon (updated with modern spelling), and is broken up into four sections: 'Songs and Love Lyrics', 'Stage Orations and Dramatic Monologues', 'Translations and Imitations' and 'Satires and Epistles'.
The dark sexual humor that runs through the vast number of these poems is offset by the brutal satire of seventeenth-century London society in others. They paint a blurred picture of a deeply dualistic poet who even today remains very much a mystery.
The introduction offers an insight into Rochester's life; his initial closeness and later falling-out with Charles II, the position he held in the king's court, the scandalous and licentious reputation he had, the number of banishments he underwent, and his deathbed conversion to Christianity before his early death when he was only 33.
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