The Anacreontea in England to 1683
<p>The thesis is based on a first-line catalogue of versions of the Greek <em>Anacreontea</em> in Latin, French and Italian from 1469 to 1605 (55 poets) and in England from 1518 to 1683 (59 poets). Texts are given of the principal versions of the six most popular Anacreontic poems...
| Main Authors: | , |
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| Format: | Thesis |
| Language: | English |
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1980
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| Subjects: |
| _version_ | 1797051726170161152 |
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| author | Hilton, M Michael Hilton |
| author_facet | Hilton, M Michael Hilton |
| author_sort | Hilton, M |
| collection | OXFORD |
| description | <p>The thesis is based on a first-line catalogue of versions of the Greek <em>Anacreontea</em> in Latin, French and Italian from 1469 to 1605 (55 poets) and in England from 1518 to 1683 (59 poets). Texts are given of the principal versions of the six most popular Anacreontic poems: these are the two <em>recusationes</em> (Poems 1 and 16 in Stephanus), "The Beggar Cupid" (Poem 3), a drinking song (19), "Cupid and the Bee" (40), and the cicada-poem (43). After a review of modern critical theory of the quality, dating and authorship of the <em>Anacreontea</em>, it is shown how the poems became famous as the work of Anacreon in France in the 1550s, through the efforts of Estienne, Dorat and Ronsard: one unpublished poem may have been known earlier by Joannes Secundus. All the versions of the six poems listed above are compared in detail: particular attention is paid to the sources and tone of the English translations. Some account is given of all other English poets and dramatists of the period who made use of the <em>Anacreontea</em>. Included are imitations by Watson, Barnes, and other Elizabethan sonneteers: scholarly versions by A. W. and Thomas Stanley: and the "paraphrastic" translations of Cowley, Willis and Wood. There are detailed discussions of Spenser's "Anacreontics" in <em>Amoretti</em>, of Holyday's play <em>Technogamia</em>, of Lovelace's "The Grasse-hopper", and of emblems by Whitney and Ayres: also included are versions by Berkenhead, Brome, Cotton, Drayton, Thomas Forde, Greene, Greville, Herrick, Richard James, Jonson, Kendall, Leech, Lodge, Oldham, Randolph, Rochester, Shakespeare, Sherburne, Shirley, Sidney, Soowthern, Spelman, Suckling, Thomas Tomkis and Mary Wroth. The conclusion summarises contemporary translation theory, and delineates three main phases of translation in England. There is a special discussion of poems entitled "Anacreontics", and a list of seventeenth-century musical settings.</p> |
| first_indexed | 2024-03-06T18:23:34Z |
| format | Thesis |
| id | oxford-uuid:07263f64-8f8b-4ec0-82a2-ceea8d2edb45 |
| institution | University of Oxford |
| language | English |
| last_indexed | 2024-03-06T18:23:34Z |
| publishDate | 1980 |
| record_format | dspace |
| spelling | oxford-uuid:07263f64-8f8b-4ec0-82a2-ceea8d2edb452022-03-26T09:06:11ZThe Anacreontea in England to 1683Thesishttp://purl.org/coar/resource_type/c_db06uuid:07263f64-8f8b-4ec0-82a2-ceea8d2edb45Greek influencesAnacreontic poetryHistory and criticismEnglish poetryEnglishPolonsky Theses Digitisation Project1980Hilton, MMichael Hilton<p>The thesis is based on a first-line catalogue of versions of the Greek <em>Anacreontea</em> in Latin, French and Italian from 1469 to 1605 (55 poets) and in England from 1518 to 1683 (59 poets). Texts are given of the principal versions of the six most popular Anacreontic poems: these are the two <em>recusationes</em> (Poems 1 and 16 in Stephanus), "The Beggar Cupid" (Poem 3), a drinking song (19), "Cupid and the Bee" (40), and the cicada-poem (43). After a review of modern critical theory of the quality, dating and authorship of the <em>Anacreontea</em>, it is shown how the poems became famous as the work of Anacreon in France in the 1550s, through the efforts of Estienne, Dorat and Ronsard: one unpublished poem may have been known earlier by Joannes Secundus. All the versions of the six poems listed above are compared in detail: particular attention is paid to the sources and tone of the English translations. Some account is given of all other English poets and dramatists of the period who made use of the <em>Anacreontea</em>. Included are imitations by Watson, Barnes, and other Elizabethan sonneteers: scholarly versions by A. W. and Thomas Stanley: and the "paraphrastic" translations of Cowley, Willis and Wood. There are detailed discussions of Spenser's "Anacreontics" in <em>Amoretti</em>, of Holyday's play <em>Technogamia</em>, of Lovelace's "The Grasse-hopper", and of emblems by Whitney and Ayres: also included are versions by Berkenhead, Brome, Cotton, Drayton, Thomas Forde, Greene, Greville, Herrick, Richard James, Jonson, Kendall, Leech, Lodge, Oldham, Randolph, Rochester, Shakespeare, Sherburne, Shirley, Sidney, Soowthern, Spelman, Suckling, Thomas Tomkis and Mary Wroth. The conclusion summarises contemporary translation theory, and delineates three main phases of translation in England. There is a special discussion of poems entitled "Anacreontics", and a list of seventeenth-century musical settings.</p> |
| spellingShingle | Greek influences Anacreontic poetry History and criticism English poetry Hilton, M Michael Hilton The Anacreontea in England to 1683 |
| title | The Anacreontea in England to 1683 |
| title_full | The Anacreontea in England to 1683 |
| title_fullStr | The Anacreontea in England to 1683 |
| title_full_unstemmed | The Anacreontea in England to 1683 |
| title_short | The Anacreontea in England to 1683 |
| title_sort | anacreontea in england to 1683 |
| topic | Greek influences Anacreontic poetry History and criticism English poetry |
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