The Use and Abuse of Literature - Marjorie Garber [156]
13. For this and other terms within “genetic criticism,” see Jed Deppman, Daniel Ferrer, and Michael Grodin, eds., Genetic Criticism: Texts and Avant-Textes (Philadelphia: University of Pennsylvania Press, 2004).
14. Ezra Pound, Gaudier-Brzeka, 1916 (New York: New Directions, 1974), 89.
15. “Beyond a native poetics, there is something Eastern behind the Western surface … Confucius complements Homer …” Kenneth Lincoln, Sing with the Heart of a Bear: Fusions of Native and American Poetry, 1980–1999 (Berkeley: University of California Press, 2000), 57.
16. Rachel Blau Duplessis, Genders, Races, and Religious Cultures in Modern American Poetry, 1908–1934 (Cambridge, UK: Cambridge University Press, 2001), 35.
17. Samuel Taylor Coleridge, Table Talk (London: George Routledge and Sons, 1884), 63.
18. C. S. Lewis, “Hamlet: The Prince or the Poem,” Proceedings of the British Academy 28 (Oxford University Press). Reprinted in Alvin B. Kernan, Modern Shakespearean Criticism (New York: Harcourt, Brace, Jovanovich, 1970), 301–11.
19. Reuben A. Brower, “Reading in Slow Motion,” in Brower and Richard Poirier, In Defense of Reading: A Reader’s Approach to Literary Criticism (New York: E. P. Dutton, 1962), 3–21.
20. Paul de Man, “The Return to Philology,” in The Resistance to Theory (Minneapolis: University of Minnesota Press, 1986), 23–24.
21. Ibid., 24.
22. For an excellent analysis of this problem, see Jane Gallop, “The Historicization of Literary Studies and the Fate of Close Reading,” Profession (2007), 181–86.
23. As George Puttenham writes in what his modern editors call “the core fantasy” of his treatise The Art of English Poesy, his objective in describing poetry, metrical forms, and “poetical ornament” (that is, figures of speech) was to “have appareled him to our seeming in all his gorgeous habiliments, and pulling him first from the cart to the school, and from thence to the court, and preferring him to your Majesty’s service, in that place of great honor and magnificence to give entertainment to princes, ladies of honor, gentlewomen, and gentlemen, and by his many modes of skill to serve the many humors of men …” The “Majesty” here being addressed is Queen Elizabeth, at whose court reputations—and fortunes—were indeed made and unmade, depending upon royal favor. George Puttenham, The Art of English Poesy: A Critical Edition, eds. Frank Whigham and Wayne A. Rebhorn (Ithaca, NY, and London: Cornell University Press, 2007), 1, 378.
24. John Strype, Memorials of the Most Reverend Father in God Thomas Cranmer, 2 vols. (London, 1853), 1:129. Cited in Whigham and Reborn, 1.n.
25. E. de Selincourt, The Poems of Edmund Spenser (London: Oxford University Press, 1912), xxi.
26. Edmund Spenser, “A Letter of the Authors,” in de Selincourt, Poems of Edmund Spenser, 407.
27. Jonson, “An Expostulation with Inigo Jones,” in Ben Jonson, vol. 8, ed. C. H. Percey and Evelyn Simpson (Oxford: Clarendon Press, 1947), 403.
28. Robert Bly, Talking All Morning (Ann Arbor: University of Michigan Press, 1980), 107–8.
29. Larry Rohter, “Is Slam in Danger of Going Soft?,” The New York Times, June 3, 2009.
six Why Literature Is Always Contemporary
1. Ben Jonson, “To the Memory of My Beloved, the Author, Mr. William Shakespeare, and What He Hath Left Us,” in The Norton Anthology of English Literature, ed. M. H. Abrams (New York: Norton & Company, 2000), 1,414.
2. Virginia Woolf, “William Hazlitt,” in The Second Common Reader (1932), ed. Andrew McNeillie (New York: Harcourt Brace, 1986), 180.
3. Francis Meres, Palladis Tamar, or Wits Treasury (1598), in The Bedford Companion to Shakespeare: An Introduction with Documents, ed. Russ MacDonald (Boston: Bedford Books, 2001), 32.
4. Susan Stewart, “Scandals of the Ballad,” in Crimes of Writing (Durham, NC: Duke University Press, 1994), 121.
5. Ibid., 122.
6. Jonathan Yardley, “Getting History Right,” The Washington Post, July 12, 2009.
7. Samuel Taylor Coleridge, Lectures and Notes on Shakespeare and Other English