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Editor's Notes The Sixth Biennial Renaissance Conference, Bright Shootes of Everlastingnesse: The Seventeenth-Century Religious Lyric, will be held at the University of Michigan at Dearborn, October 19-20, 1984. The conference aims to explore the nature of the religious lyric in the seventeenth century, assess the achievement of particular poets, and examine the strategies in specific texts. Submissions may survey the entire period or focus on a single poet or particular work. Theoretical approaches are welcome, as are essays in practical criticism. The preferred reading time is fifteen to twenty minutes. The deadline for the submission of completed papers is June 15, 1984. Please address all correspondence to the conference organizers, TedLarry Pebworth and Claude J. Summers, CAS&L, Univ. of Michigan — Dearborn, 4901 Evergreen Road, Dearborn Ml 48128. Although the reputation of Aurelian Townshend is by no means great, modern anthologists, perhaps influenced by an off-handed but persuasive remark by T.S. Eliot at the close of his essay on "The Metaphysical Poets," have kept this minor poet from being entirely forgotten. "A Dialogue betwixt Time and a Pilgrime," called by Eliot "one of the few regrettable omissions from the excellent anthology of Professor Grierson," is now regularly anthologized, as are several other lyrics by Townshend. Helen Gardner's popular volume on The Metaphysical Poets, forexample, contains six poems by Townshend (one doubtful), and Richard Sylvester's anthology of Seventeenth -Century Verse contains eight, generous selections from a writer whose known poems number fewer than twenty. Most recently, Townshend has been even better served by Cedric C. Brown, whose new edition of The Poems and Masques of Aurelian Townshend (Reading, England: The Whiteknights Press, 1 983; 1 26 pp.; £1 5) is now the proper place 59 EDITOR'S NOTES to discover and enjoy the "faint, pleasing tinkle" (Eliot's description) of this poet. Brown'sedition is intended to replace that of E.K. Chambers, long out of date and incomplete. He has examined the various manuscript and printed sources of the poems and masques, and included material not known by Chambers. Furthermore, in order to emphasize the musical quality of Townshend's verse. Brown prints facsimile reproductions of settings (by Henry Lawes and William Webb) for nine songs. The textual apparatus, while not complete, contains useful information: individual notes detail the source or sources he follows for the texts, significant variants, and the occasion or circumstances relevant to the verses. The Introduction is rather brief and might have included more information about Townshend's life instead of simply referring the readerto Chambers' edition (p. 12). Yet Brown's comments are refreshingly candid and direct, and his appreciation of Townshend is subtle and convincing. He does not hesitate to note that "there are plenty of limitations in his poetry" (p. 13), among which are "Too great an affectation of wit and an over obsequious attitude" (p. 16). Nevertheless, at his best Townshend displays a delicacy, musical regularity and ease, and simplicity that are quite attractive. Though he suffers by comparison to Jonson, Carew, and Donne, obvious influences on him, Townshend's works have a grace and charm that make them well worth reading through, and it is particularly pleasant to read these works in such a carefully edited and beautifully designed volume as that produced* by Brown. The Poems and Masques of Aurelian Townshend is printed in a limited edition of 300 copies, and may be ordered from: Department of Typography and Graphic Communication, University of Reading, 2 Earley Gate, Whiteknights, Reading, England, RG6 2AU. Payment should be in sterling; the price is£15 plus £1 postage (surface mail), and checks should be made payable to University of Reading. 60 ...


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