The Challenges of Orpheus: Lyric Poetry and Early Modern England

Acknowledgments

Acknowledgments The norms of lyric often—though, I will argue, not invariably—generate short poems. The debts I incurred while writing about lyric generate a long list. My work on this book has been supported by the Guggenheim Foundation, the National Endowment for the Humanities, and the Graduate School Research Committee of the University of Wisconsin–Madison. I am grateful for the efficiency , judiciousness, and encouragement of Michael Lonegro, my editor at the Johns Hopkins University Press. I am delighted to have the opportunity to acknowledge my indebtedness to the following colleagues for useful information and suggestions: Stephen Buhler, Ronald Bush, Jonathan Culler, the late Gwynne Blakemore Evans, David Fleming, Cecilia Ford, Sara Guyer, Hannibal Hamlin, Jonathan Hart, Jane Hedley, Richard Helgerson, Jean Howard, Wendy Hyman, Robert Kaufman, Lynn Keller, Theresa Kelley, Richard Knowles, Barbara Lewalski, Jennifer Lewin, David Loewenstein, Harold Love, Carole Newlands , Jack Niles, Marcy North, James Phelan, Anne Lake Prescott, Patricia Rosenmeyer, David Schalkwyk, Henry Turner, William Waters, Neil Whitehead , Helen Wilcox, Susanne Wofford, Linda Woodbridge, and Carla Zecher. Special thanks to those who also read and offered valuable advice about chapters of the manuscript: Marshall Brown, Colin Burrow, Bonnie Costello, Mary Crane, Roland Greene, Jack Niles, James Phelan, Thomas Schaub, and the members of my department’s Draft Group. By fostering my own career as a poet, the creative writers in my department fostered my work on this book; I am grateful to Ronald Wallace in particular. A series of conscientious research assistants worked energetically and meticulously on the manuscript: Sarah Armstrong, Patricia Frank, Kimberly Huth, David Plastrik, Jason Siegel, and Aaron Spooner. It is a pleasure as well to acknowledge the indirect but nonetheless powerful contributions of the two undergraduate teachers who developed my interest in lyric poetry: the late David Kalstone and Neil Rudenstine. Some thirty years ago Sandy Mack became both a mentor to me and a model for me of generous and judicious professionalism; his helpfulness on innumerable occasions in the intervening years has deepened my debt. By incorporating the names of two elementary school teachers, Mary and Patricia Tighe, into the title of my endowed chair, I emphasized the significance of K–12 teachers, and I want to acknowledge it here as well. My debts to—and delight in—my own students, ranging from undergraduates to dissertators, are enumerated in the endnotes and celebrated in the dedication. Over the past six years, Donald Rowe has enriched this book in many ways; over the past sixteen years, he has enriched the life of its author in even more ways. Part of Chapter 4 was published in different form in Tulsa Studies in Women’s Literature 22 (2003), published by the University of Tulsa. Sections of Chapter 5 have also appeared in earlier form elsewhere and are reprinted with the permission of the publishers: “The Interplay of Narrative and Lyric: Competition, Cooperation , and the Case of the Anticipatory Amalgam,” Narrative 14 (2006), 254–271; “‘He had the dialect and different skill’: Authorizers in Henry V, ‘A Lover’s Complaint,’ and Othello,” in Critical Essays on Shakespeare’s “A Lover’s Complaint”: Suffering Ecstasy, ed. Shirley Sharon-Zisser (Burlington, VT: Ashgate , 2006, pp. 121–136). Note to the Reader With one exception, my citations of Renaissance texts retain the original spelling, but I have regularized u/v and i/j, as well as the capitalization in titles, and ampersands have been replaced; in the instance of Spenser, however, orthography is not regularized. x a c k n o w l e d g m e n t s The Challenges of Orpheus This page intentionally left blank ...