Earl Of Rochester Research Articles

‘I abhorr what I Soe long lov'd’: An Exploration of Rochester's ‘death bed repentance’

(ProQuest: ... denotes formulae omitted.)On 25 June 1680, John Wilmot, 2nd Earl of Rochester, aged only thirty-three years but the most dissolute member of the dissolute court of Charles II, lay dying at his country retreat in Oxfordshire. Two years earlier, his fellow poet Samuel Butler had penned a not unaffectionate portrait of him in his satire The Court Burlesqued:This Noble Peer, so fam'd for writingSatyrs, so Bawdy and so Biting,Who for lampooning Church and Crown,Usurps the Bays from all the Town,May boast himself, we must allow it,Lord, Atheist, Mountebank and Poet,Rake, Coward, Libertine, but yetA Man of Learning and of Wit.1Satirist, atheist, rake, libertine, and poet with a reputation for ridiculing Church and State: Rochester's life and writings fully justify all these attributes. Yet on that day in late June, apparently without any warning, and too weak to write himself, he dictated 'at Twelve at Night' a remarkable letter to a former chaplain to the King, Gilbert Burnet:I beginn To value Churchmen above all men in the World: & you above all the Churchmen I know in itt ... I hope ... that The World may See how much I abhorr what I Soe long lov'd, & how much I Glory in repentance in Gods Service. bestow your prayers upon mee that God would spare me, (if itt bee his Good Will) To shew a True repentance, & amendment of life for the Time to come, or els ... that hee would mercifully except of my death bed repentance ...2Within five weeks, Rochester was dead, and the news of his self-styled 'death bed repentance' swiftly reverberated through the Court, the City and the Church. This was achieved initially by astounded word of mouth, and then reinforced through the rapid publication of both Rochester's letter to Burnet and the funeral sermon delivered by his mother's chaplain, Robert Parsons; three months later, Burnet issued a biography largely fashioned out of conversations he had held with the earl during the previous winter and latterly over a period of four days during Rochester's final illness. Parsons and Burnet had no doubt as to the genuineness of the earl's volte face, but their shared conviction has been tarnished by suspicions of ecclesial selfinterest; many contemporaries found it simply incredible to accept that Rochester had repented of 'the commissions of some sins extraordinary'. Some may have rejected out of hand the whole notion of repentance, sharing the sentiments expressed by Sulpitius in Otway's The History and Fall of Caius Marius (1680), 'A Curse on all Repentance! How I hate it! / I'd rather hear a Dog howl than a Man whine!' (p. 66), and one of Rochester's regular companions, William Fanshaw, is representative in attributing his conversion simply to delirium, 'for to [my] knowledge', he commented at the time, '[my Lord] believed neither in God nor Jesus Christ'. Nonetheless, the Earl of Halifax, the unamiable Earl of Mulgrave (Rochester's bitter enemy) and John Tillotson, the Dean (later Archbishop) of Canterbury, were amongst those who seem to have accepted the conversion at face value, and during the next 150 years, the accounts by Parsons and Burnet of Rochester's 'death bed repentance', passing through over thirty reissues and editions, would provide a staple of the popular devotional diet. 3This paper seeks to explore the context and validity of Rochester's profession of faith. After a review of his family background and the contemporary political situation, Rochester's letters and poetry will be examined for any evidence of his religious views and, finally, the conclusions drawn by Burnet and Parsons will be sifted and assessed.The social and political backgroundRochester was born on 1 April 1647, just under two years before the lawful monarch, Charles I, was publicly executed outside the Banqueting Hall, Whitehall Palace. His father, Baron Wilmot of Adderbury (he would be created Earl of Rochester in 1652), was one of Charles I's principal cavalry commanders during the Civil War, but falling into disgrace in 1644 he had joined the Queen's court which had removed to France. …

Teaching & Learning Guide for: Between Revolutions: Re‐Appraising the Restoration in Britain

Teaching & Learning Guide for: Between Revolutions: Re‐Appraising the Restoration in Britain

Rakes, Highwaymen, and Pirates: The Making of the Modern Gentleman in the Eighteenth Century

Erin Mackie. Rakes, Highwaymen, and Pirates: The Making of the Modern Gentleman in the Eighteenth Century. Baltimore: Johns Hopkins University Press, 2009. 231 pp. $55.Reviewed by Ingrid RanumIn Rakes, Highwaymen, and Pirates, Erin Mackie delivers an engaging study of modes of early modern criminality, putting them, as her subtitle suggests, into conversation with the developing conception of gentlemanly masculinity that was more civic-minded and domestic than earlier modes of aristocratic English manhood. Mackie argues that the rake, the highwayman, and the pirate-in different ways-provide models of manhood based on for a kind of self-authorization associated with the aristocracy prior to the settlement of 1689. As Mackie puts it, all three figures, the very feature of their character that is most outdated and most illicit- their commitment to the exercise of personal will self-licensed as absolute authority-enjoys, as an aspect of this anachronism, the glamour of nostalgia (12). But none of the figures exists purely as an anachronism. According to Mackie, despite (or partly because of) their nostalgic allure, these illicit types provide a counter-narrative of modern masculinity that reveals the persistent dependence of masculine power and prestige on the very values that the modern gentleman was supposed to resist. That masculine prestige clings so tenaciously to illicit modes of conduct through three centuries, Mackie argues, speaks to the ways in which masculine power continues to rely on modes of privilege, aggression, and self-authorization that violate the moral, social, and legal dictates that constitute its own legitimacy (2). In this book, Mackie describes the allure of such transgressive figures, illuminates ways in which social discourse excuses their criminal behavior, and demonstrates how their allure and popular apology have both reflected and shaped modern constructions of gender.While the popular appeal of rebel figures should draw a broad audience to this text, this discussion of rebellious types of masculinity is nevertheless serious scholarship: original, insightful, and well situated in current historical, sociological, and critical conversations. In her first chapter, Historicizing Masculinity: The Criminal and the Gentleman, Mackie surveys the field upon which her study will range and provides the theoretical and cultural foundations of her argument. The opening sections of the text are densely referential, but academics will appreciate the care with which Mackie situates her project in relation to relevant work in history, sociology, gender studies, and literary criticism, while students will find this thorough introduction a rich resource for further exploration. Subsequent chapters take on the three transgressive types-rake, highwayman, and pirate-in literary and cultural context, and Mackie closes with an extended discussion of elite male crime (149) in two novels: Frances Burney's Evelina and William Godwin's Caleb Williams.The central three chapters of Rakes, Highwaymen, and Pirates show the extent to which these figures have permeated culture. In all cases, Mackie refers to popular criminal biographies of the times, but each type has social significance because its reach extends far beyond that popular genre. As an example, in chapter 2, Mackie traces the rake (with references to several other texts) through the poetry of John Wilmot, Earl of Rochester; through articles and letters in The Tatler and The Spectator (Mackie's expertise holds her in good stead here); through John Gay's unperformed play The Mohocks (based on historical riots); and finally to Samuel Richardson's novel Clarissa. …

Recovering Love’s Fugitive: Elizabeth Wilmot and the Oscillations between the Sexual and Textual Body in a Libertine Woman’s Manuscript Poetry

Recovering Love’s Fugitive: Elizabeth Wilmot and the Oscillations between the Sexual and Textual Body in a Libertine Woman’s Manuscript Poetry

"Too far gone in disgust": Mirror Neurons and the Manipulation of Embodied Responses in The Libertine

Stephen Jeffreys' play The Libertine (1994) dramatizes the life of the notorious seventeenth-century poet and libertine, John Wilmot, Second Earl of Rochester. Jeffreys' antipathy to his protagonist is conveyed to his audiences through a masterful manipulation of their in-born disgust reflexes. In the 2004 film of The Libertine , directed by Lawrence Dunmore, playwright and director collaborate to create an overwhelming onslaught upon the viewers' senses, which results in the audience almost invariably experiencing unmitigated aversion toward Rochester. Placing both play and film in the context of recent research into mirror neurons, simulation, and disgust-mechanisms and their potential resonance among theater and cinema viewers, this essay considers how preconscious neurological, visual, auditory, and motor circuits may be accessed and influenced in order to provoke both the sensation of physical disgust and the moral judgments of indignation and rejection.

“A Romance the likest to Truth that I ever read”: History, Fiction, and Politics in Defoe’s Memoirs of a Cavalier

“A Romance the likest to Truth that I ever read”: History, Fiction, and Politics in Defoe’s Memoirs of a Cavalier Nicholas Seager (bio) The relationship of Daniel Defoe’s Memoirs of a Cavalier (1720) to the emergence of the English novel remains unexplained and therefore underplayed. Some critics laud it as a historical novel almost a century before Walter Scott established the genre’s “classical form,” according to Lukács.1 Others deem it a “mere chronicle,” a “deadening historical narrative,” an extreme example of Defoe’s reportorial and ventriloquial skills, but displaying little of the novelistic, that which draws attention to complex narrative situations and structures.2 And Robert Mayer cites Memoirs of a Cavalier as a case in point for his thesis that Defoe’s narratives were originally presented and read as a mode of historical discourse and only subsequently read into the tradition of the novel: “But for the fact that it was written after Crusoe rather than before, it might never have been read as [End Page 479] a novel at all.”3 However, as a novel it was read, even before its association with Defoe and his burgeoning reputation for deceit, indicated by James Lister’s preface to the second edition (1750s): “Some have imagined the whole to be a Romance,” Lister states; “if it be, ’tis a Romance the likest to Truth that I ever read. It has all the Features of Truth, it is cloath’d with her Simplicity, and adorn’d with her Charms.”4 Lister’s preface followed Defoe’s own in asserting historicity and a manuscript original, which was only disproved in the 1960s when Arthur W. Secord demonstrated that Defoe in fact fleshed out several already published works.5 Nevertheless, taxonomical questions have been exacerbated rather than solved by Defoe’s exemplary realism (“Features of Truth”) and plagiaristic use of historical sources: like Lister, readers have found it true, not withstanding its fictionality. The solution, which helps account for this hybrid specimen, comes in reconsidering the Memoirs of a Cavalier in the context of the debate on the English Civil War, which began after the Restoration and intensified in the first two decades of the eighteenth century. The fuel added to the fire was undoubtedly the posthumous and partisan publication of the Earl of Clarendon’s History of the Rebellion (1702–4) by the author’s son, the High Church Tory, the Earl of Rochester. This publication was itself a response to republican accounts published by Whigs during the previous reign, most notably Edmund Ludlow’s Memoirs (1698–99). I will show that Defoe styles Memoirs of a Cavalier as a moderate corrective to such partisan accounts. This analysis, then, builds on recent work that views the early novel as a form that either “could do the work of history,” as Mayer puts it, or “provided a critique of historical studies a way of making a place for itself,” according to Everett Zimmerman.6 Recognizing Defoe’s intervention in a historiographical debate with a fictional [End Page 480] autobiography expands our understanding of his ideas about historical truth and the legitimate uses of invention, as well as his methodological and ideological approach to his sources. Memoirs of a Cavalier becomes a statement on the proper relation of king to parliament, which Manuel Schonhorn has shown to be a lifelong concern of Defoe.7 The English Civil War Debate In a 1722 article, occasioned by the Duke of Marlborough’s death, Defoe addressed the “Uncertainty of History Written with Party Spirit,” lamenting the lack of impartial works, particularly in accounts of the early Stuarts: With some of the Historians, King James the First was a David, a Solomon, a Prince inspired from Heaven, the best of Kings, and the wisest of Men, and his Fame is handed down to us as that of the greatest Man in Council of his Age; while at the same time, by others he passes for A–––––, A–––––, A–––––, and A–––––, and something else, not fit for me to name. How his Son, King Charles was, and is still represented and misrepresented, is too well known; how he was reverenc’d, and even ador...

Staging Restoration England in the Post-Heritage Theatre Film: Gender and Power in Stage Beauty and The Libertine

This article analyses two British post-heritage films, Richard Eyre's Stage Beauty (2004) and Laurence Dunmore's The Libertine (2005). Both films are set in the seventeenth century and use the theatre as a central metaphor to describe and capture the cultural sensibilities of Restoration England. Both are based on stage plays in which theatre also functions as a site of resistance to cultural and social norms of gender and sexual politics. However, both films end by reinscribing and reaffirming the norms they set out to question, as transgressive desire is preempted and contained by an aesthetics of spectacle. Approaching the films in the light of gender performativity and queer theory, as well as examining their depiction of historical figures like Edward Kynaston and Elizabeth Barry, King Charles II and the earl of Rochester, this essay tries to find out why Restoration England appears to be so difficult to present cinematically.

:A Profane Wit: The Life of John Wilmot, Earl of Rochester

:<i>A Profane Wit: The Life of John Wilmot, Earl of Rochester</i>

The Development of the English Love Lyric, 1580-1680

This essay was runner-up in the 2005 Literature Compass Graduate Essay Prize, Renaissance Section. In the classical and Petrarchan love lyrics’ depiction of the relationship between the desiring lover and his normatively scornful beloved, early modern poets discovered a vehicle for exploring the English social and political order as well as the boundaries between tradition and innovation. As poets from Philip Sidney onward discovered, the social, political, and gender hierarchization of early modern society could be rehearsed as well as confronted in the symbolic staging of a relationship between dominant and submissive parties of opposite sexes. At the same time, the deep enmeshment of the love lyric in the humanist practice of imitatio engendered an abiding reverence for past models while simultaneously urging authors to achieve poetic independence. In the verse of writers like Philip Sidney, John Donne, Mary Wroth, Thomas Carew, Richard Lovelace, and the Earl of Rochester, the interplay between the changing structures of English life and the individual's relation to those structures is registered in a dialectical engagement between modern verse and its models in a movement paralleling the interactions between the fictive lovers who form its subject matter.

The "Lustful Buggering Jew": Anti-Semitism, Gender, and Sodomy in Restoration Political Satire

The "Lustful Buggering Jew":Anti-Semitism, Gender, and Sodomy in Restoration Political Satire Jeremy Webster (bio) In "Sometimes a Scepter is Only a Scepter: Pornography and Politics in Restoration England," Rachel Weil analyzes the implications of the fact that the "manuscript books into which Restoration men and women copied items of current interest usually contained a mixture of sexual and 'purely' political material, with no effort being made to create a distinction between them" (141). According to Weil, this lack of distinction "suggests that stories about royal or court sexuality were a legitimate part of political discourse, not cordoned off into a separate category" (142). Weil focuses her study of Restoration poetic satire on the ways in which these works use pornographic imagery to comment on Charles II's policies. As she writes, "Narratives about the king's body, its powers and vulnerabilities, its healthy and unhealthy states, and its relationship to the body politic, provided writers with a way of dramatizing their deepest political concerns" (142). The king's body, however, is not the only one that provided Restoration satirists with this opportunity. In this essay, I analyze another site of pornographic and political satire, the male Jew's body, in two Restoration poems that circulated in manuscript in 1680 and were quickly included in some of the poetic miscellanies that were compiled following the death of John Wilmot, Earl of Rochester, in July of that year: "Tho' Wean'd from all Those Scandalous Delights" and "The Queen Street Ballad."1 These poems depict a dinner party that turns into a sexual orgy when a Jewish character introduces the other guests to the joys of anal sex. My purpose here is to examine these satires' representational practices in [End Page 106] associating Jews with sodomy. Borrowing Cameron McFarlane's strategy of analyzing "the nexus of ideas, relations, behaviors, discursive practices, and meanings that could be set in motion under [the] signs" "sodomy" and "sodomite" (20), I am interested in examining the cultural work the representation of the "Lustful Buggering Jew" ("Tho' Wean'd" 32) performed in Restoration political satire.2 I argue that the "Lustful Buggering Jew" is a stereotype that uniquely expresses anxieties about the stability of English national identity during the Exclusion Crisis. Harold Love notes that Restoration manuscript books and miscellanies "have usually been treated simply as quarries for texts of individual writers and as providers of dating evidence" (177). He argues, however, that these works are also important for the social functions they served. Scribal publication, writes Love, "was one of several means of acquiring and transmitting information" (177). Manuscript books helped bond together "like-minded individuals into a community, sect, or political faction, with the exchange of texts in manuscript serving to nourish a shared set of values and to enrich personal allegiances" (177). And finally, scribal publication was "a means by which ideologically charged texts could be distributed through the governing class, or various interest groups within that class, without their coming to the knowledge of the governed" (177). The Gyldenstolpe Miscellany, a manuscript collection belonging to Count Nils Gyldenstolpe, Sweden's ambassador at The Hague from 1679 to 1687, was typical in its transmission of ideologically charged information about court intrigue and political factions. As David Vieth and Bror Daniellson, who published a facsimile edition of the collection in 1967, argue, "With the marriage between...Mary and William of Orange in 1677, it became very important for the Swedish ambassador... to familiarize himself with the doings at the court of Charles II, including gossip and the latest scandals" (xxi). Because of their political and satiric content, Vieth and Danielsson say, the poems in the collection "would render it valuable to a foreign diplomat trying to follow the changing situation in England in order to determine where and how strings should be pulled in the interests of his country" (xxi). Knowledge of events at Charles's court was particularly important in 1680—the height of the Exclusion Crisis. By August of that year, the probable compilation date for the collection, Titus Oates had already declared the existence of a Popish Plot to kill the king and thousands of Protestants, and the first exclusion...

James William Johnson, A Profane Wit: The Life of John Wilmot, Earl of Rochester

James William Johnson, A Profane Wit: The Life of John Wilmot, Earl of Rochester

Jacob Tonson and the Earl of Rochester

Since the publication of David Vieth's magisterial edition of Rochester's poems in 1968, the first ‘authorised’ edition of the poet's work, published by Jacob Tonson in 1691, has suffered critical purdah. This paper re-assesses the impact of Tonson in defining both the canon and the person of one of the most remarkable literary figures of the Restoration Period.

A profane wit: the life of John Wilmot, Earl of Rochester

Johnson wrote this generous biography - a veritable progress of a rake's rake - with enthusiasm and engaged fascination with Rochester (1647-1680). Johnson's forte, in addition to the extensiveness of his information, is his strong narrative sweep: this is an exciting biography. It is highly recommended. Choice of the glittering, licentious court around King Charles II, John Wilmot, the second Earl of Rochester, was the most notorious. Simultaneously admired and vilified, he personified the rake-hell. Libertine, profane, promiscuous, he shocked his pious contemporaries with his doubts about religion and his blunt verses that dealt with sex or vicious satiric assaults on the high and mighty of the court.This account of Rochester and his times provides the facts behind his legendary reputation as a rake and his deathbed repentance. However, it also demonstrates that he was a loving if unfaithful husband, a devoted father, a loyal friend, a serious scholar, a social critic, and an aspiring patriot. An Emeritus Professor of English at the University of Rochester, James William Johnson is the author or editor of nine books and many articles treating British and American Literature.

Review: That Second Bottle: Essays on John Wilmot, Earl of Rochester

Review: That Second Bottle: Essays on John Wilmot, Earl of Rochester

That Second Bottle: Essays on John Wilmot, Earl of Rochester ed. by Nicholas Fisher

81 the intrinsic relationship between character and audience, much less between political and theatrical cultures. Not that there is anything inherently wrong or objectionable about Mr. Bull’s commentaries on familiar texts. It is just that they do not go far or say much. The unforgettable Lord Foppington’s dialog with ‘‘the virtuous Amanda and the very unvirtuous Berinthea is wonderful in its depiction of a confrontation of two completely different moral codes.’’ Wonderful ? That is both the strength of this introductory survey and its fatal weakness. Unless a teacher desires to work thisbook into the fabric of discussion of the plays, it simply will not stand on its own— except as a feeble prop for late-night term papers. Mr. Bull performs an introducer’s duties : he identifies major themes, shows how characters express them, and notes the ludicrousness (for example) of the paper -thin paean to married life in Cibber’s Love’s Last Shift. In commenting that ‘‘money really turns the wheels of the plot,’’ Mr. Bull prepares for his reading of The Relapse, ‘‘interesting and innovatory in its own right, ‘‘ as ‘‘actually a step back’’ to a pre-reform Restoration theatrical culture. This typifies an approach that will see Vanbrugh, especially, looking ahead as well, to the moral/ sexual/financial themes of Clarissa. Mr. Bull sees both playwrights as modifiers rather than innovators, but he avoids linking them any more closely. Discussion does not stray far from the canonical plays, until Mr. Bull reclaims the nine plays that Vanbrugh wrote, contributed to, or adapted. In the Bibliography , the principal editions cited are not all in print (no faulting him for that) but worse, the critical books are the classic studies, and the criticalarticleswerenearly all published in the 1970s and 1980s, although admittedly scholarship and criticism on Farquhar and Vanbrugh since then has slowed to a trickle. This, then, is a book for out-and-out beginners. If there is no effort to graspcurrentcritical concerns about the drama (not the book’s purpose), there is the minor compensation of interesting snippets on class and audiences’ tastes, a few theatrical anecdotes, and a brisk survey of modern productions—most notably of The Recruiting Officer in Brecht’s clever, adapting hands. That Second Bottle: Essays on John Wilmot , Earl ofRochester,ed.NicholasFisher . Manchester: Manchester, 2000. Pp. xiv ⫹ 233. £45. In 1997, Mr. Fisher celebrated the 350th anniversary of the Earl of Rochester ’s birth with aconferenceatWadham College, Oxford, that resulted in this handsome volume of fifteen essays. Mr. Fisher’s Introduction usefully surveys Rochester criticism. Beginning a section on love and friendship in Rochester,Warren Chernaik’s essay draws upon Aristotle , Plato, Cicero, and Montaigne to explore friendship in Rochester’s life and work. Marianne Thormählen,seekingout Rochester’s ‘‘genuine love poems,’’finds that ‘‘the presence of love in Rochester’s poetry is primarily sensed in the betrayal of it, that the strongest amorous passion is felt when falseness to loveiseithercontemplated , feared or experienced.’’ In a delightful exploration of Rochester ’s use of Shakespeare’s Falstaff, Howard Erskine-Hill speculates that Rochester found in the ‘‘Gentleman who loved Sack and Shugar’’ ‘‘a huge and hugely envied capacity for physical enjoyment together with a widely circumspect understanding of the ways in which 82 material interest and personal affection may cohabit without the one betraying the other.’’ Paul Hammond, examining textual changes in the manuscripts and early printed editions, provides a deft exploration of homosexuality in Rochester.Mr. Fisher convincingly argues ‘‘that Rochester was particularly recognized during his lifetime (and after his death) as a writer of songs.’’ His detailed examination of ‘‘the musical settings, and the contents of word books, dating from the poet’s lifetime and the century or so after his death’’ suggests the ‘‘probability’’ofRochester’s songs having been ‘‘written for sung performance .’’ Keith Walker argues that the ‘‘Monkey Portrait,’’ ‘‘Far from being . . . a coronation of the monkey with the laureate ’s bays . . . may be a de-laureation ceremony reminding the monkey (Dryden ) of a hypothetical threat made in An Allusion to Horace: ‘Nor dare I from his sacred Temples tear / That Lawrellwhich he best deservs to wear.’’’ In an erudite, witty piece befitting its subject...

That Second Bottle: Essays on John Wilmot, Earl of Rochester (review)

That Second Bottle: Essays on John Wilmot, Earl of Rochester (review)

John Wilmot, Earl of Rochester by Germaine Greer

John Wilmot, Earl of Rochester by Germaine Greer

That Second Bottle: Essays on John Wilmot, Earl of Rochester

I loath the rabble - friendship, love, and hate in Rochester, Warren Chernaik dissolver of reason - Rochester and the nature of love, Marianne Thormahlen Rochester and Falstaff, Howard Erskine-Hill Rochester's homoeroticism, Paul Hammond love in the ayre -Rochester's songs and their music, Nicholas Fisher Lord Rochester's monkey (again), Keith Walker the missing foot of Upon Nothing, and other mysteries of creation, David Quentin Artemiza to Chloe -Rochester's female epistle, Gillian Manning Pope, Rochester and Horace, Julian Ferraro A Satire against Reason and Mankind from page to page, Brean Hamond, Paulina Kewes Rochester and the theatre in the satires, David Farley-Hills Rochester, The Man of Mode, and Mrs Barry, Simon Hampton was Lucina betrayed at Whitehall? Harold Love Rochester's death-bed repentance, Richard Harries.

Reviews

Reviews Get access GERMAINE GREEN , John Wilmot, Earl of Rochester . Pp. xiii + 93 (Writers and their Work). Tavistock : Northcote House, in association with the British Council , 2000 . Paperbound £8.99 ( ISBN 0-7463-0888-4 ). KIRK COMBE KIRK COMBE Denison UniversityOhio Search for other works by this author on: Oxford Academic Google Scholar Notes and Queries, Volume 48, Issue 1, March 2001, Pages 67–68, https://doi.org/10.1093/nq/48-1-67 Published: 01 March 2001

The Works of John Wilmot, Earl of Rochester by Harold Love Songs to Phillis: A Performing Edition of the Early Settings of Poems by the Earl of Rochester (1647-80) by Steven Devine , Nicholas Fisher (review)

The Works of John Wilmot, Earl of Rochester by Harold Love Songs to Phillis: A Performing Edition of the Early Settings of Poems by the Earl of Rochester (1647-80) by Steven Devine , Nicholas Fisher (review)