Apollodorus gives the number of the Hesperides also as four, namely: Aigle, Erytheia, Hesperia (or Hesperie), and Arethusa while Fulgentius named them as Aegle, Hesperie, Medusa, and Arethusa. In addition, Hesperia, and Arethusa, the so-called "ox-eyed Hesperethusa". Hesiod says that these "clear-voiced Hesperides", daughters of Nyx (night), guarded the golden apples beyond Ocean in the far west of the world, gives the number of the Hesperides as four, and their names as: Aigle (or Aegle, "dazzling light"), Erytheia (or Erytheis), Hesperia ("sunset glow") whose name refers to the colour of the setting sun, red, yellow, or gold and lastly Arethusa. In another source, they are named Aegle, Arethusa, and Hesperethusa, the three daughters of Hesperus. Hyginus in his preface to the Fabulae names them as Aegle, Hesperie, and Aerica. Apollonius of Rhodes gives the number of three with their names as Aigle, Erytheis, and Hespere (or Hespera). Nevertheless, among the names given to them, though never all at once, there were either three, four, or seven Hesperides. Finally, the placement of Noble Numbers after Hesperides is not a signal that Herrick privileged the former, or took his religion less seriously than he did his love for classical poetry, but rather that in Herrick‘s understanding of his world, man‘s fleeting glimpses of God in the secular sphere give way to a fuller comprehension of Him in the divine sphere.The Garden of the Hesperides by Frederick, Lord Leighton, 1892. Herrick‘s religious self-presentation demonstrates his expansive scholarly interests, as well his instinct to include, rather than to exclude, the religious beliefs of others within his syncretistic sense-of-self. In Noble Numbers, Herrick reveals new facets of his self-presentation to the reader, whilst also making explicit the theological congruencies between the two works. For example, Herrick‘s appropriation of the classical mythological figure of Hercules provides him with both a narrative way and an allegorical way of reconciling the so-called secular, or profane poetry of Hesperides with the so-called religious, or divine poetry of Noble Numbers. At the same time, the rich classical mythological associations of Herrick‘s title, Hesperides, declare his status as an inheritor of the classical literary tradition, whose hallmark during the Renaissance was the melding of classical, Christian and secular associations into new and complexly polyvalent literary works. Instead, Herrick‘s deployment of specific genres and not of others, his chosen conventions for ordering a collection of miscellaneous poems, and his adoption of certain conventional poetic stances provide him with a semi-fictionalised way of declaring who he understands himself to be and how he wants himself to be understood. Although there is a significant overlap between the real-life Herrick and the Hesperidean Herrick, the two figures cannot be regarded as identical. ![]() ![]() This thesis is an attempt to re-moor a work of literature to its authorial origins particularly a work of literature in which the author-poet‘s self-referential markers are so overtly and persistently present as is the case in Hesperides and His Noble Numbers. Noble numbers English poetry - Early modern, 1500-1700 - History and criticism Date IssuedĢ010 Date 2010 Type Thesis Type Masters Type MA Identifier vital:2207 Identifier Description Literature has tended to be cut from the moorings of its authorial origins under the influential literary criticism of the past forty years. ![]() Herrick, Robert, 1591-1674 Criticism and interpretation Herrick, Robert, 1591-1674. ![]() Title Robert Herrick's self-presentation in Hesperides and his Noble numbers Creator
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