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‘Baroque’ is a word that has never yet been thoroughly acclimatized among us. To most English-speakers, I think, the word still smacks of something pretentious and affected—if not, indeed, of special pleading. At best it denotes a category that we may learn about and agree to trust so long as we are dutiful tourists in Italy or perhaps Poland, which we can thankfully discard when we get back to native soil.
1 Hollington, Michae, “The Baroque’, in Roger Fowler, ed., A Dictionary of Modern Critical Terms, rev. edn (London, 1978), p. 20.Google Scholar
2 Ibid., p. 21.
3 Ibid., p. 22.
4 Milton, John, Psalms in English and Latin (London, 1673)Google Scholar.
5 Julian, John, Dictionary of Hymnology (London, 1892), p. 348.Google Scholar
6 Herbert, George, The Temple (Cambridge, 1633)CrossRefGoogle Scholar.
7 The Psalms, Hymns and Spiritual Songs of the Rev. Isaac Watts, D.D. (Boston, 1853), p. 478.
8 Samuel Johnson, The Vanity of Human Wishes (London, 1749), lines 1, 2.
9 Gal. 6. 14.
10 W. H. Auden, “The Shield of Achilles’ in Collected Poems, ed. E. Mendelson (London, 1976), P. 454.
11 The New Oxford Annotated Bible, ed. H. G. May and B. M. Matzger (Oxford, 1962, 1973), p. 1415.
12 Since the legend of St Lucy rather obviously derives from a pun on her name (Lucy—lux—light), Carracci’s picture, like other compositions on the same theme, can be seen as controverting in advance the vaunts to be made by, and on behalf of, ‘the Enlightenment’.
13 Psalms, Hymns and Spiritual Songs, p. 107.
14 White, Kenneth, ‘Notes from an Outpost’, London Review of Books, 6 July 1989.Google Scholar
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