ArchivesSpace at the University of Iowa

This poem is based upon Drummond of Hawthornden from Flowers od Sion -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon Milton, "On His Blindness" -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon Colin Francis, "Tony O!" -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon Suckling, "Upon Christman Eve" -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon Wyatt, "Who so list to hount" Stretch out the sonnet in order to perceive better how the weave works, any type of sonnet will do, in this example Wyatt's use of the Italian connection. -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon Robert Bridges, "Anniversary" Thomas Moore, "Bright Be Thy Dreams" Anonymous, "Dainty Sweet Bird...." -- Source of annotation: Marvin or Ruth Sackner.

This poem is based from Keats, Hyperion, Book 2 -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon Chapman, from The Whole Works of Homer, c.1616, Iliad, Book XVIII -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon Shakespeare, Sonnet 106 -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon (1517?-1547) Surrey, " How no age is content with his own estate & how the age of the children is the happiest, if they had the skill to understand it." -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon Ben Jonson, "Slow, slow, freah fount." from Cynthia's Revels. The word at the zero circlet, between "grief" and "showers," is, indeed, "in." -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon William Shakespeare (1564-1616), Sonnets 65 and 71. -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon John Lydgate(1370-1451?), from The Dance of the Death. -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon Sir Thomas Wyatt (1503-1542), "Hate whom ye list." Barnabe Googe (1504-1594), "To Doctor Bale." The two poems, unaware of each other's presence, meet in an alphabetical minefield. In their collision they accidentally interconnect lines, becoming a monster of a single poem, at which the mines go off homolettristically, each mine blowing up its letter-likeness in an adjacent line of the monstrous poem. -- Source of annotation: Marvin or Ruth Sackner.

Subtitled More Effects form our Primodial Constriants, Quarles art is derived from the computer programs Photoshop and Java. -- Source of annotation: Marvin or Ruth Sackner.