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Approaching the Divine: Writing Visionary Space in the European Renaissance Lyric

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Approaching the Divine: Writing Visionary Space in the European Renaissance Lyric Approaching the Divine: Writing Visionary Space in the European Renaissance Lyric Timothy John Duffy Woburn, Massachusetts A.B. College of the Holy Cross Worcester, MA A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia August 2013 Contents Abstract........................................................................................................................................... 4 Acknowledgments........................................................................................................................... 6 Introduction..................................................................................................................................... 8 Chapter One: Infinite Ruins in Petrarch, Du Bellay, and Spenser................................................ 17 I. Introduction: Approaching and Envisioning the Infinite and the Eternal.............................. 17 II. Petrarch’s Vision and the Space of the Lyric ....................................................................... 22 III. Transnational Petrarchisms: Marot and Du Bellay ............................................................. 35 IV: Northern Visions of Rome: Van der Noot and Spenser...................................................... 57 Chapter Two: “This Extasie doth unperplex”: Cosmic Vision and Local Spaces in Donne’s Poetry ............................................................................................................................................ 84 I. Introduction............................................................................................................................ 84 II. Donne’s Cosmic Interlocutors: Copernicus and Bruno on the move. .................................. 87 III. The Lyrics: Understanding the Universe through the Intimacy of Space........................... 99 IV. Metempsychosis: The muse sprawls outward................................................................... 121 V. The Anniversaries: The limits of knowledge. .................................................................... 140 Chapter Three: Divine Folds and Sacred Pleats: Revising Crashaw’s Baroque Vision............. 151 I. Introduction.......................................................................................................................... 151 II. Towards a Visionary Baroque: Histories and Theories of Baroque Vision, Meditation, and Art............................................................................................................................................ 154 3 III: Crashaw’s Baroque Style .................................................................................................. 163 IV. Crashaw’s Epigrammata Sacra and the Brevity of Baroque Vision. ................................ 168 V: Crashaw the metaphysical: Steps to the Baroque Lyric..................................................... 181 Bibliography ............................................................................................................................... 204 Abstract Vision and the broader question of what human beings can see and what they desire to see emerged as a defining element of the Renaissance poetic imagination. This dissertation argues that poetic vision emerged in the Renaissance lyric from Petrarch to the English “Metaphysicals” as a tool for historical, cosmographic, and theological inquiry. As poets contemplated, experienced, and even fashioned the divine, they did so through a visionary mode of inquiry that was revelatory, prophetic, and irenic. This project helps to expand and revise a critical legacy that has often explored the development of lyric poetry from trecento Italy to Civil War England either through the divisions between Protestant and Catholic habits of interpretation or the shifting conventions and uses of Petrarchan amatory discourse. By turning to what I refer to as visionary writing—poetry and related texts that extend human sight across temporal and ontological boundaries in the investigation of the divine and the historical foundations of human experience—I track a more transcendent, ecumenical, and transnational process of poetic development in the work of these poets. My first chapter explores the visionary and historical engagements of the shorter lyrics of Petrarch, Joachim du Bellay, and Edmund Spenser. Exploring the inter-textual relationships between Petrarch’s Canzoniere, du Bellay’s Les Antiquités de Rome and Les Regrets, and Edmund Spenser’s Roman poetry (“The Ruines of Time” and his translations of du Bellay), I map out a poetic visionary technique that triangulates the present, the Roman past, and the divine. Though these poets represent different national, linguistic, and religious traditions, their poetics are often able to find common poetic and spiritual ground. My second chapter takes on John Donne and the linguistic consequences of what has been called the “New Philosophy” and 5 the related “Copernican Revolution.” The spiritual and scientific aspects of Donne’s writing have inspired a long critical history including the work of William Empson, John Carey, and Barbara Lewalski. I build on this critical tradition by moving beyond the question of Donne’s Catholic or Protestant beliefs or the generic background of his poetry’s source material. This chapter reads Donne in dialogue with Giordano Bruno’s writings, arguing that Donne responds to the shifting cosmos by forging a poetic voice that emphasizes lyric poetry’s ability to inhabit and rearrange the cosmologically distant or invisible elements of the universe. I turn, finally, to the Baroque poetics of Richard Crashaw. Though Crashaw, as interpreted by T.S. Eliot, Mario Praz, and Barbara Lewalski, has been viewed as visually excessive and thoroughly rooted in Continental Catholic art, this chapter shows how Crashaw’s Latin verse (the Epigrammata Sacra) and his major English lyrics (“The Weeper” and “The Hymn to Saint Teresa”) reveal a more structured, sophisticated, and revelatory devotional poetic practice. Building on the work of R.V. Young, I see Crashaw’s poetics as being steeped in a nuanced and hybrid collection of spiritual beliefs that cannot be easily sorted into Protestant or Catholic. I offer, working with Deleuze’s The Fold, a vision of the Baroque that is combinatory, contradictory and yet harmonious, subverting the boundaries between divine and the earthly spaces. Acknowledgments There are many people who helped shape this project from its sprawling beginnings to its more finished end. My first debt is to my committee members. A comparative scholar working on lyric poetry could wish for no better guide than Gordon Braden whose encyclopedic, demanding, and polyglot mind revealed to me what it is to be a scholar of the Renaissance. Elizabeth Fowler’s energy and brilliance have inspired and guided me from my first year at UVA through to the last word of this dissertation and will be a continuing inspiration throughout my career. I still think of the early graduate school seminars I took with her with awe and energizing fascination. Clare Kinney’s expertise, high standards, and amazing attention to detail have improved nearly every page of this document and many other documents. For their unwavering work and support, I remain immensely grateful for their mentoring. Beyond my committee, I owe much to the faculty at UVA. Ricardo Padrón first introduced me to the wide world of Renaissance mapmaking, cosmography, and the philosophy of space. Jim Nohrnberg, in rich, dense, and captivating conversations, taught me so much about Spenser and the Renaissance that I am still exploring the depths of his influence. I owe Jennifer Wicke a profound amount of gratitude for many energizing conversations about literary theory, comparative literature, and the “profession,” as well as an amazing amount of support, guidance, and inspiration. Jon D’Errico and the late, great Greg Colomb taught me important lessons about the teaching of writing and writing itself. For various but important acts of support, I owe thanks to Katharine Maus, Dan Kinney, Mary McKinley, Brad Pasanek, John Parker, Chip Tucker, Lisa Woolfork, and Bruce Holsinger. 7 The graduate community at UVA has been a constant source of support and inspiration. Thanks especially to Eric Rettberg, Kristin Gilger, Rob Stilling, Melissa White, Gabe Hankins, Scott Selisker, Walt Hunter, Drew Scheler, Anna Ioanes, Michael Pickard, Beth Sutherland, and many others. Beyond UVA, Erin Devine, Tom Spellman, Matt Walsh, Damon Orsi, Matt Farina, Truong Vo, Sarah Landry, James Coleman, Jess Carlson, and Keith Jones provided friendship and support when it was most needed. Thanks especially to my parents, Ed and Jacqui Duffy, for sending me off to college and believing in me all these years, as well as to my aunt Janet Duffy for frequent support and conversation. Thanks, too, to my in-laws, John and Mary Ann Henderson. I owe so much to my wife Ann and daughter Adele who, through their love, devotion, and constant support, made all this possible. Ann has been the best partner anyone could hope for and marrying her still ranks as my life’s best decision. I began work on this dissertation right as Adele was waiting to be born. Both projects have changed me, but one is far cuter than the other. Thanks to Susan Rodgers for teaching me how to be a scholar in her Anthropology courses at Holy Cross and to Maurice Géracht
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