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The Afterlife of the Medieval Dream Poem in the English Renaissance

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The Afterlife of the Medieval Dream Poem in the English Renaissance The Afterlife of the Medieval Dream Poem in the English Renaissance Orysia Lonchyna Mack Bristow, Virginia MA, The Catholic University of America, 2003 BA, The Catholic University of America, 2001 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English Language and Literature University of Virginia May, 2014 2 Contents Abstract ………………………………………………………………… 3 Acknowledgements ……………………………………………………… 5 Introduction ……………………………………………………………… 7 Chapter 1 ………………………………………………………………… 39 Chapter 2 ………………………………………………………………… 85 Chapter 3 ………………………………………………………………… 138 Chapter 4 ………………………………………………………………… 194 Conclusion ……………………………………………………………… 238 Works Cited ……………………………………………………………… 259 3 Abstract “The Afterlife of the Medieval Dream Poem in the English Renaissance” revises the history of the medieval dream poem by attending to its previously unexamined influence on narrative poetry of the late-fifteenth and sixteenth centuries. Against the common account of the fifteenth century as a period of literary decay, this study argues that poets after Chaucer employ the dream form not simply in imitation of their master but rather to assert for themselves the same freedom to write imaginative fictions that Chaucer found in the form. Integral to the medieval dream poem is the idea of a dream’s double potential to be transcendent or illusory. The first two chapters show how poets such as Henryson, Dunbar, Douglas, and Skelton exploit this double potential to create highly imaginative dream scenarios that simultaneously interrogate the value of poetic fictions and their own status as authors. In the third chapter, examples from Sackville, Lodge, and Spenser show how poetry of mourning from the sixteenth century draws directly upon precedents in medieval dream poem, transforming the form in the process. Although the sixteenth century supplies fewer examples of poems with a closed dream frame, the form continues to be influential, providing evidence of poetic continuity across the period boundary between the later middle ages and the Renaissance in England. These later poems tend to take the form of waking visions and draw an explicit connection between fantastical visionary experiences and poetic creativity by calling attention to the “thought” or imagination of the speaker. The fourth chapter notes the significance of dream poetry as a background for The Faerie Queene and offers readings of several key episodes of Spenser’s epic in light of this influence. In the Conclusion, additional examples from 4 Shakespeare, Jonson, and Milton reveal that Renaissance authors even as late as the seventeenth century continue to see the form of the dream poem as an image of poetic creativity. 5 Acknowledgments I owe a debt of gratitude to the many people who have supported me over the course of this project. I am so thankful for all of the members of my committee, each of whom was integral to the development of the ideas and arguments I explore here. The direction of Gordon Braden was crucial: always astute but gracious in his comments, he invariably told me exactly what I needed to hear throughout the writing process. I am grateful to Elizabeth Fowler for all I have learned from her both in class and in many stimulating and challenging discussions outside of class time. I find her creativity and enthusiasm inspiring. Of course, without the courses I took from Tony Spearing, I would never have asked the first questions that eventually turned into this project: I can now only apologize for my copious citations of his prolific writing on the subject of medieval dream poetry. I am humbled by the support I have received from the Department of English at UVA: one could not ask to be part of a finer community of scholars. Various Directors of Graduate Studies have assisted me over the years: here I single out Jennifer Wicke, for her enthusiastic support at the project’s beginning, and Dan Kinney for his help negotiating logistics at the end. Suggestions from Jim Nohrnberg and Bruce Holsinger were enormously helpful in the early stages. Larry Bouchard of the Department of Religious Studies served as the outside reader: his comments at the defense led to some immediate clarifications and to ideas for future improvements. I would also be remiss not to mention my appreciation of the English Department of The Catholic University of America, where I first learned to read literature. 6 On the domestic front, the list of family members, friends, and babysitters who have helped me out and encouraged me over the years is very long. I am thankful to my parents and siblings for the hours spent with the boys so that I could keep up my writing, even when obstacles were numerous and daily. Finally, the most profound thanks is reserved for my husband, Michael Mack, for his love and endless patience during this long process. This work is dedicated to him and to the three boys, Adam, Thomas, and Peter, who matter most to both of us. 7 Introduction This study aims to show how the literary form of the medieval dream poem impacts poetic representation in the Renaissance. Rather than simply ending in the medieval period, the influence of the form extends well into the sixteenth century. Contrary to the narrative of literary decay in the fifteenth and early sixteenth centuries—a story that is outdated but still not fully displaced—this afterlife is not marked by the decline of the form. Rather, a reexamination of poems that employ this form reveals, in many cases, works that are attempting significant poetic innovations. In the sixteenth century, and even later, poets continue to draw on conventions of this popular medieval form both to invoke and to revise previous treatments of the perennial topics for dream poems, such as love, grief, mutability, and honor, using the medieval form to create transitions into new material. But later poets also take advantage of the form’s self- referential preoccupations with authorship, fame, and the nature of poetry itself to explore their own questions about poetic originality and creativity, finding solutions in qualities intrinsic to the form. Over the past two decades scholars have increasingly recognized the importance of pursuing literary studies across period boundaries. James Simpson’s offering in the new Oxford English Literary History, Reform and Cultural Revolution 1350-1547, serves as a fine example of a recent influential study that takes as its subject the transition from late medieval to early modern in English literature.1 Simpson’s central argument explains 1 Brown contrasts Simpson’s “single-authored” study held together by an “overarching schema,” with David Wallace’s “pluralist” approach in The Cambridge History of Medieval English Literature (A Companion to Medieval English Literature and Culture c. 8 literary work in this transitional period according to the changing political culture, as “in the first half of the sixteenth century, a culture that simplified and centralized jurisdiction aggressively displaced a culture of jurisdictional heterogeneity” (1). His chapters then make specific arguments about literary modes across this cultural rupture. In light of this organization around literary modes, a striking omission of this far-ranging study is its failure to mention—or indeed even to index—the popular medieval poetic form of dream poetry.2 Instead, Simpson deals with Chaucer’s dream poems in a chapter on the elegiac mode and focuses his argument on showing “an Ovidian tradition of love poetry” that bridges the period divide, “in which the unfulfilled lover turns away from public affairs” (121). Though his argument is certainly insightful, Simpson’s approach does not adequately account either for the phenomenon of the dream poem in its late fourteenth- century flourishing, nor for its continued use as a form in the fifteenth and sixteenth centuries.3 Moreover, his analysis of dream poems does not give any attention to the 1350-1500 3-5). The latter brings together contributions from multiple scholars to write literary history in a self-consciously “collaborative” way, while still presenting a “continuous narrative” (Wallace xi). Brown calls both studies “authoritative” but presents their differing approaches as a conflict (3, 5). Spearing, on the other hand, points out that both histories have seemed “conspicuously uninterested in the formal characteristics of their subject matter, preferring to focus on its ideological content” (Medieval Autographies 8). 2 Lerer points out a similar omission with respect to the medieval lyric in Wallace’s Cambridge History, describing the problem as the exclusion of “a form of writing dominated by a formalist criticism” (“The Endurance of Formalism” 9). The consequence is that in this historicist project “medieval lyrics would seem written out of medieval English literary history, as if lyrics themselves operated somehow outside of history” (10). About Simpson, Lerer points to his preference for “discourses, such as ‘tragic,’ ‘elegiac,’ or ‘political,’ rather than authors, genres, or themes” as evidence of “a historicist enterprise that renders formalist close reading superfluous” (13n35). More bluntly, Pearsall suggests that Simpson’s “fundamentally political vision of literary history” leads to distorting readings of “poems whose real energies lie elsewhere” (“Apotheosis” 34-5). 3 He deals with Pearl and with Langland’s Piers Plowman in separate chapters on religious literature. Pearl is classified under “the biblical” as a mode, and from his 9 depiction of dream experience that, initially at least, defines the form. Even granting the necessary selectivity of all literary histories, the omission of the topic of dream poetry highlights the fact that the full story of this poetic form has never been told in a way that crosses over the period boundary. Although much critical attention has been devoted to medieval English dream poems, studies focus mainly on those from the end of the fourteenth century, the period that gives us the flowering of the form, including Chaucer’s four dream poems and such poems as Pearl and Piers Plowman.
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