Thomas Wyatts Poems

A STUDY OF

S IR TH OMAS WYATT ’ S P OE MS

A S TUD Y O F THO MAS WY ATT ’ S PO EMS

BY W A K FOX E LL M A L0 N 0 . . . , . . ( )

BE I N G PA RT I O F A T H ES IS APPROVE D FOR T H E D EGREE

‘OF MA S T E R OF ARTS IN T H E U N I VERS I T Y

OF LO NDO N U N E 1 1 0 , J 9

“ Ionbon : (university of Ionbon lpress

P UB L H D F R T P LTD . IS E O H E U N IV E RSI TY O F LO N D ON RE S S ,

B Y H O D D E R S T O G H T O N WA R W C K S U A R E E C . U , I Q ,

1 9 1 1 HODDE R A ND STOUGHTON

P U BLISHE RS TO

THE UNIV E RSITY O F LONDON PRE S S

2 -4 04 GRE GO RY FO S TE R

“ ' D a chc c o n ce tt o h a l a rt c in t e ra c di va

’ ‘ fo rm a c li a tti d a l cu n o i di u e ll o g , p q

’ D u m il m at e ria u n se mpli ce m o de ll o

’ E 1 r o a d a d e va p im p rt o chc qu e l ri .

M IC HA EL AN GELO . P RE FATORY N OTIC E

i io o f THIS bo o k is merely an intr o ductio n t o an ed t n ’ t im o m i i e o . I S ir Th o m as Wyatt s P e s , w th L f and N tes a s primar ily at setting fo r th the impo rtanc e of the E MS .

fo r o o i s above all the o ther MSS . the f ll w ng reason

1 c o m ve rs iﬁc atio n c i t o . A nstant syste of a pe ul ar the

Wyatt MS .

2 l - m o r r o ms o m o f . A wel arked de of p e , and devel p ent

style . ’ Co rr c io r io in r 3 . e t ns and alte at ns Wyatt s hand apa t

s fro m c o rr ectio ns tha t a r e sp ur i o u .

M o o m i i o a r e in S . The P e s , w th the L fe and N tes , , and sh uld

o r m c r t r ul nk a r e f the se o nd pa t o the b o o k . My g atef tha s

f r t o D r . . r o r o r o r o due T G eg y F ste , help th ughout , and par ticularly fo r hi s lo an o f the ﬁrst fo r ty po ems tr ans cribed

r o m E . f r t o r o o . . o his i r f the MS P fess r W P Ker , nte est

m t o ci o f m and sy pathy , and the Ofﬁ als the MS . Depart ent ,

i i m i r c e a d in a r ica Br t sh Museu , for the ourt ous i pal eog aph l

ifﬁ c i d ult es .

A . K . F . C ONTE NTS

CR AP . I NTRODUCTORY

I I D S RI P I OF MS S E C T ON THE .

II I M PA I F MS S A AN D D O R S O . C N O TH E E , ,

IV THE PS ALM S

’ WYATT S LANGUAGE AN D GRAMMAR

’ ’ COMPA RIS ON OF WYATT S V ERS IFICATI ON WITH P YNS ON S EDITI ON OF CHAUCER

VII CHAUCERIAN I N FLUENCE

V III FRENCH I NFLUENCE

IX ITALIAN I NFLUENCE

THE COU RT POE MS ‘ AN D ORIGI NAL COM POS ITI ON S

XI CLAS S ICAL I NF LU E NCE

XII CONCLUS ION

I RY F D MS APP N DI X A H S TO O THE . E

S P CIM N S H TS OF PO MS APP N DIX B E E EE E . E

S P CIM N S H TS F ROM TH TAB L OF VA RIANTS E E EE E E . APPEN DI X C

I R LI S OF P MS MS APP N DI X D F S T N E THE OE IN E . E

GLOS S A RY

B I B LI OGRAPH Y

A STUD Y O F

SIR TH O MAS WYATT’ S P O E MS

CHAPTER I

I N T R O D U C T O R Y

’ i in 1 55 c o i TOTTE L S Mi scella n y was publ shed 7 . It nta ned m th e a rl o f r r S ir o ma Grim o al d poe s by E Su ey , Th s Wyatt , , ” e r t a n r n and Un c y Autho s . Wyatt had been dead ﬁftee year s ; the o nly pr evio us publ ic atio n o f any par t o f his m i i m i o rr i poe s was the Pen tent al Psal s , ssued by J hn Ha ng r r o f Or la n do Fu r i o so t o n o f o . , the father the t anslat the Mi scella n r o six i io i To tte l The y went th ugh ed t ns , w th as i h i edito r ; a seventh editio n was publ s ed by T . Windet n 1 85 i i o i 1 58 5 i o . o in 7 . , and an e ghth ed t n by R R b ns n The ﬁr st editio n marks the inauguratio n o f the m odern E i o o c o i c r ngl sh anth l gy . It nta ns areful and egular verse , and bears witness that ther e wer e m any autho r s who c o uld i c ic i i o i wr te a de asyllab l ne w th ease , but none wh se l ps had i o c o c o o f i . in c t u hed the gl w ng al gen us It was , fa t , the i o i o r im o f in c i i per d of st llness bef e the dawn , the t e a t v ty

ic c r o c in i r r wh h always has pre eded a g eat ep h l te atu e . ’ Thir ty year s later R o binson s editio n was publi shed in a i i r c m t me o f ntense literary ac tivity . Shakespea e had o e

' t o o r o r i his Ta mbu r la zn e in Lond n Ma l we had w tten , “ which his mighty line to o k the plac e o f j igging r hyme c r o o f U i r i m e n — a r m o a wd n ve s ty N sh , G eene , and Peele a ng — m t o r i i r o io i c o r the had taken w t ng as a p fess n ; S dney , u tly

o i r r c ri ic r wa s ri i p et and l te a y t , was just dead ; Spense w t ng Fa er u een e the y Q . B 2 SIR THOMAS WYATT ’S POEMS

Two r l r m r i wi th e e o f i r yea s ate , Puttenha , ev e ng ﬁ ld l te a

r in his Ar te o E n li sh P o es i e i his r r i o f tu e f g , pa d g eat t bute — pr aise t o th e two c hieftains o f th e c o ur tly m aker s the E ar l o f Sur r ey and S ir Th o mas Wyatt . ” h d id h e r e a te l o l i o u r r T ey , says , g y p sh ude and h o m l m e r o f ~ vu l a r o e i r o m h it o r e y ann g p s e f t at had been bef e , and fo r this c ause m a y justly be sayd th e ﬁr st r efo r mers o f o u r E li m r e i rm m ng sh et e and styl ; and aga n , he te s the the two chief lanternes o f ligh t t o all o ther s that have since e mplo yed their pennes up o n E nglish Po esie their c o c i w r o ir l h ir c o e c n e ts e e l fty , the sty e stately , t e nv yan e cl e an e l h ir r m r o r ir m r e swe e te y , t e te es p pe , the et and well ro o r io in a ll im i i r r i p p t ned , tat ng ve y natu ally and stud o usly ” ir m t r r ci P e t r a rch a the as e , F an s .

m in hi c o m i m th e io f o r Puttenha , t s en u , set fash n including

r re in e - m ri ici m c . r r t o o Su y and Wyatt the s lf sa e t s Su ey , ,

‘ l c r h o o r o t o his r was p a ed ﬁ st , an n u d ubtless due ank , but succeeding gener atio ns to o k it as a sign o f his liter ary i r i 1 e r o . . . o in in i sup ty G F N tt , the beg n ng o f the nineteenth c e r r i o f r r e ntu y , w tes Wyatt and Su y as if th ey had been c o m io wh o c o m o ir i pan ns , p sed the p ec es side by side and ’ c i ic i o n e o r o r . E di n bu r h Revi ew r t zed an the s w k The g , e c m r 1 8 1 6 h o i cc o r i D e be , wever , wh le a d ng so m e degr ee o f m i t o r r o m i mi er t the Su ey v lu e , d s sses the Wyatt vo lume in he e o r S ir o m m a n o f wit t s w ds Th as Wyatt was a , a h r o r r o i ici i s ewd bse ve and a subtle p l t an , but n n o true sense o f th e o r o i c w d was he a p et , and s n e o u r o bjec t is t o c riticize o r we h n o w o u r him p et y s all take leave of at once . Havin g c e o m r io in o m o t o r e aus d s e eputat n the v lu e dev ted Su r y , Mr . o tt i N b ds fair t o lo se it again by his unwar r antable zeal ” fo r ro o r io in th e o m p p t n Wyatt v lu e . Time has had its r e venge ; Wyatt and o ther s wh o wer e laid under the lash o f the c ic r m r o f E din bu r h r i r a aust e a ks the g ev ewe s , re n o w r c o n i in ir o r .a c ri ici m e g zed the true w th ; late t s , which has 1 Wo r ks 0 Ho wa r d a n d W a tt . G / . o . N 2 . o . 1 1 y By F tt v ls 8 6 . INTRODUCTORY 3

’ l o o ri o f r r o fo r r l i h a s exp ded the false the es Su ey s l ve Ge a d ne , th r o wn l ight up o n the p o sitio n o f the two p o ets and has

io e r unhesitatingly de clar ed Wy att t o be the p ne . Wyatt ’ was Surr ey s senio r by ﬁfte en year s ; he had written the bulk o f his o m 1 5 36 i i c o t o r o p e s by , wh le all the ev den e g es p ve 1 5 that Sur re y d id n o t begin t o wr ite until 36 .

Mi scella n r ri in th e i c The y was ep nted e ghteenth entury ,

r o f c r r o in his Hi stor and towa ds the end the entu y , Wa t n , y m f c i o Li tera tu r e o c i ici o . f , wr te a just r t s Wyatt He des r bes him i o f m o l i c ic o r r c o f as a gen us a ra and d da t de , apable c o m po sing an o c c asio nal lyric with s o me degr ee o f sweet

e i in r m o o f m r ci i o f n ss , but want ng ha ny nu be s and fa l ty phr aseo lo gy ;

1 807 r o e c two - o m i io o f i o r c In , the p j ted v lu e ed t n B sh p Pe y and Geo r ge Stevens was burnt in the gr eat ﬁre which swept i i i m o f ich r i r o . c o s away the p nt ng establ sh ent N ls Fou p e , r io o u t fo r l r i io c o n e p ev usly sent ﬁna ev s n , es aped ; and ,

i t o h o m r i n o w in i i s m o s . bel ng ng T as Pa k , the Br t sh Mu eu ’ It is o f so me impo r tanc e be c ause i t c ontains Wyatt s o ri i i i o f o rr i s Psalms . The g nal ed t o n J hn Ha ngto n wa

i e in th e c o m i io fo r th e c imi i ev dently us d p lat n , fa s le t tle e o f 1 54 9 i i o is re r i in i c o pag the ed t n p nted th s py . ’ i r r 1 8 1 2 o o i io o f F ve yea s late , , Dr . J hn N tt s ed t n Wyatt ’ ff r m r o i r ﬁr e su e ed the sa e fate th ugh a pr nte s . 8 1 tt D 6 . f r 1 . o o o o In , G F N , the nephew . J hn N tt , pub

li sh e d his m i two - o m e i i r ass ve v lu ed t o n o f Ho wa d and Wyatt .

m ri r o r his cl He used the ate al gathe ed t gethe by un e , and he

m t o e o i i o r m i o r o m o r r i r see s hav bta ned nf at n f the w te s , and i o i o r r o e i o r c r i fo r Mr . b w d w th ut g v ng the auth s due ed t , o r in his r o n Rela tio n s o the 1 8 1 2 a n d the Padelf d , pape the f 1 1 81 5—1 6 edi tio n s c rib i i io as m o r i , des es th s ed t n the st surp s in g o f liter ary b o rr o wings no tes in the 1 8 1 6 editio n are

' i e ic l o r m o i ic i o m in l d nt a , al st dent al w th n tes ade Sewel and ’ r i io s o f i lla n i i i m Pa k s ed t n the M sce y n the Br t sh Museu .

1 A a o . xxix r 1 1 n li v l . g , , pa t ’ 4 SIR THOMAS WYATT S POEMS

in th e c w the c i i r in 1 8 1 6 i io No , h ef nte est the ed t n lay fa t o that it h a d been pr epar ed fr o m the MSS . ; and G . F . N tt , i his a im the a i th u l r ep r o d ucti o n in his intr o duc t on , gave as f f To tte l fo r m i c o r o the MS S . f , he had ade the d s ve y that r S S c i i io o , diﬁer ed from the M . Re ent nvest gat n , h weve has ’ im t o pr o ved that No tt s text c a n by n o means cla be a l c faithful r epro duc tio n thr o ugh o ut ; but he c o le ted a vast

io i c c i am o unt o f info rmat n , and he has s n e been the h ef i i io so urc e o f all later editio ns . The Ald ne ed t n appeared ’ ’ in 1 8 30 l i io in 1 854 Gilﬁll a n s i io E i r ) , Bel s ed t n , ed t n ( d nbu gh ’ 1 858 o f c r r r r ri o f in , and at the end the entu y , A be s ep nt h a tt a n d S ur r e An tho lo r th e Mi scella n y and t e Wy y gy , we e publ ished . c o m i o io o f Meanwhile the MSS . had e nt the possess n the ir 1 8 4 8 th e o ir . c ; Br itish Museum . In Dev nsh e MS was a qu ed in 1 8 89 E r o in 1 900 r r i io t o , the ge t n ; and a fu the add t n ’ Wyatt and Sur r ey s po ems was m ade in the ac quisitio n o f o i t o o o r c the P MS . It was at length p ss ble g to the s u es ; — Fl ii e l m c c r i o f in 1 8 95 7 Pro f . g ade an exa t trans pt the

E r o in his c o ri io An li a o . ge t n MS . nt but ns to the g , v ls

- 1 06 Mr o r r c o n iii xix 9 . xv . In Padelf d , who had al eady ’ l iii m An li a vo . ri . o t buted Surrey s MS p e s to the g , xx , i th S ixteen th Cen tu r L r i cs in r publ shed y y , the Belles Lett es ’ m m M ri i c i i o f o o S . Se es , n lud ng th rty Wyatt s p e s fr the , and for the ﬁr st time exac t tr ansc r ipts o f Wyatt appear ed in an

o antho l gy . ’ h r o f To tt e l s T e elative values o f the vario us MSS . and i io i r m i ci o c r i o i io ed t n st ll e a n unde ded , alth ugh e ta n p n ns Fl i c r o . ii e l To tte l is have been advan ed . P f g th nks that the t d e r vo n E n i cht best ext he says , dass Text der beste , a m ic z u i ist i m a n glatteste , und le htesten gen essende , s eht

o o r bes o n d ers i e i la tter en o e ti scher en s f t , T stellt e n n v el g , p ,

r c i s ét e re n d a r i d e r m d e r abe au h v el p Text , e nen Text , ehr

Ze i E l i a l s d e r i ric V a n e hOr t E t der sabeth He n h III g . Was s o r o m c ist d ie Th a ts a ch e we tv ll a ht , dass es Wyatts eigene INTRODUCTORY 5 u r sp r un glich e Fassung h a u ﬁg in seiner eigene n Hand ” gie b t .

r t o . r o . e With r ega d the A and D MSS , P fs Flug l and Padelfo r d dec ide that A is to ler ably faithful t o the E text ;

h o r o c i ic i two i n s ta n ces c ur io usly , weve , b th these r t s g ve t r i o f alter atio n in the A text whic h in fac t d o n o o c c u . Th s

t r in mi io o f . will be r efer r ed o late the exa nat n the MSS , page 9 . f M o r d o S . o Mr . Padelf says the D , I ﬁnd that th ugh D

- it is c io in m io is a p r e E lizabethan MS . less aut us e endat n E h t it i . e is t e m r o in c o . o than A , fa t , next ( A) st t ustw rthy ” o f the Wyatt MSS .

is o r e - E i N o w the D MS . not nly p l zabethan but

r r i it c o i c o i io c o ntempo a y w th Wyatt ; nta ns ntr but ns by , i r o f r o r i o f h is io and s gnatu es , pe s nal f ends , and the quest n th at arises in r eading the views o f the above mentio ned t o c ritic s is Are the differ ences in the D MS . be taken as ’ e m io o r a r e r r ic endat ns , they Wyatt s ﬁ st d afts wh h have

c in his o r E I been c o rr e ted aut g aph ( ) MS . i if is m r r o f r E o o . Aga n , A the st t ustw thy the MSS afte , wher ein lies it s exc ellenc e Cl Clearly the variants in A must

i f r i c a be o f a d f e ent type fr o m th o se in D . The quest on n o nly be dec ided by a c o mpar iso n o f the variants in the thr ee im o r E r r c o m i o p tant MSS . , A , and D ; and by a fu the par s n ’ r i i E f o f T t i i . o the va ants w th th se o o t e l s ed t on . The MS ’ must be taken as the basis o f inquiry bec ause it is Wyatt s auto gr aph vo lume ; and if Wyatt has follo wed any sys t e m a tic m o in o r m c o m ri o o f eth d f and style , the pa s n the

ri ill r it i m o r o m va ants w eveal that style ; w ll , e ver , ake c lear t o us whether deviati o ns fro m his ear lier style ’ have justiﬁed the alter atio ns fo und in the text o f To tt e l s

i l n M sce la y .

c o m ri o o f ri m i c o 1 The pa s n va ants , then , ust d s l se ( ) ’ m o f o r if o n e 2 i io Wyatt s syste w k ( he had ) , ( ) the dev at ns r m i 3 i m in o . f o th s syste the ther MSS , and ( ) w ll further show ’ 6 SIR THOMAS WYATT S POEMS

’ whethe r To tte l s var iatio ns a re justiﬁed by an alte r atio n ’ r r o f metho d seen in Wyatt s late wo k .

fo r i e r is n o t c o c i Once and all , th s pap n erned w th a ’ r r o r m o r o ic i sm o o the , bette , e p et al text , but w th Wyatt s

in o r r t o i c o r his m o o f r o c r text , de d s ve eth d p edu e , as the r wh o r o o r r pio neer o f o u r m o dern po et y . It was he b ught de o u t o f chao s and re - established the line o f ﬁve str esses i ic r so r in C c r ic the l ne wh h ﬁgu es la gely hau e , and wh h had t i c hi i bec o me a fo rgo tte n a r s n e s day . W th Wyatt we go into the wo rksho p t o see h o w he acc omplished his task ; we d o n o t expec t pe r fec tio n o f fo r m o r tr ansc endental genius ;

c in o i o f il in be ause he was engaged the f undat on the bu d g , t in o r m io f it i and n o the na entat n o . He ntr o duced c er tain o m m r o u t i f r s and a ked a deﬁn te way . The E lizabethans i i added the ﬁn sh ng to uches . CHAPTER II

D E S CRIPTION OF TH E MS S .

TH E po em s o f S ir Tho m as Wyatt a r e fo und in the

o i f llo w ng MSS . m 2 1 r i i e . E r E . o 1 The ge to n ( ) MS N . 7 B t sh Mus u 1 4 2 The De vo nshire (D) MS . Add 7 9 2 35 i 2 . 86 r r o . o . The Ha ngt n (A) MS N , Add 3 6529 The P MS . Add . 8 r o . The Ha leian MS . N 7 28 63 6 Th e r ri o N o . 1 . Ha ngt n MS . , Add

h i r m r i i C b i e . r r . Co r C r The Pa ke MS pus st L b ary , a dg

i i o m in E MS . a r e ri n The p e s the w tten a ﬁne hand , s gned i r m n o m c c o c S i o . and , s e ases , rre ted , by Th as Wyatt On — 1 ’ 54 a . 66 00 m re r i in f . and ff the p o e s a w tten Wyatt s o wn w i i i c m ic a r e i hand r t ng ; they n lude the Psal s , wh h wr tten c r e o m r o f c o r r c io r e - c o r r c io a lessly , and sh w a ks e t n and e t n

h e a r by t utho . ’ One po em o f Su r r ey s o c c ur s— a so nnet wr itten in p r aise o f m i i the Psal s , beg nn ng

h o h wte o f P e T e Gre at Mace d n t at o rse ch ase d .

’ r r e o is i o r o n Su y s s nnet wr tten by an the hand , a blank page

r r immediately pr ec eding the Psalms . The latte pa t o f the ’ c o i ir o r r r i MS . nta ns S J hn Ha ingto n s ve sio n of the Penitent al

l m r i in six - i o f m o r i Psa s w tten l ned stanzas , a page al say ngs in i E l i e Fr ch e i r m i cl i Lat n and ng sh , and twelv en p g a s , n ud ng ’ f M r o t s i r h o n e o a . o c o t e c C . N tt ns de s that senten es and ’ i r m a r e r i n in i o r is n o t ep g a s w tte Wyatt s hand ; th s , h weve , ’ 8 SIR THOMAS WYATT S POEMS

fo r i i i r c o i r r o m the c ase , the handwr t ng d ffe s ns de ably f that ’ c o h m ic o t o b e . o f t e Psal s , wh h we kn w Wyatt s See py

’ l 6ob . X . V . e r Co o . o f Wyatt s l tte , tt n MS esp F III , f The f o r ri o i handwriting is m o st likely that o J hn Ha ngt n , nto ’

c m o n . . who se po ssessio n the MS . a e Wyatt s death The MS suffer ed c o nsider ably fr o m th e zeal o f Pur itan m ember s o f the

r i c r o o o f th e i family . Rega d ng se ula p etry as the w rk dev l , they endeavo u r ed t o effac e the o r iginal c o ntents by using

- to m r o o f m o the vo lume as a no te b o o k a k d wn heads ser ns ,

e r c m m ic o m . Fo r i H b ew senten es , and athe at al pr ble s th s r e aso n It is extr emely diffi cult in s o me par ts t o dec ipher ’ r i i in i o f i m Wyatt s w t ng , but sp te the vandal s , Wyatt s in k h a s pr o ved m o r e indelible than that o f the puritans . That the p o ems wer e intended f o r public ation is evident r o fr o m c er tain headings in the E MS . The ndeaus and sho rt

2 E . r o m a re m r 1 E n t . o n t r o p e s a ked ; the s nnets , ; the la ge des ,

m 4 E . r E t . 3 E n t . n t i 5 n two r ; the Psal s , ; the sat es , ; and lette s wr itten t o hys so n o ute o f Spain (and evidently c o pied i r f r a r r E t . 6 e m n . late by a d f e ent hand) , a ked

The D evo n hi r e D . is m r o m s MS . o ( ) a s all qua t v lu e , and c o i c i o f r ic i - r o f ic o ns sts h eﬂy ly s , s xty th ee wh h are f und in n o o r M i n T i S . n o r o ttel f o r i o o it s the , ; th s reas n al ne i hl im o r h g y p tant . The po ems in the ear lier part o f the o m a re n o t ri c o E M i o in S . v lu e w tten nt nu usly as the , but o cc r in m r o i r r i o m l u s all g ups , nte spe sed w th p e s by we l

o r o c o r f r kn wn pe s nages at the u t o Hen y VIII . Further — ’ o n ff . 69 8 7 r ro o f m a r e i , , a la ge g up Wyatt s po e s wr tten c o i o in o n e i i i in m nt nu usly and handwr t ng , s gned the sa e o r m i o E M i . n S . . e style as the aut g aph p e s the , two letters ,

V . i rl T. c nte a ed . The i D MS . s o f peculiar inter est ; it s histo ry and the

ro m c o c i it a r e i c in i p ble s nne ted w th d s ussed Append x I .

The A M S . is r cr i o f i a t ans pt a MS . sa d to have been

’ 1 0 SIR THOMAS WYATT S POEMS

S is th e c c io t o th e . The P M . latest a ess n Wyatt MS It ’ i a re i c c o ntains nine o f Wyatt s p o em s ; two o f wh c h n luded

l o in n o o r . in To tte , but f und the MS They are

(1) Luokes my fair falco n .

(2) A face that shu ld c on te nt m e .

1 8 04 th e N u ce An ti u ae . hi . fo r Th o mas Par k used t s MS g g ,

’ c o i o f o m The Ha r l eia n MS . nta ns seven Wyatt s p e s ,

e To tt e l a r e o in n o o r MS . thre e a r e includ d by , but f und the ; they a r e

(1) Unde r this sto ne the r lie th at r e st .

2 S he ar m o e r i e a r m e re . ( ) ig s y f d , d n k y t a s

(3) Like as the wind with r aging blast .

1 is c c r i o f E r o The H a r r i n gto n N o . an exa t trans pt the ge t n i it n o c o i r o . MS . ; needs ns de at n

1 h P a r k r MS c o i o c o m i o f T e e . nta ns the nly plete vers on ” h ir i w P n z t e o n e o o . o sat e , M ne J hn y All the ther MSS . a re c ie in i o r two i e E r o deﬁ nt a l ne , wh l the MS th ugh a

i e i 1— 2 mi 5 i . o r o m ss ng pag , has l nes want ng One the p e

Lyke as the byrd e within the cage e nc lo se d

i i i c i T is o in . o s n o tte l f und th s MS nly , but n luded .

E . i o f o m The MSS , D , and A furn sh the bulk the p e s ,

c o i o m n o t T tt e l in o . o r and D nta ns p e s found The the MSS .

c o i i o m m o in To tte l nta n e ghteen p e s between the , all f und , ’ a re i r i i i o but nte est ng as g v ng MS . pr o f o f Wyatt s autho r

i h a re n o t c e r o r in sh p ; t ey ne ssa y , h weve , the investigatio n o f ri the va ants .

1 o r hr i i o e e Li r m i e r r . C pus C st C ll g b a y , Ca b dg CHAPTER III

C M AR IS N OF TH E MS S . E A AN D D O P O , ,

E E i i i o TH o m in . a r e p e s the MSS , A , and D d v ded nt three gr o ups fo r th e purp o se o f dis c o ver ing the diffe renc es

r r in the natu e o f the va iants . 1 m o o mm t re . . P e s c o n o all th e MSS 2 m mm . o t P e s c o o n o the A and D MSS . 3 o m E . P e s c o mm o n to the D and MSS .

’ r 1 G o up is fairly r ep r esentative o f Wyatt s wo r k . It i c six o re i r m o m in n ludes s nnets , th e ep g a s , and p e s stanzas o f i i ir six ﬁve o r r c . seven , , , and f u l nes espe t vely , and sat es Specimens o f the variants o f these p o ems a re given in i Append x C . An examinatio n o f these variants gives the fo llo wing r e sults

1 m r i r iff r r o m E is . The nu be o f nstanc es whe e A d e s f

m in o e e r i in o a n d s all the s nn ts ; v y sl ght the des ,

c o i r ir ns de able in the sat es . 2 m E th e . r io iff r c o i r r o The D ve s n d e s ns de ably f , and

style o f differ enc e in D is unlike that o f A .

The S o n n ets in A a r e o ften fo und t o b e exac t tr ansc r ipts o f the E ver sio n ; the o nly instanc e wher e A differ s c o n sid e ra bl is in o r e r ﬁil e it y the s nnet , The was nev and h a s alr eady b een sho wn that A c o ntains two ver sio ns ; the

r o o c o o o E c o m ﬁ st f ll ws D , and the se nd f ll ws . It was the pariso n o f the ﬁr st ver sio n with E instead o f the se c o nd l t i that c aused Pr o f . Fliige o quo te th s so nnet as an 1 1 ’ 1 2 SIR THOMAS WYATT S POEMS

l f r e i in E MS S . e xampl e o f the diff e renc e o ad ng the A and is in E . Th e natur e o f th e differ e nc es the A and MSS as fo llo ws

o m e o e m f e r in h o r ; (b) in , (a ) The E and A ve r sio ns dif slig t w ds s p s e x r e t o the pa t ula ly sat r es the re s a te nde ncy t o add an t a syllabl r ic r the i , i

e r o fo r e x m e line in the A v si n , a pl c o r c io the h e e E the vyn (a ve ry r are nt a t n) , A av n fe ldi sh e f ld , t o e e fo r e e s k to s k , d e s . s d py py , ’ he e r ce o f co e rr o r (c) Diff e re nce s having t app a an pyist s s n e t r n e t A se t a dr ag E se a d ag , sticking sitting. e d o misse ke e d o m slik . ye , y i

1 fo r o i ic r e o 2 hr o h o f (d ) Change in th e ide a ( ) p l t al as ns , ( ) t ug a want unde rstanding o f th e o r iginal f ir b e e ( 1) E S o sacks o f dir t be ﬁll ed u p A S o sacks o d t ﬁll d

he n ea t co u r ti er . i n the clo yster ; t the ladd e h in (2) E Lern e a t Rittson that in a A Lern e o f t at a

i co e . lo ng white co te lo ng wh te t

(e ) Th e abse nce o f an ar chaic wo r d in A

chaw the to rde s ; c haw dung .

On e alte r atio n o ccur s which is difficult t o e xplain E Onl es it b e as to a calfe A On l es it b e as to a Do gge

a ch ese a ch e se .

Natur e o f the differ ences in E and D

1 The re i in the e r o o cc io o th e r r e . ad ng D v si n is as nally f und as ﬁ st ading in the E MS hi ch cro e o u t the c o r r e c e o r o e r - r i e , w is ss d , and t d w d v w tt n ’ i n h h Wyatt s and , t us

Who h h h e r o f ch D Who hath he r d o f such E . at d su tyr anny be fo r e cr ue lty

t yran n y be fo r e .

e i i i e is o me ime o mi e d in E 2. A w ak n t al syllabl s t s tt

r e o o e D N ow fa e w ll l ve E Far e we ll l v .

1 The who le Table o f Var iants is in MS but fo r pur p o se s o f utility o nly m a ec e r e ho in hi o o e e x e 140. . S e sp i ns s wn t s b k App ndi C , pag THE 1 3 COMPARISON OF MSS .

3 P r o i n a r e o m e m e c o r r ec e fo r th e r in E . lu als f und D s ti s t d singula

Th b a tid ho e D Thy b aytid h o ke s E y y k .

4 io o f e e r o r E . S ubstitut n a b tt w d in

h c r r o E e r d isd a n fu l ro D Unde r t e s o nful b w Und y b w .

e r o o e E 5 . Allit ati n in D av id d in

r e e r e f E r e e n e D My g t g if My g t pay .

Th e r o o a r e o cc o e r e r o m r c r t o e e r 6 . p n uns asi nally alt d f pa ti ula (D) g n al (E )

P e d o h she i E P e ce d o h the i D ati ns w at w ll ati n w at y w ll .

N o w these c h anges are such as an auth o r is likely t o m ake ’ in his o r e r th e ri in c o i w k , wh eas va ants A suggest py st s

r r o r o r m io m fo r r io r o r e s , e endat ns ade va us eas ns at a late

r r time than the autho w o te . If th e differ enc e in th e var iants o f the E and D ver sio ns a re t o o r m c o i th e r i r r io due the auth , D ust nta n ea l e ve s ns ’ ic e r r in i im c o i i o wh h w e late , but Wyatt s l fet e , p ed nt the

E r e i hi M . m o m c o mm t o S . o , and v sed by If the p e s n D

E r o 3 c o r r o o r e i i r i and (G up ) b at th s v ew , the e w ll be just r e aso n fo r c o ncluding that D c o ntains earlier ver sions o f m the po e s .

GR OUP 2

Th e o m c o mm o t th e E o . a re o e p e s n A and MSS s nn ts ,

ire o f o o r o m m sat s , and the Song I pas sh t p e s , and the Psal s . The satir es have been c o nsider ed under Gr o up 1 bec ause o r io o f ir a r e o i m p t ns the sat es f und n D . The Psal s will be c onsider ed by them selve s and c o mpar ed with the 1 807 c o o f m rc e e i io py the Psal s (Pe y St v ns ed t n) .

N a tu r e of the va r i a n ts

in r r o o o i i As the ﬁ st g up , the s nnets sh w sl ght d ff erenc es ’ c o i r h e r r o . t o c e and py st s e s In s nnet , My galy harg d ” “ i o r o r i is c r o o u t w th f getfulness , the w d l ght ssed in ’ 14 SIR THOMAS WYATT S POEMS

th e i th e A ver sio n and r epl ac e d by the wo r d lyfe l ne r e ads lyfe l h c e As tho that de th we re light in suc a as . wo This is n o do ubt an e r r o r due t o the c o nnec ting o f t i ch i h i h Oppo site deas , su as day and n g t , l fe and deat (as r e r e h r is im i r c in th e . he ) . T e e a s la ase D MS whe day and

m . n yght o ccu r s and day and howr e i s r equir ed fo r the r hy e ” Av sin r i b e m e s E r Th e so nnet y g the b ght , , eads ” is ri r o m r a vissa r e Ad v sin in . y g , A It de ved f the ve b , t o gaze at ; th e c o pyist o f th e A ver sion alte r s the wo r d

i o n e i c o hir o f c r u e l n e s t o advis ng . In nstan e the w rds

r i E i is n o t r o o c o i o f o cc u n . Th s unde st d by the py st the

i h e in i o r i r o . A ve s n , and left a gap the l ne An the Ital an

o r a t ra ce d E is r e t o a ra ce d o u th e l ate w d , , ( ) alte d (A) , y y i E is l e r t o o u th e l r il ir des re ( ) a t ed y y f a e des e (A) . In the last c ase it will be seen that an extr a syll able is gained in

e r io i r io o f o r r i in the A v s n , but the nse t n the w d f a le

c e o u th e l in E fo r it m t o r A balan s y y , was eant be ead as a l th e c o i i t ri o o t o r i l . syllab e , and A py st t k f a d ssyl able The “ i o r Fo r p o em M ne lde de e enemy varie s c o nside r ably . e xampl e X XI . 5 E . st . , l A . H 5 . e mi e r : an d i he He is r e r i hich e l . is ll s ns t n ul s ns w Ib ll Ine ver be ll strike s n e v e r str ike s h 6 . r a m l . Whe e I t at I i h e r e That I i he re n o t as so und ing

’ n o t my plainte to r én e w to r e n e u e

. h m e l 7 . And h e I i s lf Ihe kno w My plainte s : Himse lf l h e

e th that Isa r e kn o w e th h r e y is t u . l t at I say is t u ] E . . 2 st VI .

Or e ls m o thr i e e Or o h e r i e e me Of a l y j g ft g v n t | g ft Ig v n . me o f e e x r i e r natur (Al and n ) . natu e .

The ch anges made in the A ver sio n in the ab o ve examples a r e in o rder t o b r ing the lines into the c o mpass o f ten

1 ’ ’ The r : Ch e e e Italian uns la t mp sta e l ﬁn p ar ch abbi a schern o . ” r e r e e th o h e h e r e li ht ch c e Wyatt t anslat s f ly , As t at d t w g in su a as . THE 1 5 COMPARISON OF MSS .

1 syllables the E ver sio n c o m e s into a ﬁve - str essed lin e by slur ring vo wels in juxtapo sitio n and by ad mitting trisyllabic ‘ ’ e i i s o n e o f m o o f o ms fe t ; but th s the st faulty Wyatt s p e ,

i i h e E i s a n r m . a n d by it s p o sit o n n t MS . ea ly a tte pt Th e style o f variant in Gr o up 2 is simil ar t o that in Gr o up ’ 1 m i f r c o f li o r c o i rr o r , na ely , d f e en es s ght w ds , py sts e s , c ich r - l i in l ra io hanges wh ensu e a ten syllab e l ne A , and a te t n

i r ic r l i e o r t o o c o . av d a ha , Ita anat w ds

3 — m mm t E R o c o o . G OUP . P e s o n D and

o o . R ndeaus , Odes and S ngs

The fo llo wi ng example s in the var iants pr o duc e a better po e tic al eff e ct in the E ver sio n

e ho o e 1 . B ld l v D To th e d isd a yn f ul E To the d isd a yn fu l To th e di s te fu l To th py e spite ful .

2 Re o m o ce . s und y v i D O Tyger s her t wh o hath thus E 0 sto n y her t ho hath thus clo kid the j o yn e d th e tha t a rt so cru el co ver ed wi th S o cru ell tho u ar t clo ke d with b wtie b ti e e a l e .

he ﬁe ro e 3 . T y f m m But sins that I s o gen ti lly But sins that I s o kyn de ly am a m se r vid Wha t thin k you by this that I wo u ld fa i n kno w what she s he hath d e se rvid ; hath de se r ve d

4 n o . I find pe ace I flye a bo u te the hesi n ye t I flye a bove the wi n d ye t c a n I ca n I n o t a ryse

5 He v n e h . y and r t

M her te m l o wke m M ace m l o wke m e re y , y , y y f y y t s te r is Myn Iyes my wo r ds and e ke Myn Iye s my d r e r y c her e ” 6 . e ir e m m e r an d m fo hi e i r m fe r in e e r D s alas y ast . y . T s p g a dif s v y e r e h a s h o u t e ir e th e r e . E t e lin , it is w itt n nt in Va iant Tabl r o e r m o r e o e c e r io th e hr i e e r st ng and p ti al v s n , p as ng is b tt and e r o o e in th e a i e allit ati n is av id d l st l n .

1 e m o e x r i e o c n 1 4 . Wyatt pl ys Al and n s c as io nally ; se e last quo tatio n o p . 1 6 SIR THOMAS WYATT ’S POEMS

m E i o i s im o m In all these exa ples , the vers n an pr ve ent o n r io E m 1 o i r i i o f the D ve s n . xa ple av ds a epet t on the pr eﬁx d is ; E xample 2 alter s Tyge r s hert with its idea o f i erce c r o r in r r r f uelty , to st ny he t , o de to exp ess the co ld n s r io i fo r es o f the lady . The alte at n of gent lly k n d e l in E m 3 o i r i io fo r en til n es y y xa ple av ds epet t n , g o cc r in r i o i i is i r o m u s a p ev us l ne , and the dea th s Th ugh y m t o ff r a m n o w r gentleness I have been ade su e , and t eated

i h e r i i s i ic gent lly by gent lly used ron ally , but i i fo r if o r c i e n til n e s f o r g ves a false dea , the l ver e e ves g e n til n e s c o c o m l i i ic m i is g he ann t p a n . The ron al ean ng

r o o o u t r the ef re better br ught by anothe wo rd .

E m 4 - h xa ple . T e D ver sion tr anslates the Itali an e ’ ” o o r l ci o E io r i v l sup a el , but the vers n exp esses the ex stenc e o f two c o ri in c o n r o i the ntra es deg e , by sh w ng that r n o o c in f h s i o i . the e was apparent bsta le the way . ﬂ ght ” ﬁ e a bo ve the wi n d c a n n t ri o E . I y yet I a se , E m — 5 , Th e E r io r c io o f i xa ple ve s n p events onfus n deas , r in o r i o f i o M a ce by exp ess g the utwa d s gns gr ef nly , y f , m lo wke y . The D versio n c o nfuses the metapho r o f o r i i i ri M the utwa d s gns w th the h dden seat of g ef . y her t m l o wke , y . . The weak initial syllable is occ asio nally suppressed i n E

D the r witha l swe te l E The r witha l s we te And y ly .

The pro no un is c hanged from the partic ular to the ge ne r al

a m n o t d ed ho ha d E D I alt I a He is n o t de de that so m e tyme fall ; h a d a fall .

ri in E r o 3 a r The va ants and D , G up , e similar t o tho se in o 1 Gr up . The E ver sio n in m any in stances is an am end m e o f r io is nt the D ve s n , and o f such a c har ac ter as an o r o i auth w uld be l kely t o make in his wo rk when he had i n t o r r i in c o m o i atta ed g eate sk ll p s tio n .

’ 1 8 SIR THOMAS WYATT S POEMS

- i r a r e n o al ter atio ns t o ensur e a ten syllable l ne . The e c hanges in language o r in m eaning in o r de r t o o btain a i m Th e ch m fo r o i ic better vers o n o f the po e . ange ade p l t al r i reaso ns gives so me c lue t o the date o f the A ve s o n .

E S o sacke s o f dur t b e ﬁlle d up A S o sacks o f dir t b e ﬁlle d th e r in the cl o yste r ne at co ur tie .

T Mi scella n o tte l keeps the r eadi ng o f A . The y was ’ i c c i in in 1 5 5 r r i t o E o . pr ted 7 , a yea p ev ous l zabeth s a ess n c m t o o in 1 553 it ri h e r r i Mary a e the thr ne , and was du ng e gn r c io o n m o ic i r r e r ic that efle t ns nast l fe we e ga ded as heret al , r i cc o r di l i in r io and we e pun shed a ng y . The sat res the A ve s n 1 55 r r 1 55 r o r i r 3 o 7 . are the ef re not ea l e than , late than By i i c r o f r io is a t l ea s t nternal ev den e , pa t the A ve s n eleven r 1 54 2 e wh o i in . yea s later than Wyatt , d ed Languag had c o m m o r i m o i o rm be e e ﬁxed , spell ng re un f , and the ten in r i c o i o f syllable l e was w tten with ease . The py st the A ver sio n at times either m isunder sto o d o r was igno r ant o f

r io m o f the exp ess n and the etre Wyatt . o r i in i c o f On the the hand , the var ants D bear ev den e

in o ri i r io f o r a r e o in E c o r c be g the g nal ve s n , they f und , re ted

in hi s o wn i i r i E by Wyatt handwr t ng . The ve s ons in are ch c i ic o f r ara ter st the autho .

h r is n o m in E t o in t o T e e atte pt the MS . regulate the l e

- ive - s tr essed i m a m a ten syllable , but a f l ne y be ade out by m ad itting trisyllabic feet and slur ring vo wels with o c c asio nal e i e Al xandr n s . The additio n o r o missio n o f syllables is

r o fo r o f m r o r e in neve f und the sake the et e nly , whe as A ther e is a distinc t te ndency t o bring the line within the c o m o i . e . o f i r pass f ten syllables ( ﬁve Iam b c feet) . The e is but o n e instanc e in D in whic h a p o em has evidently been c o rr ec te d fo r the sake o f the m etr e ; the n o n - c o r r ec ted o rm is o in E is m f f und , and eant as a m etr ic al experim ent by Wyatt .

c e , in i o n e i c o c i i o i f o . D ex pt th s nstan e , sh ws s gns nta n ng THE COMPARISON OF MSS . 1 9

r r io E is c o rr c r io o f the ﬁ st ve s ns , and the e ted ve s n D ; c er tain c har ac teristic c hanges a r e o bser vable in E whic h

o i t o c o r c io o r o f p nt r e t n (by the auth ) the D text . r o f ri in E a r e i o r m The natu e the va ants A , , and D un f

i r r ro o . r c o o m o n e th ugh ut the MSS , but va y ns de ably f h ano t er . CHAPTER IV

TH E PS ALMS

The P en i ten tia l P sa lms r emain t o be c o nsidered . They ’ o wn c fo r are wr itten in Wyatt s hand , and ex ept the Song i m in o f Io p a s (unﬁnished) they a re the last entr es ade r i o i o the E MS . They we e pr nted by J hn Harr ngt n and

o m Ra n a u l d in 1 54 9 a re o in Th as y , and they f und the A ’ r io r n o t i c in To tte l s Mi scel la n . ve s n , but we e n luded y o The questio n o f the Psalm s is impo r tant . N tt suggested

m a r i o r io c r u that Wyatt y have w tten an ther ve s n , a ef lly E i o f c o r r c c e m in . o e ted , be aus the Psal s the MS sh w s gns

i i ri c r r c r e - c o r r c be ng hast ly w tten , and are o e ted and e ted , i E c o i r o g ving the impr essio n that the MS . nta ns the ugh

r d aft . m r r i in 1 54 0 ri r r The Psal s we e w tten , du ng the latte pa t o f r i ri i 1 54 1 m the yea ; Wyatt was mp so ned n . If the Psal s r i i o c o m o had been ev sed aga n , and an ther py ade , as N tt

it m o f his i 1 54 1 suggests , ust have been at the end l fe , Jo hn Har rin gto n in all p ro bability wo uld have rec eived ’ i i o r i E M S . o n th s vers on , t gethe w th the , Wyatt s death , and

o it f o r th e li 1 54 9 w uld have used pub c atio n o f the Psalms in .

i i i e r c o cc r o l r c in If str k ng d ff en es u , they sh u d be t a ed the

1 807 i io o f r c fo r i o r ed t n Pe y and Stevens , these ed t s used th e 1 54 9 i io o r i t o m ir ed t n , t gethe w th the MSS . , ake the

r io ru m i io o f m ic is t o in va ed t n the Psal s , wh h be seen

1 r o m his r e e e 154 1 t o his e h 154 2 he c e e e But f l as , , d at in , was a tiv ly ngag d ’ in h t e e r i ce . r i h e h e e m o h o f his e e r King s s v Du ng t is last ig t n nt s lif , H n y m VIII se e s to have place d m o re tru st in Wyatt than in any o the r man in the i o m k ngd . THE PSALMS 21

’ m r c o in the ri i m N o w r r o . Th as Pa k s py , B t sh Museu efe ” i i c t o o Th P . . e se s nees are m ade n th s o py the MSS . and C f r 1 54 i e o r i n ted i . 9 . r co . co lette s ev d ntly stand p py , e the py i f r r P . m i r C o . t is t o r Whe e . d f e s f the MSS fo und ag ee with th e E ver sio n it is therefo r e safe t o c o nclude that Wyatt d id n o t m ake ano ther c o py o f the Psalm s as they

' e r in E r io so W r r i b o app a the ve s n , they e e p nted y J hn r i Ha r ngto n . The m o st im p o rtant variants in the Psalm s will be fo und

1 4 5 o f V r i i ri o n page the a ant Table . A has sl ght va ants , suc h as have been no ted thro ugho ut the po em s— o m issio n o r m i io o f m o r c in o i o ad ss n s all w ds , hanges a w rd w th ut r io o f c i r io o f alte at n the sense , and hanges w th alte at ns the meaning . r i i c c f c i m i There a e e ght nstan es of hange af e t ng the ean ng . c r in wea ken i n o the a s sa e All these hanges esult the g f p g ,

i f P . o E r i i r o . C o o c wh le the ead ng f ll ws the ve s n , ex ept ” li F r tha t i n hei n s t o fie his r so ff E o r . the ne age y , The i To r i r m t reading in P C . s fo e gn eal s o fie his rage s o ” r ff r i in is o r i r m to fie hi s y . The ead ng A , In f e gn eal s ” ff m r i a r e o in E rage so ry . The sa e ead ngs f und and “ ” P C i th e r io n o t o c o f , wh le A ve s n nly has a hange m eaning but sho ws deterio r atio n o f the text ; fo r exam ple

hi r k n s rr E 4 sko u r e u . . 1 . 1 . R C P s . 3 By g and w pp and p y y g p and

o r e h r k n so u r e s . By sk g and w ipp and p y y g . A

h mble n in t e . E 2. to hi sa ru n R But t s y g way and C . o hi sa m le r ou n i n in the But t t s p g way. A .

In E xam pl e 1 the vigo ur o f the line is quite spo iled by rr t r c hanging the wo r d spu o so u es . m E m 2 m E m . In xa ple sa ble ( ) eans asse bly Wyatt , in ic r o rci d c i io a part ula ly f ble passage , es r bes the nat ns and peo ples str eamin g to war ds the gates o f the heavenly Je ru

m o ff c o f his i i i t o c l sale , but breaks be ause nab l ty a l up an m i r u n m r image o f so vast a ult tude ; n y g eans unnin g . 22 SIR THOMAS WYATT ’S POEMS

In A the alte r atio n results in no nse nse but t o this

i rin in . e . samp l e r o un in g (i . wh spe g) the way i o i o f i f r c E E In the essent al p nts d f e en e between and A , ” t o m e r i c P C . a re o and f und have the sa ead ngs , ex ept in the alter atio n o f t he wo r d heins in e ver y c ase o f i i o r o di c s r . fferen e , A e the weak abs lutely faulty All the i i c r o r r o E c o i ava lable ev den e , the ef e , p ves that nta ns the ” r io o f m m P o nly ve s n the Psal s ade by Wyatt ; that the C . 1 54 9 i io m i e i e . r m o r c o . o ( pr nt d py) , the ed t n , was ade f the E io o rr i o in i o r vers n ; and that J hn Ha ngt n , be g gn ant o f the ” o r i m o m E i i w d he ns , ade a paraphrase fr the ngl sh vers o n m i i r ic r i 1 o f n . is i c the Psal s , th s pa t ula verse He ns a d ale tal o r in o ld o r ir i c r c t w d , used Y ksh e d ale t , and t a eable o Ice ’ i i i mi o f o r ir l a n d c o . o i in r g n Wyatt s fa ly was Y ksh e r g , henc e his th e o r r o c c r in use of w d . It neve u s the S o uth ; this fac t ’ m a c c o fo r its o mi io in o r r in o e i i y a unt ss n J hn Ha gt n s d t o n . ’ The Paraphr ase o f the Psalm s is Wyatt s lo ngest pie ce o f o r it r i i w k , and was w tten late It w ll be advisable t o co mpar e so m e o f his char ac te r istic lines in the Psalm s

i m r o m r i r o m in o r w th exa ples taken f the ea l e p e s , der t o ﬁnd o u t e his m o r wh ther eth d alte ed . These exam ples will then ’ c o m r i To t e l s r i be pa ed w th t ve s o n . In this way we shall ’ i c To tte l c in o u t m o d s over whether was arry g Wyatt s eth d ,

o o in i i c r in his o r by f ll w g up h nts d s ove ed later w k . Examples o f ve r siﬁc a tio n in the E ver sio n o f the Psalm s

In t a l s tr n t 1 . i i o g s r ess Fés ltr d is by fo l llie and n e g llige n s hé d a mith his d ed e s and fyn d e th Iplayn e (E ) f he d a m c . ( lith this his d ed e and fyn d le th playne ) (A) In er ted str e 2. v ss

Love to give law unto his subj e c ts b er te s S tode in the Iyes o f Bars ab e the b ryght

S lu rrin o a 3 . g f voc l sylla bles

Io n th e lo r d Ihave e v | e r se t I my co n lﬁd e n ce (E ) in th o f . (I e lo rd have se t my co n lﬁd e n ce (A)

1 e in : fo r m e i see H s an ng Glo ssary . THE PSALMS 23

The che re the mane re b e a ltie and c o nte nance (E )

1 Oh happy a r e the y y have fo rgyffn e s go tt

Altho in the b e n o alte r atio n

S o a r myn e n tr a ilis infe c t wi th fe r ve nt so r e

O Lo r ho kn o wst the r co e m io d t u inwa d nt plat n .

4 . S lu rr n o wea k s ll a bles en di n in r l or n be o r e h i g f y g , , , f ano t e r we ak syllable In e vil fo r go o d agayn st me the y b e be nt

and the fo r e ve r e te r nity do th cr o wn

th o h e e r il o e r h I av fall n by f a ty v t war t .

- - 5 . S i ri t is mo o ic e th is e e r n o n ic th e o p n syllab , and g n ally syllab in b dy o f the ve r se No r in his sp ryte is o ught undisc o ve r ed

An d nn e th to o his e i e gy all w payne and p n t nce .

E xamples will n o w be taken fr o m the earlie r po ems in ’ or der t o c o mpare To tt e l s ver sio n

In i ti a l str str ess a n d str o n str ess a ter the ces sa ra 1 . on g , g f

E As lsu r éd by cr aft t o e x T Assur e d by cr aft fo r to e x c use thy fault cuse r e e sa a r t r e e de r in Fa w ll I y I] p | ing Fa w ll I say I pa t g . fr o m the i yre

2 r n o a l s lla bl e s . S ta ri g f voc y E On e be me o f pit lie is in he r T On e be am I o f r uth is in h e r cl o wd o e cl o wd o e | y l k y l k .

e w t n h 3 . S lurr in g o f vo w l i h a fo llo wi g

E And to my p o wlr e a lwa ie s T An d t o my po wr e Ialways I

th h ve the ho o r ed have I e o n o r e d ; ha n .

4 The e r mi io - e th is e e r r e r e n o n - c th e . t nat n g n ally ga d d as syllabi in o f the e r To tte l o i s hi e r mi io b o dy v se . av d t s t nat n

E Me lyste th n o l o nge r r o tte n T Me lyst n o l o n g le r bo ughs t o clyme

’ in ea r li er o ems in P s a ms u se s Thus , the p , as the , Wyatt T tt e l e c r m h f e r iﬁca ti n . o o i s m e tain et o ds o v s o av d th . Other c harac ter is tic s in the E v e r sio n n o t fo und in To tt e l

m o m - Er - Ed - Een - Ou o f are the e pl y ent of ﬁnal , , , , at the end ’ 24 SIR THOMAS WYATT S POEMS

’ i r a lin e ; this is a metho d ado pted in Wyatt s earl e , and

n his r o e m avo ided i late , p s

E d , E T / ha s o The r wa Sn év er ffile half so Was nev | e r file ye t lf I d wéll filéd l wéll yfile . h To fram e o ther while I was bé To fr ame o ther while t at I was

il e d . giléd b e g

- sr E , T d ain e d shuld The n gile b e gil le d plain e d The n gile b e gilé pl ’ ’ shu ld b e ne ver be n e v(e r ) ’ And the r e ward little tr ust fOr And th e r e war d is little tr ll s t fo r

' e ver .

en E , T hu d hé I sér lved the n o t to Ib e for I serve d the n ot that I s l ’ saken fo r sak(e n) But to pr e serve it was to the But to pre ser ve 10 it to the was

n tak e . take . ( n)

On E , T No w sins in the is mine o ther No w sins in thee is thére n o n r eason Othe r

All these examples sho w deﬁnite r u les o f c o nstruc tio n i io C a re m fo llo wed by Wyatt n the E vers n . hanges ade

in To tte l i n o r d er to a vo id thes e r u l es t o r t o , and adhe e a r egular dec asyllabic o r hendecasyllabic lin e with alter nating

r o r m a o r weak and st ng st esses . It y be n ted he e that whereas the A ver sio n o f the sonnets is very similar to o f E To tt e l m r o r i n fo r m ic that , has nu e us alte at o s etr al

r o . pu p ses (See table . )

i l a r e t o c m o m o F na ly , we able o pare the last p e (The S ng o f Io a s in E i T t l . o t e fo r i o is p ) the MS w th , th s s ng i c in Mi scella n r re n luded the y . If the e a any diff erenc es in ’ Wyatt s late m etho d it ought t o be disc o vered here

A l . 3 h T at myghty Atlas d id te c he the That mighty Atlas ta ught the e r l as t n o supp y g l ng ; suppe r lasting lo ng . b ( ) 1. 4 . i h cris id W t p lo cke s o n go lde n With crisp id l oc ke s o n go ld e n

h r Io a s in his o h r I a p p sang s ng a p o pas sang in so ng .

’ 26 SIR THOMAS WYATT S POEMS

t the te xt o f No tt with that o f To tte l ; had he been able o E h e o i c o r his examine the text , w uld have d s ve ed that

r r c o f To tt e l is i io surm ise was c o e t , and that the text nfer r ;

tt e l c o r r c fo r r o o f m r i in o the r c ases To e ts pu p ses et e , w thout weakenin g th e text . ’ is f im o r c t o o in It o p tan e , then , n te that Wyatt s latest The P sa lms The S o n m o r in th e E MS . w k , , and g , the Psal s

h r i o i i c ri r io o in t e A ve s on sh w d st n t dete o at n , and the S ng ’ i r i r io r t o th e o i in io in To tte l s ver sio n s in pa ts nfe r g al vers n . Th e p o ems have n o w b e en r evised ; a glanc e at the Table V i o ric o r if of ar ants sh ws that the ly al s ngs p esent few , any ,

i r ce in r c r fo r r o a r e c i d ffe en s st u tu e , the eas n that they h eﬂy c o m o in i h i o r o r o r in c o m i io o f p sed e g ts , s xes , f u s ; b nat ns r c r e r o m i r c these ve ses . The hanges sult f the d ffe en es of

r m in th e ec ic i c t eat ent d asyllab l ne ; A shows a tenden y , To tte l i i c a im m in c l and a d st n t , to ake the l e a de asyl able o r hendec asyllable by alternate weak and stro ng syllables o f ﬁve Iam bic feet ; the D and E ver sio n give a wider sc o pe t o th e li o in i ic c o f ne , by all w g tr syllab feet , absen e weak

r o r ic t o n o t r st esses , and the dev es ensure , a egular alterna io o f r o i i t n weak and st ng syllables , but a l ne w th ﬁve strong r f r i . o c in a r e n o t o r st esses Many the ly s D f und elsewhe e .

o n o c o mm o t o D E a r e o The R deaus and S nnets , n and , f und r evised in E by m eans o f cer tain charac teri stic c hanges ic mi r ll m wh h ght natu a y be ade by the author . On the o ther

r m a re c o mm o E c hand , whe e poe s n to A and , the hanges in a re n o t o ic o c m A th se wh h we sh uld expe t fro the author , but a re such as wo uld natur ally o cc ur in c o pying poem s ’ r c i o f c o i r at a late date , and ons st py sts e rors , o missio n o f rc ic o r in c o f m a ha w ds , and , the ase the Psal s , deterioratio n o f the text . tte To l c arries o u t tho r o ughly what we ﬁnd in A o cc asio n ’ - ally the r egu lating o f Wyatt s ﬁve - s tr es sed l i n e with va r ia

ti o n s to ﬁve - o o m , a f t Ia bic line ; deteri o ratio n o f the text

o o c c in To tte l in c o f o o f Io a als urs the ase the S ng p s . THE P SALMS 27

To tt e l i c o i e r in th e o e o o var es ns d ably S nn ts , A f ll ws the i ir o To tte l r E ver s o n . In the Sat es b th A and vary g eatly

m E c is m o in io in fr o . A hange ade b th the A vers n and — To tte l fo r po litic al reas o ns t o avo id any r eﬂec tio n o n i i h i ic c . i r m o nast l fe T s g ves us a date f o the A MS . wh h m lie e r 1 553— ir r ust betwe n the yea s 7 . These sat es p esent i r c m r i c m . o any d ffe en es It see s p bable , then , that s n e the

o in o o E ir c o r o m S nnets A f ll w fa ly l sely , and the late p e s , c i m ir c o i r espe ally the Psal s and the Sat es , vary ns de ably that there wer e two peri o ds fo r the wr iting o f the A MS . ; the S o nnets wer e co p i ed witho ut any intentio n t o r evise . ’ r c r i r Late , e ta nly eleven yea s after Wyatt s death , the Satir es and the Psalm s wer e r evised ac c o rding t o the

i ci o f r - i e pr n ples the egular ten syllable l n .

CONCLUS ION

The r esult o f the examinatio n pr o ves that Wyatt has c t i - d e ﬁn e d c r c ri ic t o er a n well ha a te st s , and he adheres a

i r r r m c r o in i o . e ta n standa d , b th the ea l e and the later p e s a im in r i is c o r t o i r The the A ve s on nt ary th s standa d , and

r r i h io To tte l igno es o del berately c anges it . The D vers n is o e in o m e i c t o c o i r i r io pr v d s nstan es nta n the ea l e vers n ,

r in o r r c E i r it but whe e the espe ts d ffe s , appears to be a

rm t th e r im e f o c o r rected fo due o autho h s l . Thus D th ugh

’ iff r i r o m E is n o t o l r li r d e ng f , n y e able , but p esents Wyatt s

r r r ic is c r r hi hi r h i o c m in s o . ea l e wo k , wh h e ted by aut g ap MS One instanc e o nly o c cur s in D wher e the fo rm o f the p o em ’ i r i r is ev dently ev sed by ano the hand than Wyatt s . A and To tte l have c er tain c har ac ter istic s in c o mm o n ; i i i r i i s To tte l s o . c r c r c A tentat ve , but tho ugh These ha a te st s ’ ir i c i m o o in are ent ely at var an e w th Wyatt s eth d , b th the

r i r i r m To tt e l e i r e ea l e and n the late po e s . d l be at ly sets ’ i r fo r r r - i as de Wyatt s standa d , a egula ten syllable l ne , ’ 28 SIR THOMAS WYATT S POEMS

- d m whe reas Wyatt in clines t o afive s tress ed li n e with mu ch fr e e o ’ withi n the li n e ; therefo r e To tte l is o f n o use fo r Wyatt s i c r i text ; his impo r tanc e is indubitable as pr esent ng a e ta n f his o wn h o i c stage in ve rsiﬁc a tio n o day , s w ng exa tly the ’ change that h ad taken pl ac e sinc e Wyatt s death . ’ r t o E e o wn MS Therefor e we must tu n the t xt , Wyatt s , o o it c c To tt e l fo r ve rsiﬁc a tio n as he underst d , and a ept as a late r stage in the insistence o f regularly alternating we ak and stro ng str ess es ; it is the r educ ing o f t h e line t o a dead h m it so it n e c e s leve l o f c o r r ec tness t at akes dull , but was i E i o wh o it i sary as a bas s fo r the l zabethan p ets , fused w th

re i the ﬁ o f gen us . ’ As Wyatt s schem e is disclo sed we c o m pr ehend that he

im c o cio o f r o in e r o i i i ie was d ly ns us , and g p g aft , the p ss b l t s o f the E ngli sh ﬁve - fo ot lin e ; h e wanted t o m ake o f r hym e r l c i in r what Shakespea e ﬁnal y a h eved blank ve se , but he d id n o t gr asp the fac t that ver se bounded by r hym e c annot

i r m a b e allo wed the fr eedo m wh ch blank ve se y p o ssess . ’ i i r o c r it Surrey , ndeed , nt du ed blank ve se , but was Wyatt s

in its i its re o m r ic ici l e at best , w th f ed and st ength , wh h ant

r c o f r pated Shakespea e ; the absen e weak st esses , and the juxtapo sitio n o f two str o ng str esses to gether with enjambe m m e ic r r r i hi ent , were the ans by wh h Shakespea e a ved at s m i c io in r agn ﬁ ent per ds blank ve se .

l i e t o his o m l i e If Wyatt had v d see p e s pub shed , th y

o c i l o f E M t S . n o w uld erta n y have been the text the , and o f T t that o te l .

To tte l e e i e hi t o d o s s a l ttl t ng , ” S ee it o e s and d s it, W i h r e a im to r e yatt w t a g at pu su , ” e e r e he o it Di s kn ws . CHAPTER V

’ Wy ATT s LANGUAGE AN D GRAMMAR

’ WY ATT S language pr esents o n e o f the di fﬁculties in the

o f r i h is r r i - c way unde stand ng ve se . The ea ly s xteenth entury

in E l r c in o f ﬂu x / language ng and and F an e was a state ,

o r m o r in r c iff r r o n u n and w ds , de n appea an e , had a d e ent p ’ c ia tio n Th e h l i ir r l r f r . c o in a t ng , egu a effe t Wyatt s ve se the pr esent day is l argely due t o per sistently r eadi ng him i c i n a m o der n way . The ne ess ty o f c o nstantly c hangin g the ac c ent o r even the pr o nunciatio n o f the r hym ing wo r ds

ic n o o e r r m o r r o c c wh h l ng hy e t gethe , p du es an unne essary ’ r c o o in his o wn e ha shness . But l the Wyatt s th ughts languag

m c o f th e irr ri i r fo r is and u h egula ty d sappea s , the eye an a id t o e a r i - c l in the , and the s xteenth entury spel g helps us t i o ado pt the ac c ent that Wyatt ntended . ’ The use o f th e R o m anc e ac c ent fo r m s the basis o f Wyatt s r o h m r p nunciatio n in t e early po e s . It was gene ally o n the

i o f th e r o r r o o r last syllable , nstead ﬁ st t syllable afte the

E i m r— c r e a s On se a sén l e a sri r e i o f ngl sh anne hen e , , p nstead

r e o e o e r . as n , s as n , pl asu e ’ In Wyatt s day the ac c ent was steadily shifting t o the

o o l e in a ll o m c o r m t o r t syl abl R an e w ds , and Wyatt see s have i i i i m his been del ber ately ar c ha c n the earl er p o e s . In later

o r it is o ic f o r r e h e o i o m c w k less n t eable , the av ds the R an e

i hi r m i m acc ent n s hy ng sche e . o o ic l r cc In the S nnets and R ndeaus part u a ly , the a ent o e o n th e l l - e r - e n - o r - e d th e o f ft n falls syl ab es , , , , at end l i o i ch r m in ir a ne , but Wyatt av ds su hy es the Sat es and 29 ’ 30 SIR THOMAS WYATT S POEMS

r i r r m c r i ri ic the Psalms . The ea l e hy es have e ta n se es wh h — n e r m o o e o o , Wyatt c o nstantly uses fo exa ple , d ne , g n , al ne , c r m o r r r o o o m o an , hy e t gethe , and we e p bably pr n un ed ” appr o ximately t o th e New E nglish wo r d go ne . i r Th e fo llo wing series c o nstantly o c c ur in the ear l e part

o f th e E MS .

e ice rise se r - ise ro o ce e N . E . e e . W se de vise is e i . . ) , a , p n un d l k as i , , ( i se r e r a e vis , gui , is , pa dis

e r u e r e r - e r r o o ce e m o e r r e ch OHarb e r , bann , s ff , dang , p n un d lik d n F n r ne re ﬁnal e e .

- e r sme r t e r e r e e r e e r r o o ce i e N . E . e r e , H t, , p s , v s p n un d l k in h e t e r .

o e o e o n e o e m o e o n e r . e N . E . o e . G n , al n , , d n , n p lik g n

a a se r h me i h Cas , p y s w t pass , alas , b e n o e h e s ild a m , ft n t n , tru s r ce u s e e r e e y (t u ) , abus , fus , co me o m e o o m co m e o me ime , s d ( is s t s e cu me sp lt ) , ﬁa me madam e , e n d e ve r e r e e r e e r e e r , p s v v , l v . he e r e r e te t , g at f , o o r e w rde s b d s , h last, past, tast ast, wast .

m ir o o f Io a s o The Psal s , Sat es , and S ng p sh w a great

c in th e r i c o ic o f m o m c cc advan e va ety and h e rhy e , R an e a ents a re o i r h m r is r c c in av ded , the y e wo d gene ally a ented the m o r m r c r m o o i a r e o de n anne , but su h hy es as the f ll w ng f und o c c asio nal ly

o e c o e r h m h u n l o se gl s , dis l s , y ing wit , ch e r ch e e r whe r ( ) , e ce pass fa , r ce c e c e se g a , as , apa ala (alas) .

All th e o r m a re o in C c r m o r o ab ve hy es f und hau e ; e ver , they a r e the r hymes that m o st c o mmonly o c c u r in the Ca n ter bu r Ta les . r o r rc ic in his y Wyatt , the ef e , was a ha

i d id n o t d o m o r m i sp ell ng , and a pt a e ode r n style unt l

o 1 536 e e ir ab ut , wh n he b gan the Sat es . WYATT ’S LANGUAGE AND GRAMMAR 3 1

’ Wyatt s spell in g m ay be summ ar ized under c er tain l i r o r r i mid deﬁnite ru es . L ke eve y the ea ly s xteenth and i c r i r his i r r i o m s xteenth entu y wr te , spell ng was ve y va ed , s e

o r a r e in o r six i r r i w ds spelt ﬁve d ffe ent ways , but unde ly ng the ir r egularity ther e a r e c er tain tendencies whic h r em ain his r r c o nstant thr o ugho ut wo k . He p eferr ed

to e a o r s e e w E i h e i e N . , , ngl s sp ll ng r 0 o , to c a o 0

to y , i

We e r e e r t e r s e r r r e e r . . ﬁnd t s , t is , y , but v y a ly t a s, as in A and T h e r her e h r e r r r e h e in We r . . ﬁnd t, t , a t, but v y a ly a t, as A and T

Us e o f e .

N e w E h . Wyatt . nglis e ea re d ed e n d e ve r h e a h e lth r e d d il thr e t b st, , , vi , , y , , e e w l th r e h ed h e vin e sse m e su r hr e e . d ns , d d , , , , s d , e r e c e r e fo r b e r e h e r e n e r r e e r e e r es e r e app , l , , , , d , y , f , e r e r l n , w y . b u e th e m e cle n e e ch s i e e e e e fe t d e e m . q , b , , , , l v , l d , d a r e e e r e e e tr e e r e e e se th e e r gg , f l , p t , , d g , p l , , (p s . r o o p n un) . e r e rr h e r S e r klid e r e she r e r h e r d t, f , t , p , st v , p , d k , d , s er k s e r klin e r r e p , p g , st .

r e h e fo r h . b nd, t n ( t an)

i n a ll e o N E ei a E Occa s o r i . . a n d or i N . y f , , f , .

e rm ke n d lid he r sh e ve r e he r i he r . f , , s t, , w t (w t ) h r e h e i ec a h e . f it , st ig t, and d al t l ins

Us e o o f .

o e co e c o e r o e m o e o ke o th . b st , l s, l k , g n , n , , o e o e o e o e o e sch o le o e b k , f t , f l , l k , s n , , w d but fo o l e ch o o e a r e o , s l f und . — - 0 m o o e d o o fo o o o to o to . In n syllabl s , , g , )

o n - u n h o u n e r th o u n d e r o e r , g , , w und .

- o r o r h er r e to ur n s wo u r d o r e o r f u t , , (als t n) .

o u b o w h c l o wd co wd o co d o wtfu l m o h . g , , (als uld) , , wt

a u c a wse ca wm e c m la wrill e . , ( al ) , , paws

o ur h o r e l o wr e o r e so wr e . w , , p w ,

co nsta ntly use d in e ar ly sixte e nth - ce ntury spe lling in place o f E “ ” N . . i . ’ 3 2 SIR THOMAS WYATT S POEMS

Ne w E sh . Wyatt . ngli ri h id e r 7 f n d n e r e v se t me e r ; , , , 5 I y , ky d , y , y , ty ﬁnd g t sp

re a r e o o d . ti , als f un n e k sse e s t n w n r in , r , , gyv , y , lyv , y g , y g g b ing si g so o a re a l f und . e l a n e n e r d isd a n e r e ma n e , co mp y , pay , t ayu , y , y vayn

o i in . als va n , disda ’ i Th e po e ms in Wyatt s handwr iting and th e co py st

- - i e o f r e er n th . Th e cr o f th e D MS . p f s y g and y s b

- - r i e in e th . th e E MS . usually w t s g and

Con son a n ts .

ise er e ri e se r i t wise vo se o de vise , , p s , p s , v s , , y ; als

vo yce .

- - n ce h e n e li e n s r e sista n s . n s ns , g g ,

r r ed skarr sikk skan t wiked n e s . k c (guttu al) ankl , , , ,

n k ri e thin ck than ck. n ck d n k , ,

o e ﬁssh e e n till o m e r e l e ffe o he n asshe , d uble singl , g , p pp , , s b , g

co o o e r o u ff s e llf o e . ns nants g nn , p , , s nn

he re co o in h ht th e co m i io wh . T is nfusi n g , g and b nat ns

ht l e n t r e . g g , st ngt h h h i h ho h h o . g sig t (s g ) , t ug t (t ug ) o r h who te h o t whe te we t h i e fo r o h i w ( ) , ( ) , w a t b t wa t and i h we g t.

Wyatt reserves the u se o f - e a fo r R o manc e wo rds in - a i

l e a su r o o c Fr i i r i o i o p , reas n , seas n , pea e ( . pla s r , a s n , sa s n ,

i m e u r m s . e pa x) , but (Fr sure) . T tt l i fo r i A MS . and o e have the ea spell ng nat ve and

o m c o i i c rimi R an e w rds nd s nately . R o m anc e wo r ds acc ented o n the last syllable figure in i r o f E m largely the earl e part the MS . When the etre r ire it o E i c c equ s these w rds take the ngl sh a ent , and we find , or f r iI h Or o t n e c r c a h én o r o n . f tune and , ystal and ryst l , and 1 The fo llo wing R o manc e suffi xes a r e fo und—

- a e ma e o r a e i a e g i g , ut g , v s g .

- r ai ] marvaill ail(l) t av l , .

- ce r ai u n ce r ta n ain t n , y .

1 hi s r e r e r o m Al scher S i r Thoma s W a tt n d S ein e T s li t is pa tly d iv d f , y u S e t llu n . W e 1886 g i n , .

3 4 SIR THOMAS WYATT ’ S POEMS

Th e o nly distinc tive Kentish wo r d fo und in Wyatt is ” c m l o fo r ie c o f c ant , e p yed a p e land , and hen e a

o r i p t o n .

Gra mma tica l Co n str u cti o n s

i i s o in c i e r o F nal e f und adje t v s , ve bs and n uns , and ” th e adjec tival e is kept befo r e th e adver bial ter mina

i - t o n ly .

Ad ectives o e o o e r e e . j b ld , l ng , fay , s ft Ver bs E xample s o cc ur in th e inﬁnitive and ﬁr st p er so n sin gular o f the ‘ r e e e e to ho un te o e r e p s nt t ns , , b w , bu n .

N - ou n s h e e o r i in s d o u b ae cl o wd e e n e s . w , g , , , and kynd Ad e v r bs : k n d e l so fte l r ich e l o o d e l o u the l . y y, y , y , g y , y y

is a . Th ﬁn l e is by n o means c o nstant .

P lu r a l s

The Plur al ending - e s is fo und in the E MS ; the usual o rm in i - i - . s s s . f the D MS , y

E M e u b t e s e r e S . W th o u hte s d a ie s o r e d o . itt s, g , , w d s , , t s M r is S . e e r i wi ttis e r h o o k s D y , s , , t is , i , e r s te s y , ry . Old N e P u ter l ur a l o cc r e e th e o r m I e s e s e e s . u s in Iy n , as w ll as f s y , y , y

Gen itive ter min a ti - e s on .

b o d es e e o r e e y as , lab u s salv .

Old Fe min in e Gen iti ve e n i - e o c cur h e r te d ng , s in he r e o rr o t s w .

Ther e is an inter e sting su r vival o f the thir d per so n plur al e r o l r o o i i i m o r o r ms p s na p n uns s de by s de w th the de n . f ; ’ these example s o ccur in the po em s wr itten in Wyatt s o wn hand wr iting

No m . h e o the he t i , als , t y , e h e G n . t ir e h e t ir ,

. he m he m Dat t i t .

Ve rba l en di n gs

E M - - . S . h r d e r o i e h s re e t es . T i p s n ng , p s nt D MS .

r r e - th - s a ly y y .

P - - r . e di e d id ast pa t n ng .

- ing WYATT ’S LANGUAGE AN D GRAMMAR 35

One exampl e o c c u r s o f ar c haic par ticipial end in g in ” l k r t . r o c c r r u a n d . q y Past pa p eﬁx y u s are y , ” “ ” ﬁx d k w e n o e n . y , y

NOTE — Th e y pre ﬁx is fo und in To tte l as a de vice fo r o btaining an x r e t a syllable .

S tr o n g Ver bs Rema in s o f the o r iginal ablaut ser ies a r e fo un d in foll o wing ver bs

- r e ch e to o r b a ce n h e r e . d av , as , t n , , s ap n , st ak P et P es en t r . si n . P ast ar t r . g p . dr ifa n d ra f Cl . I . ( ) ( ) dr ave ] ce Osa n cea C . II . ( ) ( s)

ch e . E . ch e e S rr e as (M s ) Cf . u y “ urr e fo r o ve h a ch e S y l t n as . (bae r )

t - r c o i The past par t . o to n nta ns an example o f the E i i r t i o . O. . ntens t ve p eﬁx One instance o cc urs (co wd ) o f an o ld fo r m o f the p r e ter ite ” e n t r li is c o ul p res ve b . The usual spel ng d .

“ f " . . c t e c e c o e fo re the r io o f I o n Cl II Can , u , ud ud , b int us n h o i h o o . anal gy w t w uld , and s uld

Th e Pr eterite yed e o cc u r s in the Psalm s

O. E . z e o d e z e e e e o r r e e lo m e , d , y d , by dina y palatal d v p nt e o r e r o o e o f g b f f nt v w ls .

i i i r f o r o c c r i o r - d o n e The ntens t ve p eﬁx u s n f .

Wea k Ver bs

o rm o f e e r ar e o in the o o i : e t sta u lk Unusual f s w ak v bs f und f ll w ng k s , ,

hri e . S G o s r s ght, qu nt ( ee l s a y. ) S hr i h s is o d in h c er A 817 g t f un C au , 2

S hr h s Eme ie h o e n ig t l and wl th P al a m o . ’ 3 6 S IR THOMAS WYATT S POEMS

1 i ni i e 2 e r Wyatt use d this pr e te rite fo r m ( ) as an nﬁ t v , and ( ) as a v bal no un .

m e shr i ht. ( 1 ) An d yo u so r e ddy sigh es t o make g cr (2) With d e d ly shr ight and y .

o f in Tr ac es o f dial ec t in Wyatt a r e few . The use k r i c a n t sikk r o o r . sk , , ska , and kest , den te n the n nﬂuen e

- - - mi io s is r . id o Th e plur al ter nat n y , , and the past pa t , f und ' 1 M m a d u e t o o r r o r i i in th e D S , y be N the n g n , and the

r e i o o nl in a r e r c t o wo r ds kappe , h ns , f und y Wyatt , t a ed a no rthern so urc e . ’ Wyatt s early r hymes and his m anne r o f spelling suggest

his m o l his m h o o f ve r sific a tio n that Chaucer was de , but et d at fir st sight seems t o be suffic ient answer t o p r o ve the c o ntr ary ; c a n ther e be any possible c o nn e c tio n between ’ i o f - i m o Wyatt s deas the ten syllable l ne and the s o th ,

r o i i o f C c r ? o r it m a regula , fl w ng l ne hau e More ve ( y be ’ r o m d o n o t C c r i in a gued) , Wyatt s p e s suggest hau e an f c r a re n o r o c n o c i i o f luen es , the e natu e t u hes , des r pt ons ” ’ i h in r r r o c . the s te season , wh we find Su ey s ve se But it is within r ec ent times that Chauc er and his system o f ve r sific a tio n has been disc o ver ed ; do wn t o the end o f the eighteenth c entu ry he was tr avestied by his edito r s ; the syllabic e whic h fo rms the basis o f his ver se was neg l e ct e d fo r o f i r o o e i want be ng unde st d ; ev n Dryden , wh le r c o i i his o r o it c r t o him o r e gn z ng w th , th ught ne essa y set bef e ” th e i c in m o o f C c r publ dern language The verse hau e , h e i is n o t m o di o t o it is o i m ic sa d , el us us , a r ugh d a ond wh h ” m o l i e r e it h i ust be p shed s nes . ’ Dryden s r emarks in the E ssa ys pr epare for the theo r y that Wyatt m ay have taken Chauc er as a m o del : The r C c r c o is n o t m i ve se of hau e , I nfess , har o n o us t o us ; but ’ tis like the elo quenc e o f one who m Tacitus c o mmends; it

1 Le ke b u sch Lon do n er Ur ku n des ra che von 1 3 0—1 500 E d , p 4 ( . ho h h s ws t at t e se no r the r n fo rms a r e use d indi scriminate ly with t h e mid o r m the Lo o e e ch o f hi e ri o land f s in nd n sp t s p d . WYATT ’S LANGUAGE AN D GRAMMAR 37 was a ur ibus i sti us temp or i s acco mmoda they wh o lived i him m im him o h it m ic w th and so e t e after , th ug t us al ; and it c o i in o u r m if c o m r i nt nues so , even judg ent , pa ed w th the

m r o f i o r his c o m o r r i is nu be s L dgate and G we , nte p a es ; there

r u d en ess o a S co tch tu n e in it ic is r the f , wh h natu al and pleas ” ’ in tho u h n o t er ect. c is r c r i ic i m o n g , g p f Su h D yden s t s ’ C c r r r m o m i s i hau e s ve se , at the ve y ent that he sett ng o r i i o f o c o m ri him o n f th the nat ve gen us the p et , and pa ng i n th e h r i o n e i o o i o cc c c o . the hand w th Ov d , and t e w th B a Dryden explains in the sam e essay what is lacking in ’ Chauc er s ver se It wer e an easy m atter t o p r o duc e

o m o o f his r ic a re la me or wa n t o s e th usands ve ses , wh h f f ha l a o o t so metimes a who le o n e ic n o r o f f , and , and wh h p ” n un cia tio n c a n m r i Fa bl es E ssa s vo l ii o . . ake the w se ( , y , , K r e . ed . W . P . ) Wyatt had very ser io us intentio ns in ve r siﬁc a tio n when

r o m Co r o r t o i r o c o he turned f u t p et y nt du e the s nnet , and

li - r i . c o r to estab sh a ten syllable l ne He was a s h la , and unde

o c r c o e e r r c his m r took the w rk a efully ; he h s P t a h as aste ,

m im E li m o His but needed at the sa e t e an ng sh del . o m r t o C c r r io th ughts ust have tu ned hau e , as the g eat nat nal

t him i e r iﬁ a ti o v s c o n . poet , help w th the o w ic r P n so n ri r t o i i N R ha d y , p nte the k ng , had publ shed B o Ca n t r u Ta l i 1 526 r io l the o ke f e b ry es n . He had p ev us y — printed a ver y beautiful edi tio n o f th e Ta l es 1 4 9 0 3 I (exac t o i t o r r C o date unkn wn) , sa d have been a anged by axt n ; but i o r i in r o o im it n o t th s w k was publ shed t ubl us t es , and was until the Tudo r s wer e settled ﬁr mly o n th e thr o ne that an i r in i r 1 526 i io nte est was taken l teratu e . That the ed t n was kno wn and widely r ead is evident fr o m the fac t that fo ur

r r o m i his i io cl imi yea s late Th as Thynne publ shed ed t n , a ng f o r it c o mpleteness and fr eedo m fr o m er r o r s whic h had ” r i r i r i i r is l i iff r c c ept nto the ea l e ed t o ns . The e ttle d e en e in th e merit o f the 1 526 and 1 5 32 edi tio ns ; the later ’ ic io o c o i m o r o f Ch c o r publ at n , h wever , nta ns e au er s w ks ; 3 8 SIR THOMAS WYATT ’S POEMS bo th sho w examples o f the o missio n o f the syllabic e and m c o nsequent c r ipplin g o f the r hyt h . r ic Wyatt l ear ned fr o m Ch auc e the use o f a syllab e . E xamples h ave been give n in the grammar sec ti o n sh o w in it o cc r in o c i r g that u s n uns , adje t ves , and ve bs , and i i is m r e befo r e the adver bial te r minat o n . Th s not e ly ’ i e i o r ve r siﬁca tio n o m o rtho graph c al . R ad ng ve Wyatt s fr th e E MS it is i m ic , ev dent that he eans a syllab e t o be r ead in c ertain pl ac es ; the plur al term inati o n - e s is i im r o o a r t o f m i also syllab c at t es . Wyatt unde st d the us c al c o m i io m o o t o o r pos t n , and just as he e pl yed a d t ed n te a r e to b a r in m ic so m o f ll ic st ﬁll up the us , he ade use the sy ab to i m r f h e g ve the full nu be o syllables to t e line . Wyatt

o his r r i i in o m c was als helped by ea ly t a n ng R an e languages , wher e the final e plays an imp o r tant part in ve r sific a tio n ; thus he was peculiarly fitted to c o pe with diffic ulties and t o gr asp the tr uth c o nc erning the syllabic e in Chauc er ic o r mi r wh h the s ght have passed ove . ’ ‘ COMPARIS ON OF WY ATT S V E RS IFICATION WITH P Y N S ON S

E DITION OF CHAUCE R

IT is wo r th while turni ng t o the text o f the 1 526 e ditio n

c r t o c h o w e t o Th e o f Chau e see exa tly he app ared Wyatt . ﬁr st few lines o f the Pr o lo gue to the Ca n te rbu ry Ta l es r u n as fo llo ws

’ ic P n so n s di io o f Cha u cer 1 526 R hard y e t n ,

h e ha r is sh u e s e 1 . W n t t Ap ill Hwi th h O r l sot ’ 2 Th e d r Ou ht o f ar ch h h r céd th r te . g M at p e l e O ' he Ze hir u s e ke h hi s so t r eth 3 . W n lp wi t lé b e n spy r ed hath in e v| r y ho lte and h e th Th e e e r cr o es an the é é s n n e 3 . t n ld p p l d y n g l O h th e Ra m ha l e his s n e l . Hat in f c Our e n

h e en a l 5 . T at sl p l night wi th o lpe n e y e

S o ri cketh h e m n a u r a s 6 . p lt r e in he r c o l gé

h e lo n e n o a 7 . T n g l f lke to go o n p ilgrim l gés An d al mer s s d es 2. p l to e ch le str On g | é str On t o se r lve n h a l | o we s co uth e in so n ldr y lande s

s ec id ll r o m e r sh r e s e e 7 . And p l y f v| y y | nd

f lan d t a n En e o te r b ur h e we e . 2 8 . O C , g I I l y t y nd

The number s r efer t o the r ules which he derived fro m a h study of t ese lines .

e e o mi e e r he cae ur 1 . W ak syllabl tt d aft t s a .

2. Two r o e i h o e r e i e e : er ce st ng syllabl s w t ut int v n ng w ak syllabl p d , 2 ” d 1. a m er 1 10 E lan e n 1 13 . , p l s , . , g , . ) ? S c e r e i r e i n so té o n é yllabi qu d , y g . h t - i P r e i e s c . lu al nd ng , syllabi w An o c to syllabic line with we ak syllable e n slurr e d be fo r e we ak e syllabl .

- 6 . er e i e th r r e i hi he er e V bal nd ng slu d w t n t v s . 39 4 0 SIR THOMAS WYATT ’ S POEMS

S rrin o f o e x o io o o n . 7 . lu g v w ls in ju tap sit n g

urri o f e e - ur e o r e o o win e e in 8 . S l ng w ak syllabl b f f ll g w ak syllabl a ba ” y .

r i o f 1 526 C c r i i The ﬁ st few l nes the hau er fu n sh e ght rules , whi ch Wyatt fr equently made use o f in his ve rsiﬁc a ti o n .

r i c r i r t o c o i Thi s is enc o u ag ng . Wyatt e ta nly appea s have p ed ’ C c r ve rsifica tio n o r ci i it i s c hau e s , but bef e de d ng , ne essary ’ c i r ul o f ve rsifica tio n in o r to lass fy all Wyatt s es , der to find o u t whether we a re justified in c o nsidering Chauc er his model . ’ Wyatt s rules o f verse m ay be cl assified as fo llows

a r r o f r ( ) Inve ted st ess the ﬁ st fo o t . COve r Iin g his gladn e ss did r e pr e se nt Leve to I co nspir e a ga yn s t m e wr o ngfully LOve and I fo r tune and my m yn d e re m e mb r Lyve th I in r e st I still in Id isp le Ia sur e NOli Ime tan Ige r e I fo r Ce Isar s I a m Li e t o he e u n m e su r a b l e m o n ta n e s k I t s y .

E m o m Cha ucer E d 1 52 . 6 xa ples fr .

id e hi ar issh h o u a e s es f r a so n d e r . P o W was I s p I IIand I I ( ar s n . ) Tr Ou th h o o r fr e d Om c ﬁr t e s i h and I n u and y. (Kn g t

b r o r fo r r o ( ) St ng st ess the ﬁ st f ot . As Isur ed by cr aft t o e xcuse thy fault Fo r Iafte r the blast as is n o wo und Ie r un d e r cra r o c e h e h e b ar r e n l a n s I g Igy k s IIt y av I full I p y e .

E xamples fr o m Cha ucer Hote I h e was II (S o m o n o ur ) L ke sta ffs h er n o c e se n e R i I a IIt nys alf y . ( eve . )

h h a d l ed o f u e m o er . P T at I d ng any a f d ( lo wman . )

0 r o c a r ( ) St ng stress after the esu a . S h o t at with to r y ye n IIs l n e and instabl e Th y ve r tus to l e t IIthough that fr o wa r d n e s Wh we bb h at es e hath wr o ught well h e p e r ce ve th Th e se a water l e ss IIfissh e in th e m o n ta y n e Bl n d e d i t y w th he str o ke érr yn g he r e and th e r e Lyve th r e in dis lé a su at st II still I p I r .

4 2 SIR THOMAS WYATT’S PO EMS

Thir d or fo u r th fo o t

(e 3) And whe re it was at wisshe Iit c Ou ld n Ot I rem ayne .

E xampl e fr o m Cha u cer (thir d fo o t)

s h . 1 o f Of Arist6t(le ) Ian d Of his Ip hil o o p ye (0 .

Fifth fo o t m (e 4 ) Twixt mi Iser y I and we lth II twix t ér In est an d ga e . n t e Pr Ofe rd yOu myn hér t IIbut yo u I d b O us .

— NOTE This is n o t t o b e c o nfuse d wit h th e he n de casyl labl e ver se . Chauce r o fte n e mplo ys a h e nde casyllable ( e xtr a we ak syllable at the e n d o f the we e e r r i e i h th e r o cce o n line ) , but n v ﬁnd a t syllabl , w t st ng a nt h Ther e o r e ha s n o th or i in h ce r f o r t e last syllable . f Wyatt au ty C au this fr ee do m ; fr o m o t her e xample s he h a s e xte n de d th e u se o f th e t risyl h lable to t e ﬁf th fo o t .

(f) Slurring takes place with weak syllables endi ng in

r h o o , l , n , w en f ll wed by ano ther weak syllable ;

E n em is i ic y d ssyllab .

Fo r in év Ie ry to ke pe still o o n guis e Or e ls in I my spar kling vo yce l o we r o r high e r And wene I to play in I it as I th e y d o pr e te nd His cr ue ll I d es pyte I fo r t o di sgo rge and quite

o e o thr h h e m e I l v I an I and t us I at ys lf.

E xample s fr o m Cha u cer A He wa te d a f te r n o o m e n e r e e r y I I p p I v e n ce . (P ar so n . )

ro e e r e b o k el er o r f . o . As b d I as it w I a I a tar ge (W . B )

r e e he r e er co l e r ike m an A v t was a sl nd I (Re ve . )

swe r d e bo k e ler re h e his A and a I ba I by syde . (Mill e r . ) / e v e r Fe r o e the h m o o f th Re . And | d I ind st e r o ute . ( ve )

hi n o ble e m e o hi h s s e e h e e . T s I nsa p(l ) “unt p gav . (Par so n )

An s io o f r o c c r i o r iri c r exten n ule (f) u s w th the w ds sp t , uel , c , o i i a in r II c i heven nta n ng a we k syllable , l , , respe t vely , always re garded as m o no syllabic when fo llo wed by a weak syllable ; o c c asio nally c r uell is dissyllabic when the m r r e i et e qu res it ; it will then be fo un d that a str o ng syll able fo llo ws COMPARIS ON OF WYATT WITH PYNSON 4 3

E xample

di e s s o n a As cru le ll cause that d th p e ritt h st . Fo r sur e I fe le I my sp r yt e I do th fa yn t apace /

His cr u Jl I di spyte fo r t o disgo r ge and quite .

s Th evyn it I wo uld l o and e ke h e r c haunce was o .

(Th e ve r bal ending - eth is usually slur r ed in the bo dy o f h r t e ve se . )

r min io - in o r c r fa n is (g) The te at n ayn w ds su h as ayn , y , o i ic e r in o n e i c ften d ssyllab , and pl asu e nstan e has

thr ee syllables . E xamples If amo ur s fait h an h e r t u n f a yn ed If lo ng e r r o r in a b lyn d e way chai ned Whe r e by wi th him se lf o n lo ve h e p l a yn eth With fayned vi sage n o w sad n o w m e r y u Live th at r est still in d isp le a s r .

Ra yn e d is m o no s yllabic in o n e line

s r c B e r a yn e d I by r e a Io n sham e and r e ve e n e .

h c r r a n e d a r e m o o ic W en uell , y , n syllab , we ﬁnd ’ c r i i ic r m r i a in E e ta n nd ato y a ks n Wy tt s hand the MS .

E xample s fr o m Cha u cer

An d r e n In é to I Lo ndo un I to se in t P Oul es

se e hi c ha P r o . And Ik m I a un It e ry e I fo r soul es . ( a s n )

’ Hir e e o th r ss gr t st I é was I by S e Iin t Lo y (Pri o e e ) .

A par allel t o d isp l ea su r is fo und in the fo llo wing line o f Cha u cer

1 Ne cr e a tur e h o f h m a o f . I I t at e m kIed is . (W . B )

(h) Ver bal ending - eth is usually slur r ed in the b o dy o f th e ver se an exte nsio n o f this r ule includes hath and with at time s

S o chau n ce th it Oft that eve r y p as Isio n

h féd e th him h c ar a n d r T at wit my e mise y.

1 ’ re r e is o e r e Chaucer S e e i o . C atu ft n a t isyllabl in . ( ee Sk at s d ti n ) ’ 4 4 SIR THOMAS WYATT S POEMS

E xample fr o m Cha ucer

h e r c Or a es . S o p ricke th h e m n a tur e in I g

E xtensio n o f rule

h e h e e r ceve th What we b b es I hegha th wr o ug t w ll I p I I

h e l a n e th . Wh erby wi th I hims e lf I o n lo ve I p Iy

in In the ﬁr st c ase h is regar ded as n o letter ; the sec o nd c ase w has vocal fo r ce .

i r r i io . s (i ) Slur rin g o f vo wels in juxtapo s t n y ega ded

n o r . as a vo wel , and h as lette

In the fir st fo o t

ho r o h m thr o te And I a l way es pl ayn tes Ithat passe I t ug I y hi To utter th e smar t th at I suffer wit n .

In the seco n d fo o t

l m a e I fed e I mein sOr (o we ) II and laugh in al y p yn h What webb es I h e hath wr o ugh t II we ll I h e p e r Ice ve t .

In the thir d fo o t

And fyn d e I th e c On Itra ry o f it I that th e y I inte nd .

If th o u O Lo r d I d o o bse r ve I (P salms) .

In the fo u r th fo o t

ho h With fe w I glad IIan d m a In y a di v e rs t ug t .

In the ﬁfth fo o t

Twe ns r o ck I and r o ck I and e ke I myn e e n Ie my alas

Ther e is do uble slur ring in so me o f these exam ples ; enemy is ” dissyllabic and ﬁn a y is slurr ed with following a .

E xample fr o m Cha u cer

h e lOn e n fOlke to o o n i r T n g I I g Ip lg im ages .

’ i is r o r in o f in Th s Wyatt s p bable ead g the l e , and so he ﬁ o r in C c r fo r r i is m nds supp t hau e slu r ng . It a arked ’ r o f r m r i t o hi s featu e Wyatt s ve se , and ust be att buted COMPARISON OF WYATT WITH P YNS ON 4 5

f i e r e e r r i o f l kn o wledge o Ital an v s , wh e the slu r ng vowe s is the basis o f sc ansio n ; fr om this exam ple in Chaucer he co nsidered that he was justiﬁed in fo llo wing the R o m anc e l m eth o d o f slur ring vo we s . ’ c o f m o f r i o As a c o nseque n e Wyatt s syste slu r ng v wels , hiatus is very r ar e

thin k o r e so r e Ye o ld Im ale that c Iy u s lf I fai .

s I a s k 6 b e lth I désir e I t o p e ri s h e II and y e t I .

(k) Wyatt avoids syn c o patio n ; it is n o t fo und exc ept ” in o t o n t o th r th e v n the w rds , and y ’ (t h e vyn ) o c c ur s o n ce in the Sati re My m o ther s ” m ayd e s .

Th ev n it o l o e ke he r ch c s o y I w uld I and aun e was .

Sl urr ing is used instead o f sync o pati o n with the ﬁr st r o r o o i r o o h wo t i pe s nal p n un s ngula f ll wed by ave , , w ll ,

o i n i i t o is i c in i w uld , and the nﬁ t ve have n luded th s l ru e .

n o t e t m r e b e b u r ie d I will I y in I y g av I I .

a m e f ch m a n c d And I I n o t o I su e r o n Ii tio n .

o h e o ff er d h I w uld av I I unto I t e sa Icriﬁce .

if th e r o o o o th e it is l r But p n un I f ll w verb , usual y rega ded as a syllable

To th e h c a e Lo r t o b e m o r o I avé I ll d I O d y b w.

i h i r i l th s c ase t e sec o nd fo o t s a t syllab e . Two str essed syllabl es witho ut an interve ning weak

is r i ic i o c c r in syllable a favo u te dev e n Wyatt . It u s r c o o h o o the fi st and se nd , and the f urt and fifth f t E xam ples in first and sec o nd

Be hOld e I lOve And scape I for th Un kyn d I tOn ge But few I glad The 16n ge I l Ove ’ 4 6 SIR THOMAS WYATT S POEMS

E xampl es in fo urth and ﬁfth fo o t

that e r st I fo r fér e I shOo k e th and y e t I I aske I h l .

Example s in Cha u cer o f two str o ng str e sses

And p alm Ier s I t o se ch e str o nge str o n d e s An d thér I with I h e br o ught us o ut o f to un

In S Ou t erk I at tabar d as I lay .

It is also fo und in the thir d and fo ur th fo ot i Make m o r Itr e we s “and well I bake I a p e .

In so me o f these instanc es in Wyatt there is a tim e pause mar ked by the pr esence o f a final e whic h wo uld be sounded if th e wo r ds wer e sung ; ther e i s n o m eans of findin g o u t h h r i r i io o d o o w et e th s we e ntent nal ; h wever , we kn w that the So ngs and the R o nde aus were wr itten t o be sung ; th e m r r in m i c in r final e a ks a pause , as a est us ; the othe c o c c r r o o t o ases , the l ng a ent was ega ded as a d tted n te be pr o l o nge d f o r the full c o m pl em ent o f tim e t o fill o u t the Th m r o m C c r b a r . e c exa ples f hau er gave Wyatt a p e edent , and th e fac t that ther e is n o final e between the two str o ng - str essed syllables in the exam ples fr o m the Pr o lo gue ’ incl ines t o a c o ncl usio n th at in th ese instanc es Wyatt s use o f fi i s m e r e o r o r ic l nal e ly th g aph a . It sho ul d be no ted th at Wyatt c er tainly m eant a pause ” Be h o l d e o o o e o after l ve , The l nge l v , and the ther

m fo r h e m r c a in m exa ples , has a ked the esura s o e o f these instanc e s th e line was n o t m eant t o be r ead The lo nge lo ve ’ that as all Wyatt s c ritic s have do ne in describing his m f o o r . i r o . r in r ic r eth ds ve se P f Sa ntsbu y , pa t ular , eads Th e l o ng lo ve S o nnet in a way whic h i s utterly at ri c i m e ic c m in th e E va an e w th the tr al s he e as seen MS . cim o in di (See the spe en S nnet Appen x D , The Lo ng

m i ( ) L nes o cc ur in Wyatt which are quite regular if a

a l r l r - ﬁn e o p u al ter minatio n e s i s r egarded as syllabic COMPARISON OF WYATT WITH PYNS ON 4 7

Are cause that by lo ve myse lf I de str o y

To h ast to slack my pass - e le sse o r m o r e And o nely my lo ke de clareth my he r t

But sins that I so kyn d el y am se rvid .

' h n i n s An d will t at my tr ust a n d lustes e gl ge . E xample fr o m Cha ucer

‘ . r To dra we fo lke t o he ve n witlr fay én e sse .

Co io m s a r e t o o n in the 1 526 i io in p us exa ple be f u d ed t n , ‘ i m ca sp ite o f the o m issio n o f the ﬁnal e n any ses . (n ) An o cc asio nal Al e xa n d r in a o r o ct o sylla bic line o cc urs in po ems written in the ﬁve - stressed li ne

Wh o m a y th e h o ld thy he r t IIb ut tho u thyse lf un byn de Th o ugh o thr b e pr e se nt IIth o u ar t n o t all b e hyn d e Of tyme I tr o u th e I and l o ve IIt o save th e fr o m o ff e nce But d a yly y e t th e ill II do e th change in to the wo urse Th e so nn é he m e s I t o tur ne IIwi th so gr e t ve heme nce Which co m o r e h the m d e e r fo r far e h o e f t t I yn IItha t st I I s k . E xample fr o m Cha u cer

o a m b u l e r fu ll e a se l sh e Up n Ian I II I y I sat. ” On e r o va ile th r i in r e o f ndeau , What t uth , beg ns a ve s

r e c o c i o c a ic e n . ﬁve st sses , and n ludes tosyll b v rse ” i r m R ht it is c o l o c o The ep g a , yg true , nc udes with an t ”

ic r h i t he his . n e t h s . syllab ve se , T at w th blase berd y g The 1 526 editio n o f Chauc er has many e xamples o f o c to syllabic li nes in the Pr o lo gue o f the Can terbu ry Tales - a

Full big h e wa s o f br aune an d bo ne s n o str b ké e His ylles l ac we r e and wyde (Mi ll r) . e ke e o e h S o n our And y kn w w ll. t at a j ay ( m ) . Go d o e h e b e e h his h e r e P r o l v d st wit all t ( a s n) . (p ) The caesura is ca r efully ma r ked a fter th e fo ur th syllable ’ r i e in Wyatt s ea ly verse n th E MS .

Be ho ld e d o ve Go burnin g sigh e s Right tr ue it is

O sm a ll t li o n y 0 lo st se r vi s

’ c a r m r is c o l o (Wyatt s esu a a k a n . ) ’ 4 8 SIR THOMAS WYATT S POEMS

i Many examples o f this c aesur a o c c ur in the ﬁr st few l nes o f th e Pr o logue Whe n that April] Th e d r o ugh t o f Mar ch E n s pyr ed h ath

Hath in th e Ram . m in E xperience in ve rsiﬁca tio n led t o gr eater freedo the ir o o use o f the c aesur a ; it is foun d after the th d f t , and after cc io r h c is o c the ﬁrst fo o t . O as nally a ve y hars effe t pr du ed

- i i by a c aesur a plac ed in the middl e o f a ten syllable l ne ; th s ’ is avo ided in Wyatt s later p o ems .

C ce sur a a fter the thir d fo o t

hi h er . OPEIS in Imy sp a rkIlin g vo ye s lo we r o r g C cesur a a fter the ﬁrst fo o t

( 1 ) At last IIbo th e ch e fo r himse lf co nclude d .

itie . (2) Re j o yce IIl e t m e d re me IIo f thy fe lic

d th in ﬂ m e . (3) In fr o s(e n ) II tho no we and no we II it sto n e a

In the last two examples there is a seco nd pause less

r r c o ir o r c i . ma ked , afte the se nd and the th d f ot espe t vely

C ce su ra a fter the ﬁfth sylla bl e

' ir Is Imy p aa fu l Il i ff IIth e b ﬁr Id e n o f e . S o Icall I Ifo r h e lp II I n o t wh e n In o r whe r e e It is Ias in d r éme IIu n Ip er fa ict I and lam .

E xamples in Cha ucer

R e . His be r de is shave IIas n igh as he ca n . ( e v )

h P r o . Out o f th e go sp e ll II the wo rde s he c aug t. ( a s n ) (p ) E n j a mbemen t o r o ver flo w o f the line ’ The later style o f Wyatt s ve r sific atio n is mar ked by 1 i Al sch e r o r i o ut the o verflo w of the l ne . has w ked th s tho r o ughl y and finds that the subjec t is divided from the

r di c e r ic o m o c o r i c p e at , the p ed ate fr the bje t , the pred ate ro m i m m f the extens on , by enj a be ent

And the rwitha ll I alway in th e lash Abyd th e str o ke an d with m e e ve rywh e r

I he re my fa wte . (Psalm s )

1 i r ho ma s a t u n d S T Wy t sei n e S tel l u n g Al s ch e r .

SIR THOMAS WYATT ’ S POEMS

f ve rsiﬁc a tio n o aff o r ded the exampl e s in the scheme o ab ve , ’ m o pr o ves beyo nd a do ubt th at Chaucer was Wyatt s del at h r r c fo r his m r th e time that h e was wo r king wit Pet a h aste ,

r Th e m o r i i r o o is both in fo rm and m atte . st st k ng p f the ’ m r i r eso lutio n o f eigh t o f Wyatt s r ule s fr o the ﬁ st few l nes

o h o r i o f the Pr o lo gue . It als s ws us that D yden was just ﬁed ’ r in his r em arks o n Chauc er s met e . r o m th e i o f th e rh m It wo ul d be absur d t o argue f l keness y e ,

o r th e r c ic ll i o we o r the language , a ha spe ng al ne , but when i m th e i r m m i c ﬁnd that th e r hym ng syste , spell ng , g a at al

i rc i m o ll o Ch c r e r i end ngs , and a ha s s f w au e , and when the v s 1 526 ﬁca tio n sho ws itse lf t o be entir ely built upo n the

c r r c a n n o r r o o f editio n o f Chau e , the e be fu the d ubt the

i r e c o ci io i matter . Wyatt del be at ly and ns ent usly stud ed

f c r r i o n hi s m o o f o r Chaucer with a view o a y ng eth d w k , and m ade his exe rcise in ve r siﬁca tio n par allel with his intro duc tio n o f the Petr ar c han S o nnet . Par ado xic al as it m ay seem t o th o se wh o o nly kno w ’ r m o o h r r o i m o f r o m Chauce s s t , egula , ﬂ w ng syste ve se , fr

o r o i io wh o o o r o m Skeat , the Gl be ed t n , and kn w Wyatt nly f ’ To tte l s i io o r i r ed t n , Wyatt d es stand evealed , del be ately ’ fo llo wing Chaucer s teach ing in ver se and endeavo uri ng ’ t o ﬁnd a system in the faulty text o f Pyn s o n s editio n h e o r m o o c l ic i o o f und the e any g d de asyl ab l nes , he f und als a variety o f rul es that spr ang in s o m e c ases fr o m the o m issi o n i th e r r r i f o f c . o o the syllab e On the hand , the slu ng

ll l i in o e - i r r r i weak sy ab es end ng v w l l kes , l , n , and the slu ng ’ o f o r n o t o l r l in C c r r o o ic m v wels , we e n y u es hau e s p s d syste (and c o nsequently l ie apar t fr o m irr egul ar ities gleaned fr o m ’ r r e hic m o f i o a faulty text) , but we e ul s on w h the syste M lt n s r i h blank ve se was based . It s a no tewo r t y fac t th at the ﬁnest and str o ngest wo r k has been achieved by Mil t o n and r r o r i Of c r i Shakespea e th ugh the slu r ng e ta n weak syllables , i r r n r o o in m ic r i nve ted st ess o the ﬁ st f t , and ajest pe o ds

c i o r o o f l i in r t o o a h eved by the ve ﬂ w the ne ; Shakespea e , , COMPARISON OF WYATT WITH P YNS ON 51 str o ng effec ts a r e pr o duc ed by the pr esence o f two strong str esses witho ut an inter veni n g weak stress . Wyatt was

r t o o c r o m the ﬁr st writer o f m o dern ve se all w su h f eed , li it t o r m i i o r tho ugh he app ed hy e , wh le M lt n and Shakespea e r o c onﬁned their usage t o blank ve se . The s nnet was the ’ wo r st p o ssible fo r m fo r Wyatt s ear liest exampl es in this

m o f ve r siﬁca ti o n r r o f o syste , but the ve y natu e the s nnet ,

i it s imi i o m o f i i e x e ri w th l tat ns , was the best eans ga n ng p

c o r i o m en e , and Wyatt w uld neve have ga ned the freed and the skill in his satir es wi th o ut his pr el iminary exer cises i n the s o nnet . ’ Sinc e Chauc er s c o nnec tio n with Wyatt is established and the pr o o fs a r e t o o many t o be sc eptic al abo ut it— we c a n n o lo nger regar d Wyatt as the so litar y figure wo rkin g in r r o i in i o r c o r o i o the da k , and g p ng gn an e t wa ds a s lut n o f the diffic ulties o f the ten - syllable line ; his c o ur se was i th e chi m i c m o tentat ve , a eve ent was d ffi ult , but the del

hi i 1 526 i i r r r o r m n o o f C c . o lay bef e the ed t n hau e The ef e ,

o c o f o f th e r i Wyatt , as the pr du t a new age , new lea n ng and f i m hi s r rm h o o o o o in t e . Ne plat n s , had ts ﬁ ly ﬁxed past

i t o o r m in ic t o He had new th ngs say , and a new f wh h r r c r e t o exp ess these new utte an es , but he tu n d the great

i f r i c in th i d id c nat o nal p o et o ass stan e e task . L ttle Chau er ’ thi nk when he tr anslated Petr ar ch s eighty - eighth So nnet r i r i 4 00— 4 20 o C I. (T lus and ess da , )

’ ’ S Amo r n o n e che dunque e que l ch ise n t o ’ e e m o r e r Di o che co e e Ma s gli a , p , sa qual o r m e t him I o r ir when he at Padua ( ) , that bef e th teen de c o r E i o o r i ades had passed away an the ngl sh p et sh uld a se ,

r e i c C c r c li la g ly nﬂuen ed , as hau er was , by F en h and Ita an ri e r o n e i t o c o m in o r m r im o f w t s , dest ned b e the f and e ’ r r c i C c r ve rsiﬁca tio n s o i in his Pet a h w th hau e s , and un te p o etry in the early sixteenth c entury the two greatest p o ets o f o r h r the f u teent centu y . CHAUCE RIAN INFLUE NCE

’ TH E year s o f Wyatt s appr entic eship in the ten - syll able l i 1 528— 32 H e ch l ine wer e passed at Ca a s . translated Petrar i i C c r m o e l fo r his . c and used hau e as a d verse Later , d st n t r c i h is o m Chauceri an inﬂue nc e is t o be t a ed n p e s . ’ In 1 532 Thynne s e ditio n o f Chauc er was published ; it i i P n so n pr o fessed t o be a c o mplete ed t o n . y and Thynne

bo th asc ribed po em s t o Chaucer whic h a r e n o w r ej ec ted . 1 Th e 1 526 i io c o i e m o o o m ed t n nta n d , a ng ther p e s , La ” 1 ’ Belle Dame sans Mer ci and Dido s letter t o E neas

r Pl t e (P o logue and ayn ) . Th e 1 532 editio n included La Belle Dam e with a ” iff o r o m in 1 526 o f o r n d erent env y f that , the Ballade F tu e , ” Ho w i i is ri in i r i P t e ded and bu ed a gent l he t , bes des the ” ” o i o f o m ic B eth us , Legend Good W en , and other authent m po e s . Th e 1 532 i i r r ed t o n was well ead by the Cou t . Surrey der ived his inspir ation fr o m it ; ver ses fr o m La Belle m a r e i in MS a r e i Da e wr tten the D , and there l nes and phr ases in Wyatt whic h suggest a kno wledge of the p o em s ’ in n i i Thy ne s ed t o n . ’ La Belle Dam e is the ultim ate sour c e o f Wyatt s

duo lo gue . It burne th yet alas my ber tes d e syr e altho ugh ’ h e o i o o m i t o i i ri p ss bly wes s eth ng Mell n de St . Gela s rende ng o f m e e m La — the sa th e . Belle Dam e is a dull thing a ’ tr ansl atio n o f Alain Char tier s po em ; it was asc ri bed t o C c r i s n o w i t h o t ic R s . hau e , but sa d be e wo rk o f R hard o

1 S e r e e r to the e r 1 532 e i o in his ks k at f s lat ( ) d ti n Wo r o f Cha ucer . 52 CHAUCERIAN INFLUENCE 53

’ Wyatt s p o em is full o f fee ling and it s re str aint m akes it a thing o f beauty . ’ 1 Ther e a re line s in Dido s letter whic h m ay b e c o m pare d with Wyatt

P r o lo gue Much be tte r it we r e to h ave go o d co n te n a un ce

That fo lke p er ceyve n o t yo ur gr e fe and h e vin e s .

In th e po em Patie ns fo r my d e vyc e th e line o c c ur s

Le t n o m an kn o w yo ur payne The Co mpl ayn te begins

Ryght as the swan n e wh e n he r d e th is n ygh

ic i One o f the lyr s (D MS . ) beg ns

Lyke as the s wan n e to wa r di s h e r de th ” r i o cc r in m o r o The ph ase alas , alas , the wh le , u s the A us ’ l i m a Co mp ayn t e . The t tle y have suggested Wyatt s m ic m a c m o o Co m l a n t e E po e wh h y be alled an A r us p y ( MS . ) beginnin g

Th e r was ne ve r n o thyn g m o r e m e p a yn e d . In this p o em the r efrain t o every quatr ain is Alas the ” h l e w y . 2 The Pl ayn te t o Fo rtune is a duo lo gue between Fo r tune i P l e in tif m o hi s r c r Pl e n tif . o and be ans w et hedness , F tune replies N0 man is wr e tche d but himse lf it we ne He th at hath him se lf hath su fﬁ ca u n ce h h e r n And e ke t o u h ast t y b st f ie nd o lyve .

’ This Pl a yn t e i s evidently the so ur c e o f Wyatt s po em ” o r c r o l o two i r M st w et hed he t , a du gue between the nne

ic r o f r o ic i s vo es . The bu den the ﬁ st v e h Mo st wre tched h e r t w y a rt tho ugh n o t d e d .

The bur den o f the seco nd vo ic e is

An d he is wr e tched that we n e s him so .

The ver ses run alternately with the bur den o f the ﬁr st and c i i o o c r r i t o r r . se nd v e , as a ef a n eve y quat a n

1 2 1 52 edi io 532 edi io . 6 t n . 1 t n ’ 54 SIR THOMAS WYATT S POEMS

’ L E n vo y ( 1 532 editio n) c o ntains the fo ll o wing lines

Be tte r is to suffe r and for tun e abide

Than hastily to clim e and so d e n ly to s lyd e .

’ This c o uplet pr o bably inﬂuenced Wyatt s p o em (D MS . )

I abid e and abide and be tte r abid e An d afte r the o ld pro ve r be the h app ie d ay An d e ve r my lady to me d o e th say d Le t m e alo ne an d I will p r o vy e .

’ is i in i o o f Fo rtune person ﬁed th s , and several ther Wyatt s ”

m . poe s , as My lady Aga yn st Wo men Un co n sta n t ( 1 532 editio n) c ontain s the lin e Madam e fo r yo ur n e w fa n gil n e s e o r d I take my l ve f yo ur u n ste e fa stn ess .

in o m r o m m e Wyatt , the p e They ﬂee f , says

And I have le ve to go o f h er go o d e n e s d sh u An e also to se n e wfa n giln es .

The Kn ightes Ta l e o ffer s sever al parallels

r r o rm o f i o f ME A a e f the preter te the . verb sc hrieb en is fo und in the line

hr i t S ghts Em e lye and ho wl e h P a l am o n .

it i n i i r i Wyatt uses as an nﬁ t ve and as a ve bal substant ve .

An d o u so r ed i he to m e m e S h i hte (I) y dy s g s ak r g . S o n e Bicau se h e ( n t, I av . ) 2 h d e dl S hri hte r ( ) Wit y g and c y . e o wn e e r e e e m (Myn d n y . )

' Refer enc es t o May in the Kn igh te s Tale and in Troi lu s a r e imitated by Wyatt

In a mo r n yn g o f May S he was arise n an d all r e dy dight

' Fo r i h e n o slo a r de May w ll av g a n yght . Wyatt writes

Ar ise fo r shame d o way yo u r slo ga rdy r i e d o o m A s I say May s e o b se rvaun ce . CHAUCERIAN INFLUENCE 55

Cf o i r o m Tr o ilus a n d Cr ess ida . als l nes f

Do we o r b o k r s d aun ce y y u , y up and lat us a er e And l e t us d o n to M y some o bs va un c .

The c o nceit o f the hear t wo unded by a glanc e ” is o in Kn i h t e s it the eye f und the g Tale , but , i i i s i i o added , th s dea ub qu t us

( 1 ) This P a l am o n answe r e d But I was hur t no we thr o ugh myn e ye Unto myn h er te and aga ' n

Y e sle e m e with yo ur e ye n Em e ly .

’ Wyat t s po em ” o c ht . S o unwar e ly was ne ve r n m an a wg (D MS . ) r e - ec ho es the idea

Th o r o w my e ye s the str o cke fr o m hye r s di d slyd e

Dyr e c tly do wn unto my h e r t ytt r anne .

i c c i Th s o n e t c a n be tr aced t o a Pr ovencal so urc e . It m i h t s i o is o in r c i . ade way nt Italy , and f und all the Petra sts

C r e i r o m t r it in r c h st en de T yes see s o have ﬁ st used F an e . 2 . Again It stycked th o r o ugh my c ar e ful he rte h h e e r m e h then m sherte . . T at s ap n was st y d t y . (Kn T )

Cf . Wyatt Alas the gr e ff e th e d e d ly wo ful sm e r t Th c r e e a ful cha un ce sha p en a for e my sher te .

Tr o il u s a n d Cr essida

’ The invo c atio n o f Cith e ra is echo ed in Wyatt s po em Though this port

0 Lo e 0 h r v , C a ité Th m o e r e ke Ci ther ea the e e y d , sw t Afte r thyse lf ne xt h e ried b e sh e

- e I we wi ll la ete Tr . . 1254 Venus men the l y p n . ( III Wyatt ’s lines run

Th o ugh this (th e ) p o r t and I thy se rva un t tr ue An d th o u thyse lf do st c ast thy h em e s fr o m hye ’ 56 SIR THOMAS WYATT S POEMS

Fro m thy chi eﬁ howse pr o mising to r e ne w h o w h Bo e th j o y and e ke d e lite beho ld ye t t at I Banished fr o m my blisse c ar e ful ly d o cr ye

ther ea m e r e . He lp e n o w Ci , y lady d

m o r Lit . o m t o E n l . Co u rth o p e (Hi s . f g ) qu tes any e ex

pressio ns in Wyatt tr aceable t o Tr o ilu s a n d Cr essida . ’ Wyatt s use o f the wo r d ste myn g is taken fro m Chaucer Hise e ye n ste p e and r o llyn g in his h e d

That stemed a s a fo rne ys o f a l e d . (Mo nk . )

Th c at is cri e in ir o Ma d e s e des b d the sat e , My M thers y , with two stemyn g e ye s

In a r o und h e ad . Thi s wo r d so r ely puzzled No tt ; he suggests streamin g

r i Selden pr o po se d sta ng . The language and the hum o r o us to ne thr o ugho ut My

o Ma d e s C c r i i c a r e M thers y suggest hau e an nﬂuen e ; there , m o r o r i r c i o t o C c r e ve , d e t allus ns hau e

P r aise Sir Th o p a s fo r a no bl e tale co r th e o r h th e h And s n st y t at knig t to lde .

o wn o h P o z (Myn J n yn . ) Allu si o n to P a n da r u s

But war e I say so g o lde th e h e lp e and sp e d That in this c ase th o u b e n o t s o unwis e P r e i c As anda was n su h a like de de . h (A spe ndi ng and . ) Wyatt kn ew the Bo ethius

fo r swin so gr o yn s And dr ive l] in p e rille s the he d still in th e man g e r h e o the ha r the e h T n f p ass to ed th e so und .

f i r C . o 4 B eth us , p ose ‘ Ar to w lik e an asse t o th e har pe 2

The sec o nd line o f the epigr am

Tagus far e we ll that we stwar d wi th thy str e m ce To ms up the gr a yn e o f go ld a lr edy tryd is i m o hi m 1 0 der ved fro B et us , Metru .

’ 5 8 SIR THOMAS WYATT S POEMS

’ Fr en ch S o ur ces o f Wya tt s P o ems .

The fo llo wing Fr ench so ur ces have been fo und fo r th e m ﬁr st ti e .

Ro n d ea u x

’

r h e r o r e Cldmen t Ma ro l . Fo to lo ve er D st e am u ux. ( ) ’ If it b e so S il e st a in sy ho h n i h cf mo r e t Fo i T u ast o fa t . A

Dou za in e Dou z a i n e

’ me i ho e S m o r o d o é umcu e ur e n e Mada w t ut n I a u v us a nn gag . m e o r e S t. Gela s an y w d s ( i . )

’ A N ew Yea r s Gift E tr en n e

To e e e ch e here Cc o e o r e r e e o d s k w n uv l an p u t nn v us o nn e . ’ he r e ma n d o e h i e Cleme t w t l v ( n t Ma ro . )

D u o lo gu e It bur ne th ye t alas my I Me ve uill e z Mad am e he r ts d e sir e la p ein e igno r e r Qu e ma vr aie ﬂa mm e

o ve u lt e c e v us d lar r .

Melli d t n e S ela . ( . G i s ) E pi gra m Di z a i n e

De s r e m m i e r est r e e n vo l a n y alas y a st I Tant natu té puissante . a n d m fo o . M y ( a u r i ce S éve . ) CHAPTER VIII

FRE N CH IN FL UE NCE

IT is iffi c l t o r c r ch i c t o e i o c d u t t a e F en nfluen e a d fin te s ur e , fo r thi s r easo n Italy was the fo untain hea d o f all inspir atio n in r mid - i c r r o r the ea ly and s xteenth entu y , and we the ef e expec t t o tr ac e t o a c o mm o n Italian so ur c e the likenesses that appear in E nglish and Fr ench p o em s ; yet it must be r m m r in E l o in r c li e e be ed that ngland , as a s F an e , Ita an influenc e was felt in every di r ec tio n o f life befo r e it was 1 e r c i in i r r r o f i p ept ble L te atu e . The early yea s the s xteenth c entur y saw Italian Sec r etar ies at Co ur t ; Italian tuto rs in ’ n o bl e m e n s o i c o r ni r i i h uses , and Ital an s h la s at the u ve s t es ;

i t o o ri i r i Ital ans , , taught d ng and gene al et quette as well as i c i m o r i i m r c i c c o m c . n ul at ng als , wh le Ital an nﬂuen e swayed e e i o Co r r o r m ic Meanwh le Skelt n , the u t poet , w te hy es wh h ” r r r o i we e agged , tatte ed , and jagged , and sh wed no s gns

o f i c . c o min t o Co r in c o a new nﬂuen e Wyatt , g u t the se nd c o f i c r i m d im de ade the s xteenth entu y , speed ly a e h self

r o f o f c o t i r ve r siﬁe r s c o m o r the leade a band ur e s , , and p se s o f Co r o ic m r c r i o n i io o f u t s ngs , wh h e ely a r ed the trad t ns the c ﬁfteenth entury .

r c r o li . i m ia In F an e , Ma t and Mel n de St Gela s used ed eval o r m c o — m hi c f s , su h as the R ndeau and Ballad for s w h , a r o f c r r r t o i qua ter a entu y late , we e be swept as de when the ’ c lari o n no tes o f Du Be ll a y s D efen s e r eso unded th r o ugh the land .

i i r ir i c La ssez , he sa d , les ondeaux , v ela s , hansons , e t r ic r i e t t o i o e ist r e s ballades , aut es ép e es jette aux des , p ,

1 Ita lia n Ren a i ssan ce i n E n la n d . E e i g inst n . 59 ’ 60 SIR THOMAS WYATT S POEMS satires e t s o nnets selo n Petr arc h e t quelques m o dernes

i o f i e i . e o r r e r e Ital ens Th se w ds he ald d the gn the Plé ad , l i r c i t o and the po em s o f Mar o t and St . Ge a s we e o ns gned

i o f i i c e r in h e ir o blivio n . But s gns Ital an nfluen e app a t late wo rk ; and th e questio n is still undec ide d whethe r the se r li il F ench po e ts o r Wyatt fir st sho wed Ita an influenc e . Wh e m o c ri ic l i i i c i s r in r c st t s be eve that Ital an nfluen e late F an e , an absence o f definite fac ts has led t o suc h liter ar y c o n tr o ve r sie s th e o r i i o as the y that St . Gela s translated nt ’ ’ r c E n li sh i o f S an n a z a r o s o F en h Wyatt s g render ng s nnet , ” imi i mi r S le a quest s su ati m o nti . ’ w r i 1 1 r o o . o n 89 c o rc o f N P f K eppel , , t a ed the s u e Wyatt s ” o i t o imm r m a t o n t n e s o . s nnet , L ke these easu able y , St ’ i r io Vo c e s m o An li a iii in Gela s ve s n , yant nts ( g , x ) ; but 1902 Mod er n La n ua a r ter l v l r e u o . ill ( g g Q y , v) Arthu T ey ’ i c o r a n n a z a r s i i r r ri i S o o c . c c d s ve ed Ital an s ur e L te a y t s , ’ i o r o f Till e s i c o r i r e r c gn ant y d s ve y , st ll egard d the F en h

r io o r c C i Ca mbr id e H i sto r o ve s n as the s u e , and h ld ( g y f Liter a tu r e Co u r th o e o a ll m , p , and Padelf rd , na e the r c e r io r m i F en h v s n as the so u c e . A c o par so n o f the three ’ versio ns sho ws that Wyatt s tr anslati o n i s undo ubtedly a

io o f a i so r i vers n the It l an , that the o ginality hither to i mputed t o him in diff ering fr o m the Fr enc h ver sio n i s n o w

e m r t o c o r dh c to i s en e ely be a l se a eren e the Ital an . Mr . o r 1 907 il o f r o c Padelf d ( st l unaware the eal s ur e , had his o o r c r io fo r d ubts ab ut the F en h ve s n , he m ade this r m r i hi e a k n s no tes o n the ab o ve s o nnet (S i xteen th C en tu r y I/ yrics ) Did imi i r c di Wyatt tate th s F en h sonnet , or d

. i imi o r d id St Gela s tate Wyatt , they b o th tr anslate from a comm o n o r iginal 2 r , c i o i i o r h Be dan a t ng up n th s suggest on , set f th is theo ries in Mod er n La n u a e N o tes 1 9 08 r g g , , whe e he disc ussed the ” i r io o f o n m M g at ns a S n et , and apped o u t the genealo gy o f o in the s nnet questio n ; it m ay brieﬂy be set fo r th as follo ws FR ENCH INFLUENCE 6 1

“ S o e a n n a z ar o e i n tto S S imil e a qu st . ‘l S o e a t ho e nn t Wy t Like t o t s .

o t Ge i o ces m o . S nne t S . la s V yant nts l a ribs L t o h e o i B r ike t es m unta ns .

ll r r Mr . A lo ng disc ussio n fo o wed between M . Be dan and

E r M d er n La n u a e Re vi ew . . o L Kastne ( g g , but the ’ l i r h e i o n y deﬁn te r esult is the nar o wing o f t e date o f St . G la s

o r o m 1 53 6 t o o i l 1 5 3 1 r o i it s nnet f a p ss b e , and the p v ng that is m o st unsafe gr o und t o r egar d any Fr e nc h ver sio n as a E i translatio n o f an nglish ver s o n in the sixteenth c entury . It is imp o r tant t o ﬁn d s o m e de ﬁnite fac ts whic h m ay have turned th e attentio n o f the Fr ench p o ets to wards the

o o rm c e m a i o in s nnet f , and a lu y , I th nk , be f und the poet

m i h r i e i 1 5 30 h e i n t e o . Ala a n , Fl ent n ex le In was ex led a sec o nd time fr o m Flo r e nc e and appear ed at the Fr enc h 1 Co r r c i o f m i o his r il u t . A e ent l fe Ala ann sh ws that ﬁ st ex e in r c in o c ri o r F an e was passed bs u ty and p ve ty , and that

r ci r o l r o m o i ic m o i o o n o o ic o f F an s I . p bab y f p l t al t ves , t k n t e

1 l r o r i r io In 530 c irc um stanc es had a te ed . F e gn elat ns

r r i m i r o c th e i i we e less st a ned , Ala ann app a hed K ng w th an 2 o f r i o f i o ic t o Fr ci f e ng Ital an s nnets , ded ated an s I , and

i r hi l i c c m sett ng fo th s g o ry . The K ng a epted the and ’ c m m i r o r o m 1 5 30 il his in be a e Ala ann s pat n , and f unt death

1 556 c f o r o n e o r i r l his i e o in , ex ept sh t nte va , l f was b und up

r c i r im r o n o im o F en h nte ests , and at t es he unde t ok un p rtant

r in r c ff ir pa t F en h a a s .

1 Un exil t e or en in l e H au ve tt e . 1 903 . ﬂ a a co u r d Fr a n ce . H . 2 ’ Luigi Alamanni pr es e nte d a m e dal o f Ce llin i s wo r kmanship at th e sam e

im e . e i i Th e m e c me i o th e h s o f Messer Lu i i t C ll n says, dal a nt and g Ala ma n n i who e r i e m e o o it t o r e e e r o t o r c , aft a l ttl ti t k p s nt in p s n F an is, o f r ce a m m cco a n i ed b so me o hi s n est co o si ti o n s . The King F an , p y f ﬁ p king ” ’ e xce e e e in i s Au to ra h Lib x . h e . S ee C ll bi o . was dingly d lig t d ( g p y, I, liv ’

. S m o r J A . y nd s T ans 62 SIR THOMAS WYATT ’S POEMS

r c o f l m n i Co r ic io o f The p esen e A a an at u t , the publ at n — ’ his po ems ( 1 532 3) under the King s patr o nage and by m eans f his c i e ir ic io t o r o o pe un ary h lp , and the ded at n the yal

r o r o t o ff c o r c pat n , we e b und have an e e t up n the F en h ’ o o c o r i r i i Co urt po ets . As g d u t e s they stud ed the K ng s ’ l r his i i in m i o m p easu e , and ev dent nterest Ala ann s p e s was undo ubtedl y o n e o f the c auses whic h resulted in tr ans li r i l a tio n s o f Ita an s o nnets by Ma o t and St . Gela s . Sanna ’ r o o m r i h in 1 53 1 m i io o l o za s p e s we e publ s ed , any ed t ns f l wed , in hi th e 1 53 3 o r i i io r but t s and Fl ent ne ed t n , Pa t III was i cl e c o i i im i e i o ic n ud d , nta n ng the S l a quest s nnet , wh h

o m i in m i io i r t i was tted any ed t ns . St . Gela s t anslated h s o n it is i r i t o o o s n et , and nte est ng n te that when he all wed

o f his o m t o ri in 1 54 9 i r a few p e s be p nted , th s t anslated

o o o e m in o o r m i s nnet was the nly p s nnet f . Meanwh le ,

c fo r o r i i t o th e Co r o i in 1 53 3 o ex ept a sh t v s t u t at Bl s , Mar t

in i r c in o r c r ir m i 1 5 6 was d sg a e and f ed et e ent unt l 3 . In the inter val he spent s o m e tim e at Lyo ns with hi s

i ric S ave ri i o wh o young fr end Mau e , a s ng p et , gathered r o him r o o f o o r o rm o r i und a g up f ll we s , and f ed a c te e kno wn ” E co l i c r as the e Lyona s , when e sp ang the Pléiade .

i i o in 1 5 33 r ic a Study ng at Av gn n , Mau e S ve had fo und the ’ suppo sed to mb o f Petrar c h s Lau r a in a c o nvent o f the Co r li r de e s . A keen fo llo wer o f Petr ar c h and a natur e r m r r o d ea e , he w te a series o f sym b o lic al po em s c alled Déli e in ic , wh h he set fo r th c er tain aspec ts o f natur e as

o o to his o wn o f c o i c o . o anal g us states ns usness Mar t , c o m i in o c o c i r ic S éve n ng t nta t w th Mau e , o do ubt c aught o m o f i m o f i r o f r r c s e the enthus as th s ea nest student Pet a h , i m i an enthus as wh c h after war ds fo und vent in his p o em t o r Lau a . He als o h ad o ppo r tunitie s o f studying Ar t and

i i r r V ic e Ital an L te atu e at en , but he was n o t happy in his i r r i ex le , and ea nest ent eat es t o the Dauphin at length p ro c r h is r o r e r t o Co r i 1 5 u ed pa d n and he tu ned u t n 36 . Lines c su h as the fo llo wing wer e pro babl the c ause of his pardon y , FRENCH INFLUENCE 6 3 and sho w that h e was c apable o f a de gr ee o f tenderness r r l i c i l in hi a e y d s ern b e s po etry .

Ce qu e j e qu ie r s e t qu e d e vo us j e sp e r e ’ e u i il o i e a u r o i o r e ch e r e ar e C st q v us pla s , v t p P ar le r po ur m o i No n p o ur alle r visite r m e s chate a ux i e o r o r m e s e ma r ttea ux Ma s bi n p u v i p tits o . E e t o th e hi ( pistl Daup n . )

’ Fo r seven year s ( 1 53 6—4 3 ) Mar o t enj o ye d the King s r i i te r o c o . Co c favou and pr te t n nta t w th S ve , the a dent

r r c i 1 th e r e c o f m i Co r Pet a h st ; p sen e Ala ann at u t , and the ’ i r in his o e o r o m e K ng s pleasu e s nn ts and the p e s , w re the

h h r l i rm r c auses t at m ade im tu n t o Ita an fo s . He t anslated six o o f r r c th e Vi io c o m o s nnets Pet a h , and s n ; he p sed an

o n r in 1 539 r o e th e m o e t elegy Lau a , and w t fa us Pan

in cl o t i i t o o . . o o R b e gue the K ng St Gela s , , translated r r r i r r Pet a ch and A o sto and w o te num e o us so nnets .

r e a r e h m r o t o i r o The , t en , any eas ns expla n why Ma t

i r ir i t i rm i and St . Gela s tu ned the attent o n o Ital an fo s dur ng h r 1 5 0 t o 1 54 0 t e yea s 3 .

1 539 r o r l th e lm re In Ma t t ans ated Psa s . He p sented them t o the E m per o r in 1 54 0; th e y wer e th e c ause o f hi s il i 1 54 4 co in . se nd ex e , and he d ed

r o i s c o c r ir c i i c is As far as Ma t n e ned , d e t Ital an nﬂuen e 1 5 — 4 0 i i o t r c r 3 3 . n t a ed between the yea s , and w th St Gela s earlier than 1 5 3 1 (the date o f the publ ic atio n o f a c o m plete ’ i io f a n n z r r i o ed t n o S a a o s wo ks) ; but St . Gela s never to k ’ th e i i i i it is l i e i i Ma ro t s n t at ve , and k ly that he wa ted unt l

1 ha s e e i e rr e h e c e S e e r o e i z e n o t in It b n nf d t at b aus v w t in d ain s , and m h s o o e o r h e h a d e c e e r r ch i ﬂ e ce . he r e i n s nn t f , t at s ap d P t a an n u n T o h h e r e P e r r ch his r c r co mm o d ubt t at was an a d nt t a ist, but pa ti ula and un n e r e err e c e r o r e th e a e o f i e e e g nius p f d a tain type f ve s . It was g nd p nd nt ’ o r o r his D eli e h e th e ime h e e i i and iginal w k , was publis d at t w n C ll n was r o i n e w o i i e o mi h cr ch e e o p v ng p ssib l ti s in g lds t aft, and Mi a l Ang l was e xpr e ssing all th e h e igh t and br e adth o f his th o ught in te r ms o f th e hum an bo dy . ’ 64 SIR THOMAS WYATT S POEMS

r i s r etur n to Co ur t befo r e ventur ing o n new fo rm s . The e no tr ac e o f deliber ate atte ntio n t o Ital ian m o dels befo r e ’ 5 0 i i i m in Alam anni s appear anc e in 1 3 . Sl ght Ital an s s i ’ i i his o h di in St . Gela s wr t ng are due to y ut ful stu es Italy ,

hi s m h o m o o in his but Mar o t was always aster , w he f ll wed

o m i c i taste fo r mediaeval f r s , and l ght , gra eful , and w tty

r ve se . Bo th French writer s m ade their m ar k in writing spar kling little so ngs o r wi tty to urs d e fo rce o n every c o nc eivable in i m o c in ic c . o trivial subje t Mar t , that l ght k g style wh h c es r it a u lo i s i s i imi in a n o nly be deﬁned as p g , n table m ia m o f i his epigrams and etr ennes . The ed eval for s the r verse were sc o r ned by R o nsar d and the o ther m em ber s o f i fo r o in m the Plé ade , alth ugh late years they atte pted the so nn et fo rm and tr anslated Petr ar ch and o ther m o dernes ” i ir m i c o m i iri Ital ans , they ent ely ssed the nte plat ve sp t , and the visio ns o f Lo ve and Beauty seen thr o ugh the m edium

f i r r o nature . Ne the had they exp essed the great tho ughts o f the ancients ; they retained their m ediaeval sto c k in r o i i m o f i o r m t t ade to the end , nly g v ng exa ples Ital an f s o

hi o n o t i r please a new fas n but break ng with the o l d . Ma o t

. i r in c c o cio c l and St Gela s we e , fa t , ns us that they ex el ed and wer e able t o please in these o l d fo rm s ; exer c ises in the

li r i o r new Ita an style we e tentat ve , and they b th p eferred t o b e m r in ir o wn a r t im l c in aste s the than s p y s holars a new . S o th ey sho wed that they wer e c o nscio us o f the new fashi o n

co i i o r r c i by ntr but ng s nnets , but the Pet a han sp r it is absent n il i o f th e i u t the r se Plé ade .

i i c e i s t o in r o i Ital an nﬂuen be seen Ma t and St . Gela s r th e 1 5 3 afte year 0. Wyatt c ame into c o ntac t with them

r io r to thi s d a te h o r p , and t eref e any inﬂ uenc e tr ac eable t o

o m a c o i r r r c the p ets y be ns de ed pu ely F en h . Wyatt j o ined ’ S ir o m C E m t o r c e in 1 526 Th as heney s bassy F an . Mar o t m o f C m r t o i was Gentle an the ha be the K ng . Mellin de

. i o o ic r St Gela s p ssessed a sweet v e , and played the lute p e

’ 6 6 SIR THOMAS WYATT S POEMS

i i i r e c io o n o m o f it in a m o ck ng sp r t , as a ﬂe t n all the p e s r is o ic o r he ar ts go ne astr ay ; the e a n t eable play upon w ds , t o o m her t r o u her te l It was y , I p ay y y e t o e e He lp m s k .

r is m ric r im c o i o f This o ndeau a et al expe ent , and ns sts

c o m i io o f two - e i r e - a b nat n syllabl w th th e syllable feet , 1 r l i in i i i ic r m o i i esu t ng a l ght , tr pp ng style , wh h ha n zes w th ir i o f th e o th e hum o r o us sp t r ndeau . The idea o f What va ile th tr oth is also fo und in m any

Fo r t o o h r i e r o f th e c hanso ns . l ve e s cl a ly a r e mi n is ’ ’ c c o f Ma r o t s r o m r o en e ndeau , D estre A ou eux (R ndeau x) ’ o f S il a in s o l x and est y (R ndeau i) . Co mpar e the fo llo wing lines in Fo r t o lo ve her

1 4 sh e h h m d e o h e r a r c u . . But at a an t C e ll e la q i j e cuid ais e str e ’ pr o m esse La bie n a ymée m a fa ict bie n a a r o istr p p e . ’ ’ ’ Fo r o n m h o e o o 1. 7 . y fait I l v d t Q u au fa ict d a m o r n y a qu e sur e ly ﬁc ti o n ’ Mais d au tr e a mi a prins po sse s

o . Oe r e Ro e x si n ( uv s . nd au . )

8 . r e o i h d l . But as n w ll t at I o Amo r c o mmande e t la r aiso n ce ase o r do nne Fo r to o e h er ue e te i e l v ; Q j la ss . Ro d e l xi ( n au . )

Ro nde au x is o n e o f the poem s in the Ado lesc ence l m e i 1 2 C 5 9 . i o o e nt ne , Aga n , the r ndeau , Th u hast n o t ” ’ i h r c Ma r o t s m o e t Fo o lvi fa t , e alls A r y (N . ) .

’ ’ S i l am o ur faut le Fo y n es t plus che r ie ’ ’ S i Fo e m o r s e n r y p ut, l a u va pe ie P o ur ce l es a y e n de vise lie y m o r e t Fo A u y . ” r o it so c o The ndeau , If be , has a l ser c o nnec tion ; it

’ ’ o l ri i Ma r was und ubted y w tten by Wyatt , w th o t s S il est a in s in his mi y nd .

1 is re e h Mr . P e o r he r e who o I d ag wit ad lf d , qu te s this r o nd e au as an ce o f c m e m e i instan a lu sy att pt at b ng live ly . FRENCH INFLUENCE 67

’ If it b e so that I fo r sak e th e S il e s t a in sy qu e cc co r ps te hah o n As b a n yss h ed fr o m t hy co mpany do nne Y e t m h e r m m n d e m m o r co mm e e t r o y t, y y and y A u and la ais n affe ctio n o r do nne u e e t e i e e n ch r e d e ma fo i S hall still r e m ain in my po sse ssio n . Q j la ss a g Le cu eur j e tie n ca r p ar h o nne te l o i ’ Au l cu n me do it r e pr e ndr e ce qu il

Ro e l xi . do nna . ( nd au )

’ But myse lf I say o n this fashio n Ca r j ay so n cu e ur e t co r ps san I h ave h er h er t in my po sse ssio n cu e u r d e so y And o f itse lf it c an no t pe r dy Ne p e ut aym e r la r aiso n e st tr e s By n o m e ans lo ve an h e r tl ess lady bo nne ’

An d o n m h o o th e r e o S il est a in s . y fait , g d is as n y b so If it e .

i r i is m i it In th s ondeau the l keness un stakable , yet sugge sts the wo r k o f th e m em o ry r ather than ac tual tr ans

i o i in lat o n . (R ndeau publ shed The fo llo wing do uzaine has lines whic h a r e an exac t i ’ i i f o . tr anslat o n o St . Gela s d uza ne

t Gela s Wya tt S . i ’ Madame witho ute n many wo r de s S am o ur vo us a do nne u n cu e ur e n gage On s a m r e e o r n o De o i o e r e r d e I su y will , qu v us s t us tant langage

e i h e e e o r o r e Or o o e z o u o n e o e z And if y w ll , t n l v y u b d s v us v ul v us v ul po int u se o r e wit h o it so o o r z e m e And y u and s w , Quand v us v ud e d us ill ans e i e r d v s , ’ And with a bec k ye shall m e call ; S i fo u dr o it il a la ﬁn s a vise r ’ ’ And if o n o o n that bur ne th alwaye Qu o n s e n e nnuye e t ve nir a u n po int ;

Y e h e ie Si o o e z me es u e r e r av any pit at all , v us v ul fait q b anl ’ Car e n t e n d ra o Answe r her fair e wi th ye o r nay . j y l e m indr e sign e ’ e n l air b e e h b e e E t o e r e z a mi n o n d ece va n t If it y I s all fayn , v us s ’ b e fr e n d e s e o r e S il n o o l a is t ? m co mm e If it nay as b f , v us p a is de vant Y e shall ano th er m a n o b t a yn e Un autre aure z e t mo y n e po uvant e str e And I myne o wns and y o u r e s n o S e r vant d e vo us d e mo i j e se r ay m o r e m r e . aist . F 2 SIR THOMAS WYATT ’S POEMS

There c a n be n o do ubt as t o the inﬂuenc e o f these Frenc h po ets up o n Wyatt in th e early stage o f his c ar eer as a p o et ; ’ the so ngs quo ted ab o ve we r e co mp o sed t o m usic ; Wyatt s

e a r c i r i i t o r i c c e o f o was pe ul a ly sens t ve efra ns and at h s s ngs , and it is n o do ubt the r em em branc e o f th e m usic that r i i e o f th e o fo r it is m c m o r f o r ev ved the d as s ng , u h e easy a

per so n with a music al e a r t o r em em ber the wo r ds o f a s o ng ; t o r m m r o m i no m ic cc m im than e e be a p e w th us al a o pan ent . It will be also no ted that Wyatt m akes no attempt at a m ric c m fo r o i im r i et al s he e the d uza ne , but s ply w tes twelve i c o i i o f r r i l nes ns st ng th ee quat a ns . ’ Certain c o nceits tr eated in Wyatt s poem s a r e fo und to c o rr o i imi r i in r c i o rm esp nd w th s la deas F en h and It al an f s .

i is so it i r o i t o c o m m o i o c When th s , e the p nts a n Ital an s ur e ’ fo r r c E i in c o f S a n n a z a r s the F en h and ngl sh , as the ase o

o o r t o e c o mm o i o in s nnet , a v ry n dea f und these languages i r r c i o f c o m o r i c m a o r espe t ve nte p ary nﬂuen e , and y theref e be exampl es o f a general sto c k o f ideas ultim ately tr ac eable ” t o o c o o c a r e o m o n K sse the Pr vencal S h l ; su h the p e s a y , o n c r di c io m and ont a t ns . The poe o n a Ky sse m a y be c o m r in S e raﬁn o r c i pa ed Wyatt , Marot , and espe t vely , but i is i i o the dea ub qu t us . ” W a tt. m e Ma ra t . E n 1529 y Alas Mada la baisant, o he r k ss h h e 9 . r An t y s all ave 1. B e f m o n e spr it sans co ’ my lyff thr o ugh e nde d gn o issa n ce d ame

. 7 . Fo r to m m o h th e r I. 10 Vi o i l y wt ﬁ st . v t alo r s sur la b o uch e my h e r t did suck a m a dame

. 8 . Th e e x h e e e o wt o f 1 1 l n t s all l n l . . Do nt se m o u vo it l e co r ps m r e c y b st it plu k . e namo ur é

. 1 2 E l . t si l e lie vr e e u st gue r e s de mo ur a Co ntr e la mie nne e ll e m a ’ su cie l am e E n la baisant . ’ S e r a ﬁn o s str ambo tto r uns h 1. 5 C . e tal do l ce z z a in que lli labri acco lsi ’

6 . l . Ch e l S pir to m io fu p e r fuggir si via FRENCH INFLUENCE 6 9

’ . o h o o o cco ci o r l 7 . S c al se c nd t us va f a

m o r . 8 . re t dé che er o l . Basta i , p tal fall a

o w r o m th e o i io o f o m in E MS N , f p s t n the p e the , Wyatt appear s to have written it so me tim e after the passing

h o f r c i c r m r p ase the F en h nfluen e , and had al eady ade t ans ’ 1 ’ r m i Ma r o t s io is o l a tio n s o f S e r a fin o s st a b o tt . vers n f und in o n e of the Ado l esc enc e poem s published in and ma i i c c o m r i o o f y be due to Ital an nfluen e , but a pa s n the

r r io o c o i t o i in th ee ve s ns sh ws a l se l keness the Ital an Wyatt , ’ i m c m r c o c i f while Ma r o t s po em s u h o e free . The n e t o the two c o ntr aries is a ver y c o mm o n them e am o ng the Petr arch ists of the Quattr o c ento ; we ﬁnd it in Wyatt and the Fr enc h ” n o c il m wa r is o is r po ets . I ﬁnd pea e t l all y d ne , a t ans ’ ” c c i latio n o f Petrar h s Pa e non tro vo . St . Gela s and Mar o t wr o te ro ndeaus in the sam e style ; fo r exam ple ’ i J ay tr o p de peine e t peu de rec o mpense (St . Gela s) and 3 r ic i the r o ndeau Par Co nt ad t o ns (Maro t) . When Wyatt emplo ys c o nc e its ther e is dir ec t tr anslatio n o f Petr ar c h and

e r a fi c o r r t S n o . The Fren h p ets p o bably gave exp ession o the ideas whic h had m ade their way into Fr anc e fr o m P r o ve n gal r i r m o o m c o c i o i i w te s a ng wh n e ts fl ur shed . The Ital ans expr essed the sam e ideas o f th e Pro vencal S cho o l in new rm i o r r i m r i c ic te s , w th new p we de ved fro a ev val of the lass s and the study o f Plato ; Wyatt presented these ideas in the E i o i r i ngl sh t ngue by translat ng f o m the Ital an . c i c i s u n mi t On the other hand , a purely Fren h nfluen e s a k

e in o o i o o abl the r ndeaus and d uza ne qu ted ab ve . In later year s Wyatt o c c asio nally sho ws signs o f a Fr enc h i c i r r c r i nﬂuen e . Tho ugh th s [the] po t has a F en h ref a n

E r n vo yant la gale e . ’ m hi c mi c r i A poe w h ght be alled A New Yea s G ft , ri in i o m im 1 537—9 ffo w tten Spa n s et e between , a rds an

1 S ee i x 14 9 . e D . App nd , p 2 ’ The 1532 co lle ctio n is th e secon d publicatio n o f so me o f Ma ro t s wo rks . 3 o es e m e 1529 . Ad l c nce Cle e ntin . 7 0 SIR THOMAS WYATT ’S POEMS

’ inter esting parallel to o n e o f Ma r o t s etrennes . The ’ Fr e nch po em is n o t o nly r egar ded as o n e o f Ma r o t s best

i c c o n e o f i in r c p e es , but has been alled the happ est F en h 1 i r r is in i r am rm c o i i o f o l te atu e . It ep g fo ns st ng a d uble quatrain inter lac e d by m eans o f the r hym ing i n the fo ur th 2 a n d i c c ic is ﬁfth l nes , thus , a b a b , b b (wh h , by the way , ’ pro bably respo nsible fo r Spenser s fo rm of the quatr ain in th e so e fo r it i r m m r i r o nn t , , w ll be e e be ed , he stud ed Ma t c lo sely) . Ce no uve l an po ur e tr e nne vo us do nne ’ Mo n cu e ur ble ssé d une no uve lle plaie ’ ’ o r m o r l o r d o n n e C nt aint j y suis , a u ainsi ’ E n qu i u n ca s bie n c o ntr air e j e ssa ie ’ Ca r ce cu e ur la c e st m a r i ch e sse vr aie ’ ‘ Le de me ur ant n e st r ie n OII j e n e fo nde ’ E t faut do nne r l e m e ille ur bie n qu e j aie ’ ’ Si o o ir r r ich n j ay v ul d e st e e e c c m o nde .

Wyatt expanded this idea into a gr ac eful p o em o f fo ur six - in c m o o f o r o c o ic o o l ed stanzas , o p sed f u t syllab f ll wed by two c ic i m r in r m o f de asyllab l nes , and the etre uns the fo two i tr plets , a a b , a b b . It begins To se ke e che wher e wh er e m a n do th live Th e se a th e the r o c h , land , k , t e olive r ce S e e e r h F an , pain and Ind v yw e re ; Is no ne a gr e ate r gyft to gyve Le ss se t by o ft and is s o lie f and de r e r e e h h i Da I w ll say t an t at I g ve to ye r e .

i ’ Th s stanz a is expanded fr om Le demeurant n est r ien ” o u e n e o an d i j f nde , the ﬁrst l ne , Ce no uvel an p o ur ” r e o o n is r et enn v us d n e , neatly exp essed by Wyatt as a ” r r i r i t o r ef a n to eve y stanza , I g ve ye e . Wyatt also keeps the expe c tatio n alive “as to the nature i i i of the g ft unt l the last l ne of the poem .

1 H t i s . d e la Litt. Fra n a i se g . Fague t. 2 The o rm e h cer f ’ f us d by C au o r his o ctave in th e Mo nk s Tal e a n d , the A B C FRENCH INFLUENCE 7 1

The las t stanza r uns

To the the r e fo re the same re ta yn e The like o f the to have aga yn e Fr ance wo ul d I give if m ine it we re ; Is no ne a ly ve in wh o m do e th r ayne Le e r d isd a n e r e e he r e o re 10 he r e ss y , f ly t f m t r e Dar e I we ll give I say y her to ye .

i r c i o c c r r c The l ne F an e , Spa n , and Inde , and the u en e

h r Fr a u n c i e c i ic o f t e wo d e n the last stanza has puzzl d r t s , ’ di c o r o f Ma r o t s fo r it wa s n o t written in Fr ance . The s ve y ’ r hic is i c r inl o rc o f et enne , w h , I th nk , e ta y the s u e Wyatt s i i ri i in ir i o f i e t s . d a , expla ns use Wyatt was w t ng the sp t

r c o m c r c r m io the F en h p e , and pla ed F an e ﬁ st , then he ent ns

i r i im d Spa n , whe e he was stay ng at the t e , and In e

expr esses the utterm o st c o rner o f the ear th .

o m is i i i r c e The p e d st ngu shed by g a e and freshn ss , and Wyatt has added a singular ly happy to uc h in the line

It is bo th who l e a n d p ur e wi tho u ten p eer

Dar e I we ll say th e gyft I give t o ye r e .

’ i is im r m Ma r t r i i Th s an p o ve ent upon o s a t ﬁc al and . less ’ ” i u e u r l ess d u n e n o u vell la i o m pleas ng Mon c b é e p e . The p e ’ i e r r o o i r o m is typ c al o f Wyatt s lat wo k . He t k the dea f

r o o it o n his i th e e r io o f Ma t , but devel ped own l nes ; xp ess n r c o r m o o f o r m g a eful th ughts , the ha ny language , and the f i o c m i c tself , sh w what an advan e Wyatt had ade s n e the r o ndeau days . One m o r e name needs mention in c o nnec tio n with Frenc h in ﬂu e n ce— o f ic a m o i i o f that Maur e S ve , the sy b l st , nat ve q ’ 1 533 i c o r r o m in Lyo ns . In he d s ve ed Lau a s supp sed to b ; 4 l i r D li i 4 1 54 é e c o i o f 4 9 di i . was pub shed ﬁ st the , ns st ng za nes ’ c m r f r o r o c io c ir i It was usto a y o a p et s p du t ns to culate n MS .

o o re ir ic io so it i s u i o i e l ng bef the publ at n , that q te p ss bl that ’ the D eli e was begun at least ten year s befo re it was pr inted . o r o e r his r i i i r o his r r r c hi M e v , f endsh p w th Ma t , a dent Pet a st

e ci his r i o f c ri o tend n es , and leade sh p the ote e at Ly ns , ’ 7 2 SIR THOMAS WYATT S POEMS

c o o i c afte rwar ds kno wn as the E le Ly na s , pre ludes the

o w t o . 1 5 3 8 p o ssibility o f his being unkn n Wyatt In , t o i it is n o t ambassado rial duties led Wyatt Marse lles , and o o i im unl ikely that he then m e t Seve . He wr te ab ut th s t e i m m m fo ic the epigr am , Des re alas y aster and y , wh h ’

i . m ay be c o mpared with o n e o f Seve s di za nes Wyatt was . i i o f hi s i m intensely im tat ve , and the style ep gra suggests c o ntac t with S ave ; it is interesting t o c o mpare the two po ems

Wya tt S éve De sir e alas my maste r a n d my fo Tant e st natur e e n vo l o nté puis sante S o so re alter e d thyse lf ho w mayst E t vo l o n t e u se e n so n fo ible p o u tho w se vo ir S o me tym e tho u I so ught that Q u e bie n so uve nt a s o n ve uil drives m e to an fr o bl a n di ssan t e S o me tyme tho u l e d st Ie dythe the S e va it p ar so y gr and e me nt and m e d e ce vo ir What r eso n is t o r u wle thy sub A m o n instinc t j e laisse co nce vo ir j e cts so Um do ux so uhait qu i n o n e n co r bie n n é By fo r cyd law and mu t abilitie E t d e plaisir n o urr iz e t go uver né Fo r wh e n by the I d o wted to have S e paissant plus d e ch o se plus blam e ha u ltain e Eve n n o w by hate aga n e I do wt Ho r e s tan t cr e u e n de sir e e ffr e n é h ’ t e same . P lus j e l a ttir e e t p lu s a so y ’

m e n tr a in e .

Many o f the dizaines i n the 1 54 4 edition are prec eded by o o c a w d ut .

The r i i is i l Tant est natu e d za ne llustrated by a bu l , ic c o r is o i to o in wh h a whe d endeav ur ng h ld . The ultim ate ’ o rc f o r i is o in r c s u e the dea to be f und Pet ar h s sonnet , Io ’ ” se n tio d e n t r a l co r ia i m g ven r eno .

’ ’ L r i 1 e io ch i e a ga d s , t ng o r m o lto a fr e no E t misil p e r la vi a quasi smar r ita ’ P e ro che di e no tte indi m in vi ta ’ E t io co r o a l tr e n d e l me o nt a sua v glia n .

N o w r i i i is t o r S éve c the p eva l ng dea egard as a re luse ,

’ 7 4 SIR THOMAS WYATT S POEMS

er ce r a i o in e r e o r m e a ire Lo v . La Dame . Je v us p y t A t n p t as f v nt th e ﬁr e Vo stre m al o u bie n as ’ h ce e h La d . The h e e I Je m e n a y qu e fair e y t s all s f t at ’ h o i c o e r . J a y asse z d u mie n . t w w lt nv t

The o pening ver ses in the Frenc h and E nglish ver sio ns n iri o f the o ld po em show at o nc e the diff er enc e i sp t . The French rendering c arries o u t the m edi aeval idea and is

r E i r io mer ely a gam e in gallant y . The ngl sh ve s n ex r i m o pr esses r eal sentiment and tenderness , and the ap d ve E i m it s ic i c o f o ment o f the ngl sh poe , qu k nter hange th ught , ’ i o i o r c c rm t o and tense d al gue , g ve b th fo e and ha Wyatt s

is f o m r o MS po e m . It , un rtunately , absent fro eve y kn wn ,

r i m i i but the m ann e of handl ng the the e , the genu ne sent r ment and po lished style m ark it as a late wo k . On the

o r c i c in i s r i o r wh le , the F en h nﬂuen e Wyatt t ans t y , and aff ec ts the earlier par t o f his wo rk in the r o ndeaus ; a

r m c is in o i im r striking ese blan e seen the d uza ne , but the p es sion fo rm ed on c o m paring these Fr enc h and E nglish parallels

i s r o f m m o n o t io that they we e the result e ry , and translat n , fo r he r epr o duces the r efrains and a line her e and ther e ro m o o i m o f the r ndeaus ; and the d uza ne , though al st word

fo r o r io in r ci m ic o m w d translat n pa ts , has no spe al etr al f r in E ngli sh ; it is m er ely twelve lines c om posed o f thr ee quatr ains ; if Wyatt had tr anslated with the Fr enc h po em o him o m m m bef re , he would und ubtedly have ade so e etric al c m fo r o i fo r it is c o t h s he e a d uza ne , lear thr ugho u is wor k o o ci o f r that he t k spe al no te fo m . — Between the years 1 537 9 two p o em s were wr itten in ’ m r o n e i r c r i r Wyatt s best anne , the w th a F en h efra n , the o the ’ i i i it s i ir io r o m Ma r o t s r ev dently der v ng nsp at n f et enne . i i in c is Otherw se , Ital an ﬂuen e predo min ant in Wyatt at r i the late per o d . Onc e again Wyatt m e t Maro t at the Fr enc h Co ur t 1 539— 4 0 im , at the t e when the French p o et pr esented C r i his io o f m ha les V w th vers n the Psal s . This event ma y FRENCH INFLUENCE 7 5 have been instrum ental in determining Wyatt t o write his

r r o f i i lm o his m o Pa aph ase the Pen tent al Psa s , alth ugh del i was Ital an . To c o c it m c im fo r r ch n lude , ust be la ed Wyatt that F en i c i hi r i t i o nﬂuen e n s poet y s n o intang ble . It sh ws itself in r mi i c c f c o f o r r i his e n s en es o snat hes s ngs and ef a ns . In public life he kept in to uc h with Franc e and fr o m tim e t o ’ im n o o r r c o m c Ma r o t s r t e , d ubt , ead F en h p e s , su h as et enne .

r c i c o h r i o is i e n o t F en h nfluen e th ug t ans t ry defin t , but was c ar r ied o n with tho se serio us aim s t o whic h Wyatt applie d im t r t c r h self o Italian form s . He tu ned o Italy as the ent e o f i r i c r o c r c o in l te ary nfluen e , but he epr du ed F en h s ngs reminis cenc e o f happy ho ur s with gay and witty Fr enc h p o ets . S o u r ces tr a ced to Ita li a n P o ets .

S o n n ets .

Gio e rd cci 1899 t h e d . P e ra r c ( by su Ca u , ) The Lo ng Lo ve Am o r ch e n e l p e n sie r Ce sar whe n that Ce sar e p o i ch e Who so list to b o unt Una Candida Ce r va o Ro m [Cf. als an e llo Una ce r va qu ’ Was I ne ve r ye t Io n o n fu d a mo r ’ If am o ur s faith S una fe d e am o r o sa S o me fo ul e s the r b e S o n animali a l mo ndo " ’ Bec ause I have the P e r ch io t ab bio guar dato I fyn d e n o pe ace P ace n o n tr o vo My galy char ge d P asse la nave ’ Avysin g the bright Mir ando l so l b e me s E ve r myn h a p Mia ve ntur a a l ve nir Lo ve fo r tune a n d my Am o r fo r tuna e t myn de The lyve ly sp e rkes Vive faville u scia n ’ Such vayu th o ughtes Pie n d un vago p e n sie r Ho w o ft have I Mille ﬁa te ’ If wake r car e S une fe de am o r o sa ’ My:pillar pe rishe d Ro tta e l alta co lo nna

Li e to he e n u S imi e e i O er e P r k t s . i e . l a qu st p a t III T ll y , A me sur able S o ne tto 3

Filo ssen o

s e d r e me P a re a vi i n e S r m o o o e e E Un tabl qu sti t a b tt K pp l , . no c te ITALIAN INFLUENCE 7 7

h e r e th e IIco r ti e S r m i o G o N tt . My t I gav di di t a b tt ,

La o r . 15 1 e d . 15 16 d nna di natu a f ,

d ea u s Ro n .

P etra r ch GO bur ni ng sigh e s Ite caldi so spir i S o ne tto in Vita 153 e ho Lo Or e m o r r i e 125 e o e e E . B ld v v di a Mad gal K pp l ,

E i r a s p g m . S er aﬁn o

c o o G m e No . Alas Mada In lpa D nna tt, What n e d e th the se A ch e minacci The fur yo u s go nne S e una bo mbar do Ve ne m o us th o r ns Ogni p u gn e n te ’ He is n o t d ed S io so n c aduto

Ar io sto

Am o o e E ro m h e e h e hi e o r z 63 a l . e . F t s y ll s F a ﬁn Cap K pp l , r o si

Th i m o r e Or o e E e e r i . wand ng gad T ida past lla land Flug l , ling Fur io so

P etra rch

Off r he in e o e o o e S N G. Ca tag V s Hannibal n tt tt,

Va r iou s Mea su r es

P etrarch S o fe ble is th e thr e d Si e de hili il ﬁlo Canz o ne n o 3 i Vita N . 7

e o e e r e e e m e o mio z o e No G. Myn ld d n y Qu l antiqu Can n tt , do lce in Mo r te 360

Ada p ted fro m P etra r ch O r e stful place O came r e tta 0 go o dly hand O be lla mane ’ ’ P e r e it n o t S i l i i m a i o e e E . dy I said d ss K pp l , S o unwar e ly was ne ve r P er far a una Chi vu e l ve de r Will ye se Qual piu d iver z a S o unwar e ly was ne ve r Io ni i rivo lgo To cause acco r d He v n r h r e in S e i iii y and e t Ide a t aced t o lin s st na . All b e vy myn d e s Qual gr az ia ’ 7 8 SIR THOMAS WYATT S POEMS

S o m e tym e I sigh Ide a tr ace d to line s in In dubbio di i m o stato .

Ti ba ld eo

r m n e e De h e r ch e n o n . S o e o . o e e E . Whe n ﬁ st y y s p n tt K pp l ,

Ada p ted fro m S er aﬁn o ’ m o L r ch Res o wn d m vo ce . S r o e e e . y y t a b tt , a s nti

m o o 8 ed . 1516 . th o e . S r 7 All in y l k t a b tt , ,

Re r a in o n l o rr o e r o m Ba r z a le tta ix . Tangle d I was . f y b w d f

Fo r f S r m o o 302. want o wi ll . t a b tt , L Ba r z a le tt a 11 r o h e the swan n e . . e . ik as Cf , last st p

S r m o o . Me list n o m o r e t o say . t a b tt

S a ti r es i n ter z a r ima .

Lu igi Ala ma n n i h z mm i a G o wn e o P o n . o o m o e S t . x . No Myn J n y T as g ntil . tt,

w o ur c N e S es .

P i etr o Ar etin o

P e e P m in e r z Ise tt e S mi R E i e nit ntial sal s t a al . sda l . r ima

P e ce o f m m r P e i m o r ati n all y s a t ati nt a alla al a A . K . F. e ro m Bar z a l e tta x Adapt d f viii .

’ La r l e io gai d s A . K . F . e 4 — r o m S o e o 11. 5 8 Adapt d f n tt 7 , CHAPTER IX

ITALIAN INFLUE NCE

’ PE TR A RCHIS M is that aspec t o f Wyatt s po etry whic h ha s e e n r i i m o o r b al eady nvest gated . J . A . Sy nds and the s have sh o wn h o w Italian lyri c al so ng spr ang t o life in the thir teenth ) c r r o S iri i i m i m o f Gu in ic e lli entu y th ugh the p tual z ng ed u , i o r t o th e r o c o o f o . Gu tt ne , and Dan e up n P vencal S h ol p et y ’ Gu in ic lli i i i e s ric r . exqu s te ly , t anslated by D . G Rossett , Al ” c o r i r i r e m r m o r o n e o f r i gent l pa a s p e A e , was the ea l est r i f r i i i exp ess o ns o a new po wer in poetry . The ev v fy ng m is t o o f o fo r m i ele ent due the study Plat , as exa ple the dea

o in o o i i r o m m o i m Fo r f und the f ll w ng l nes f the Sy p s u , lo ve walks n o t up o n th e ear th n o r o ver the heads o f m e n but he dwell s - within having established his habitatio n i i ” ’ i o o f o m e n r o . w th n the s uls g ds and . (Shell ey s T anslat n ) This and similar ide as i n the P hce do wer e r espo nsible fo r that ﬁner sense o f beauty within the so ul at o n e wit h external nature that metam o rphosed the artiﬁc ial lyric s o f th e Pr o vencal p o ets in the thir teenth c entury by supe rimpo sing o h ir c o m e up n t e stanzas the new p o we r o f lo ve . A plet ’ e r io r a 1 xp ess n was eac hed in Dante s Vi ta N uo v . But the sensu o us beauty o f lo ve idealized and spiritual ’ iz e d di r r m c i o i by Dante ffe s f o Petrar h s deal , wh se gen us

1 ’ Th i e is x e e r e e r i . e o o e e r o f . d a p ss d in its pu ty in M Ang l s s nn ts lat , 22 No . H No n e e m r i o i s n o t h r h . . e d c . Lo e i liii, s p p [ v always a s ans

. S m o s J A . y nd ]

Lo e n o t h r h e sin v is always a s and d adly , If it b e lo ve o f l o ve line ss divine It le ave s the h e ar t all so ft and infantine ’ Fo r r o f Go o r ce t o e e ays d s wn g a nt r i n . 79 ’ 80 SIR THOMAS WYATT S POEMS

i o r in terpr eted a form o f sensuo us beauty wh ch h ve ed between ic an inte nsity o f spir itual passion and a phys al beauty de His o m in c lighted in fo r itself alo ne . p e s are set a perfe t i rm c in c r m o f , fo , and ex el gra e and ha ony language w th i o f tho se delic ate nature to uches inspir ed by the beaut es the Vale o f Vaucluse . The skilf ul blending o f natur e wi th grac e o f expressio n ric o r m in c o m ade Petr ar ch the master o f ly al f the Quattro ent , im His m i is o m im o f l e ss and indeed fo r all t e . ater al s et es f

r it is i c ic t o d wo th , and th s fa t wh h helps us understan why S i i the Petr archists fell s o fa r sho r t o f their master . e z ng — — d i upo n hi s theme dove fo r a c ertain lady and well ng

' ' ' hi m i m l aCkiri ift o f c upo n s anner s s , but g the g perfe t style and exquisite harm o ny o f language in whic h Petr arc h r evels ;

i t o o in m ic o f his r o c want ng , , the ag natu e t u hes (though

r i i r ri o f i an appr eciatio n of n tu e s the b th ght all Ital ans) , a— c m i t o their verses a re o n a di ffer ent plane . All o pla n a c i i o ic c c i all in erta n lady , all se ze up n the tr k of on e ts ; ,

c i so - c o o fa t , wr te alled l ve s nnets , and all burn and freeze , i o i fo r i fo r o n e despa r and h pe , w sh l fe and long death , at m m o m and the sa e ent . ’ The m or e m aterial side of Petrar ch s art was thus a cce n tu a te d it r in i c i o ; degene ated , the later Rena ssan e poets , nt n i i in i i o m o i se sual ty , unt l P etro Aret n we ﬁnd e b d ed all the wo rst liter ary vices of the perio d with an utter absence o f S iri i i o r c i r ci io p tual z ng f e , yet w th the app e at n of nature , in h r in li o f i c e ent every Ita an the entury , sharply “s xteenth him r ri c io deﬁned . In an ext aordin a ly lear perc ept n was

. i r r in i i c his c i i V nte p eted v v d spee h , and des r pt on of a ene 1 tian sunset in one o f the Letters is justly famed as the dawning o f a tr ue and natur al c r iticism whic h found no other o i m r r in r c exp nent unt l any yea s late F an e . Wyatt igno r ed the beauty o f natur e and the physic al 1 S ee Letter ii s i . No . 4 8 . To i i co c O i o o e , T t an , and n luding T tian d v ’ s e te m o

8 2 SIR THOMAS WYATT ’S POEMS

m im c o c i style into E ngland at the sa e t e . The n e t was i i t o r m i r r fo r o r c r . dest ned pe eate l te atu e ve a entu y S dney ,

in his Ar te o P o esi e o r it c o n o t r r o m f , depl ed , but uld keep f ee f ’ it r is i it it . Shakespeare s ea ly style saturated w th , and c o ntinued its c our se am o ng the metaphysic al writers (who m Jo hn son descr ibes as pur suing an idea t o the last rami l mi i fic atio n s o f thought and final y c ul nated n Co wley . is im r t o r m m r i m i m i It po tant e e be that th s anner s , w th c o c s o i r m in his nsequen es last ng , was fi st e ployed by Wyatt

i r i Ital an t anslat o ns . ’ Wyatt s ﬁr st exercises in the sonnet fo rm were under ’ ri his o r r c C i 1 528— 32 taken du ng f u yea s absen e at ala s , ’ ’ r c r i rio t o Ma r o t s a nd i m and we e e ta nly p r St . Gela s atte pts . r c i c r (See p e ed ng hapte . ) The so nnet needs perfec tio n o f fo rm and a ﬂo w o f tho ught r ising in volum e thro ugho ut

o c i i t o r in is o o s the tave and s nk ng est the sestet . It , ns ’

s ucc s o i a lLW a t t s . t m i c least e sful y a te pts , s n e

it glar ingly exhibits his early lac k o f ill in ﬁve - o o ” sk the f t M ’ ' i his o f i i in l His mér it l ne , and want stab l ty anguage . , n o r i in his in r o c i o f e f rm h weve , l es t du t on th o . It was left

t o o r t o r i o o r o r the s , Shakespea e , M lt n , and W dsw th , to make o f it that po wer ful instrum ent of sweet o r stately m ic t o ic it i in i us wh h atta ned the r hands . h 1 It a s been said that the Tr oilus m easur e n o do ubt ’ l o r o f o f o r he ped t wa ds Wyatt s use the s nnet , a natural br eak has been o bserved after the seventh line in the so nnets ” ” T r r fﬁl e o m o h H w he was neve , S e f wles t ere be , and o ft ” o . m r o f c have I As a atte fa t , Wyatt d id n o t appear t i o wr te in Tr o ilus measur e in his early wo r k ; judging r o m . m o h f the MSS , he e pl yed t e ro ndeau and s o nnet fo rm s o r i Ch c r i h bef e us ng the au e an stanza , and is ear liest wo r k is in i h r ic m r o f ﬁft e e n th - c the l g t ly al et es the entur y songs . i m o r o e r It w ll , e v , be seen that o f the thr ee sonnets quo ted

o o c in two o f m is c r i i e ab ve the tave and sestet the lea ly d v d d .

1 ’ S a i n tsbu r s P ro sod o l v . . h . m f Li y , . . o t . o l y i C ild Ca b Hist , v . iii . ITALIAN INFLUENCE 8 3

i m o ri o f E i o o Wyatt , l ke the aj ty ngl sh s nneteers , f und a difﬁc ul ty in adapting the Italian fo rm o f the sestet in E nglish ; ac c o rding to Italian r ul es th e sestet m ust co nsist

o f two r i l c o c i c o c o t p ets , and a n lud ng uplet nsequently m E i o e destr o ys the m etric al s c he e . The ngl sh s nnet t nded ro m i i t o i c o rm f the beg nn ng , end w th a uplet , and was ﬁ ly ’ established by it s emplo ym ent in Shakespear e s so nnet ’ c in r i o th e sequen e . Wyatt s sestet the ea l er s nnets takes

o r m 0 c e o to ri l f d d e e , and shows an end av ur keep the t p et

o rm in m r ic c m r ri io two f the et al s he e . Late , a va at n of the terc ets is m ade by emplo ying a quatrain and a c oncludi ng c o uplet . ’ One fac t m a y help t o explain Wyatt s m etho d o f ar ranging the sestet the fir st Italian p o em tr anslated by him was th e ” m i i m o is i o m in adr gale Or ved A r . It the op en ng p e E MS o c c r r in th e r o o f o m in the , and u s fi st la ge gr up p e s m ri c i f r c S . o o the D M The ad gal ns sts th ee ter ets a b b , c c c i i a , d d . Wyatt no doubt stud ed th s , and saw that the fir st fo ur lines a b b a is the sc hem e of the do uble quatrain co mprising the oc tave in the s o nnet ; he als o pr o bably m o u t i m i i s i i it ade that when th s adr gal d v ded , as should

i o r c c o ir li o f r c be , nt te ets , the se nd and th d ne eve y ter et is c o in his m ri a uplet , and thus ﬁrst study of the ad gal he o o o f his r m i c m f o r o f und the skelet n hy ng s he e the s nnet . He ther efo r e em plo yed the do uble quatr ain a b b a fo r the o c tave ; he pr o ceeded t o fo rm the sestet after the m o del o f

rc o in m i l i r o ci i the te et f und the adr ga , by nt du ng a new l ne ' i r m fo r r lin é o f m i it w th a new hy e the ﬁ st the sestet , ak ng r m i o i o f th e hy e w th the f urth l ne sestet , and altered the o r i i m ri o m t o o m g nal ad gal f r the s nnet for , thus

Ma dr i a l c c c c m r m g a b b , a , d d be a e sonnet fo a b b a , c c d d , e e . 1 i s c r i o m r c r It lea that Wyatt stud ed f r ve y a efully , and

1 is n o t l e h he e the P o etica o f r i in o hi ch It un ik ly t at studi d T ss , w ’ ’ was publishe d to ge the r wi th Tr issin o s tr anslatio n o f Dante s D e Vu lga ri G 2 ’ 84 SIR THOMAS WYATT S POEMS

i c i set abo ut in a scho larly fashio n to understand the intr ca es o f the m etr ic al system of the new fo rm s whic h he so ught c o m r to intr o duc e into E nglish verse . He doubtless pa ed i o a nd th e fo rm o f this m adr igal w th that of the s nnet , m ade th e disco very that the sestet in E nglish was easier o f

ac hieve m ent after the style o f terc ets in the madrigal .

in E MS in o In th e two last so nnets , Ye that l ve and ” r c r in th e o i l e rish t is If wake a e , and s nnet The p l ar p (written in a quatr ain and c o uplet is em plo yed fo r ” h n e o c is c o r i t e sestet o o ther s nnet , Su h the u se , ev dently

i r 1 54 0 o o in To tt e l i s in r m wr tten afte , and f und nly , the fo

f thr u a tr a i n s wi th a co n clu di n co u l et o o ee q g p , kn wn as the h r S akespea ean . Ye that in love and If waker c ar e were written in i 1 5 —9 r r c i d id n o t i o r 1 5 36 Spa n 37 . Su ey erta nly wr te bef e , ’ and it is improbable that Wyatt saw any o f Surr ey s po em s ’ o hi r r i r i i o in bef re s depa ture f o Spa n . Wyatt s va at n the sestet m ay therefo r e have given Surr ey the idea o f writing 1 r r i r r i is i th ee quat a ns f o the ﬁ st twelve l nes . It not poss ble

t o i c it is i o i d g ve fa ts , but h ghly pr bable that the establ she ’ fo rm of o ttava rima in Wyatt s epigrams sho uld have given 2 rise t o ano ther idea fo r the s o nnet fo rm ; the r hym ing ’ — scheme o f Wyatt s o ttava r ima is a b a b a b c c a sestet in r i m o alternate hymes w th a c o ncludi ng c o uplet . One re

two c o c di c o i step , sestets , and the n lu ng uplet , g ves us ’ rr o in r m is c i Su ey s s nnet alte nate rhy es . It erta n , how

E lo u en tia 1529 . hi m o i e re o m e co i r e q , in T s st nt sting v lu nta ns a va i ty 2 o f sche m es o f ve rse . It is divide d into fo ur par ts : ( 1 ) spee ch ( ) fe e t o f m e r e 3 ch e me o f m e r e 4 o e c z o e and kinds t ( ) s s t ( ) s nn t, an n , ballata , o h r ri c and t e ly al fo r ms . 1 ’ A study o f Wyatt s me th o ds and m e tr e s le ads to the co nclusio n that S rr e n o t ho r e e r i e t h e o e o o r r m Mr . e u y did s w g at init ativ in s nn t f , as B wy

N cho e e e . S e e A Li ttl e Boo k o E n lish S o n n ets r o c io x i ls b li v s f g , Int du t n , iii . 2 ’ S e e S r re t wo - r h me o e The o o e e o h u y s y d s nn t , s t s as n t at bud and ” o me o e ri e Tr i i o i h r bl ft b ng s . But ss n g ve s t e fo m a b a b a b a b as o n e o the o c a e r e ie S e e P o et ca d f . i P r e . 1529 t v va i t s , a t III , . ITALIAN INFLUENCE 8 5

r o two i r i eve , that Wyatt wr te the sonnets w th the quat a n and c o ncluding c ouplet for the sestet when he had bec o me

r ilf in o rim o m m i it r ve y sk ul the ttava a f r , e ploy ng f equently , whil e in later year s he rar ely used the so nnet fo rm Th e Or vedi Am o r m a drigal n o t o nly appear s to fo rm ’ o io o f in wi it l o e xe m a s lut n Wyatt s deal gs th the sestet , a s ’ liﬁe s his m o o f i i rc io p eth d deal ng w th Petra h s vers n . The i o m i r c r r o : o Ital an p e nt odu es th ee pe s nages L ve , always

di i c i in r r c a th e o a st n t ent ty Pet a h , the l dy , and l ver ; the lady is the c entr al ﬁgu re ; she is desc r ibed and encir cled

i i r i c i r o c w th n a ﬂo we ng lands ape . Wyatt nt du es the three r o m o c r i pe s nages , but akes L ve the ent al ﬁgure ; he d spenses i s c o mi r o c ri io o f l w th the land ape , ts pe s nal des pt n the ady ’ and lengthens Petrarc h s nine lines t o the thirteen lines o f the r o ndeau wi th the refr ain Beho ld Lo ve (Or vedi

m r two i l i in i A o ) . The beaut fu l nes the Ital an

’ Tu se ar mato e t e lla in tr e c chie e u go nna ’ i i e e c z i ﬁo r i l r b a S s e d s al a e e . a re r endered by Wyatt

o n h o art she r m e i h We p ed t u and una d s tte t .

’ All Wyatt s earlier s o nnets deno te his prefer enc e fo r c o n

i - o o a r e r o c e t s . The best kn wn s nnets p bably The lo ng ” ll r lo ve and My ga ey . The ﬁ st has gener ally been ’ 1 t o m i ve rsiﬁc a tio n taken exe pl fy Wyatt s faulty , but the ’ so nnet in To tte l diff er s c o nsider ably fr o m Wyatt s o wn

r i in E MS ic f o o m f ve s o n the , wh h af ords a g d exa ple o c e rtain c har ac ter istic rules ac c o r ding t o his metho d o f i i dealing with the dec asyllab c l ne . 2 The My galy so nnet is the expr essio n o f o n e o f the m o st po pular c o nc eits am o ng the Italians in the ﬁfteenth o u r wn and sixteenth c enturies . In o day Gio sué Car ducci has

1 ’ ’ r cri ici m e o to To tte l s o Pr o f . S aintsbu y s t s appli s nly e rr ne o us ve r sio n ’ wi h o o f . o e n o t o r wn r io E Wyatt It d s w k at all t Wyatt s ve s n , MS .

S e e e c m e o e m e ix B No . ( sp i n p s , App nd , 2 h r r e e ri o f hi me ho r E h se Fo r t e e e e O. E o e m a li st nd ng t s tap in nglis , . p 22 hri 1. 850 et se . C st, , q ’ 8 6 SIR THOMAS WYATT S POEMS

c i in his o m ade use o f the same c o n e t s nnet , Passa la nave

t r a il i o i i . 8 5 o i 1 9 01 mia s o la , p ant (Juven l a , p ; P es e ’ io o f i Ve rschi ed en e Mit and also in his translat n He ne s , ” l i i mia c o n s chwarzen Sege n , beg nn ng Passa la nave

rim . vele neve (nuova a , p s e ms t r i e hi s c c in the w m have eal z d want of su ess Wyatt o“ M m and ft 1 533 r r r o r im so nnet fo r , a er he p efe ed ttava a ,

’ im f o r his r i m r o r o . po ulter s easu e , terza r a t anslat ns Oc c asio nally in later years he wr o te a so nnet fo r a special ” ” io fo r i c o in o o c c as n , as nstan e , A May S ng , Ye that L ve , ’ m o r Cr o m ill r e rishd and the la ent ve well s fall , The P a p ” S o m r o o m is . These later sonnets h w a aste y ver f r and m in r i i o o develo p ent powe of thought , w th v g r us language , f o m c di in r mi c m and an absenc e o R an e en ngs the hy ng s he e . Wyatt turned fr o m the early so nnets t o o ttava rim a and imi e r a ﬁn o o r m o i i in 1 5 1 6 S . tated , wh se st a b tt were publ shed

1 5 0 r S e r aﬁn o . 0 o f o c o o (d ) was the leader the quatt ent p ets , and during the earlier year s o f the sixteenth c entury he m o r i i had any f llo we s . He exh b ted the faults o f the

e r c i in m r r o f o r c P tra h sts a a ked deg ee , and a f ndness o n c e its led him int o a b o m bastic style ; his lo ve o f repeti tio n degener ated into exer cises o f mere ingenuity until he perpetr ated such lines as these

ie ie i cco rri c c o rr i o m o r V n v n , a a , te m o r te Ho r ri o ri o o o h o r m g d g d , alt alt , uto m uto c c a l o co a l o co i A qua a qua, f f , a uto , aiuto .

He emplo yed o ttava rim a fo r the stram b o tto ; it c onsisted o f six in in r i r m c o c i l es alte nat ng hy e and a n lud ng c o uplet .

r ic r c c ul wi i rm m Wyatt was pa t ula ly su essf th th s fo , e ploy in it fo r s o - c i m i r g the alled ep gra s , wh ch a e poems o n c o n c e its r r i r athe than p thy ve ses . Wyatt s o m etim es expr esses in real feel g in o riginal piec es suc h as A fac e that sh ul d ’ ’ ‘‘ ” ‘‘ c m e o m i c ontent , and Lu kes y fa re fal on , and Tagus ” r l Fa ewel . The fo rm is far less di ffi c ult t o m anage than o the s nnet . The ar gum ent m a y be given in the first fo ur o r six i the first l nes , and the c onclusion is c o nsequently ITALIAN INFLUENCE 8 7

r i r c An e mi io o f set fo rth in a quat a n o a o uplet , xa nat n ’ i m o ri in his o f o rim Wyatt s ep gra s sh ws va ety use ttava a , m r six i r m r e but he generally akes the ﬁ st l nes hy e alte nat ly , c c i c o i r m o and o n ludes w th the uplet . Th s fo d ubtless gave him the idea o f varying the Italian fo rm o f the sestet by emplo ying a quatr ain r hyming alter nately and a c o n

r r r i e r r m e l u din g c ouplet . Su ey c a r d the step fu the and ade the fir st twelve lines o f the s o nnet c o nsist o f thre e quatr ains r Hi r r t o s triCt r hyming alte nately . s fi st so nnet adhe es the o ttava rim a fo rm wher e the fir st twelve lines r hym e alter n a te l i r m o nl i c o c i c y w th two hy es y , w th a n lud ng ouplet , a thus : a b a b a . 2 r r E o c o m In 153 Wyatt etu ned to ngland . He had ver e

i i i i c i o f ﬁve - o o i r i the n t al d fﬁ ult es the f t l ne , and had w tten m r o f o m o r o the greater nu be the s nnets ; he had , e ver , t c i r i i i r m o f his attained o a erta n dexte ty n the ep g a . One

r i r o m io o f c o ea l e p e s was the translat n the anz ne , Quel i o mio o c m i i o r i o r o i 1 ant qu d l e e p o s gn e , nt T lus stanzas ; ’ r i r i this is perhaps the weakest o f Wyatt s m et c al exe c ses . The Tr o ilus stanza seems to have pr esente d di fﬁc ulties t o fo r two o r o m o c l i r t o Wyatt , the faulty p e s (b th pe u a the D i hi r r i ric m a re n m . o c o MS . ) t s easu e He w te h eﬂy ly al p e s 1 — in c o Co r rio 533 6 . dur g the se nd u t pe d ,

r th e l o f o in 1 53 6 c m r r Afte fa l the B leyns , he on e o e tu ned t o m o r ri r ir r o o . a e se us style , and w te sat es The ﬁ st was a ’ r io i i m i ir r o m o m t anslat n of Lu g Ala ann s Tenth Sat e , f wh l o m o f r im c o mm o ic a so he to k the for terza a , the n veh le i f r m r di i m i o in Ital an o o al and dac t c p o e s . The Sat res p ssess ’ gr eat m erit the metre was m o r e suited t o Wyatt s style o r o o r m ic r ir m o o than the s nnet and ndeau f s , wh h equ e s th r ri r m r i r ness and egularity . W te s of o al sat es have always in dulged in a c er tain r uggedn ess in fo r m and fr eedo m in ve r siﬁc a ti t mi i f r o n . c o o o The subje t , , was e nently su table , ’ Wyatt s rec ent exper iences in c o nnec tio n with the do wnf all

1 ’ The Tr o ilu s stanz a is pr eced ed by Wyatt s e ar ly po e ms in r o nd e au o e o and s nn t f rm . ’ 8 8 SIR THOMAS WYATT S POEMS

m him o f the Boleyns and his o wn imprisonment had ade ’

i . in sympathy with Alamanni s r eﬂe ctio ns o n Co urt l fe io r o m o r c The o ther two satir es a r e freer translat ns f H a e , o m o r wi o cc a i o and express sinc erity and a l fty al , th s nal

r i r r t o m m i ﬂashes o f humou . W th ega d the etre , Ala ann

ic c o i o f c rio use s ter za r ima str tly , nﬁn ng the sense ea h pe d

w e r c r o cc i i o ithin the t et , and ve y as onally allow ng an verﬂow

o f o n e terc et into ano ther . ’ m r r o m n o t o Wyatt s ter za r ima presents o e f eed , nly

e rc t o o r o allo wing o verﬂo w fr o m o n te et an the , but ften

in mi dl o f i fo r m making the pause the d e a l ne , exa ple

Amid this j o y the r fe ll a so r y chaunce that we laway the stra u n ge r b o wght ful de r e the far e she had fo r as she l o o kyd a ska u n ce Unde r a sto le sh e spyd two ste myn g e ye s In a r o und hed wi th S har pe e ryes in Fr a u n ce

Overﬂo w is a c harac teristic feature in the Satir es and ’ m in i o r o f r i Psal s . Read g th s later w k Wyatt s we eal ze h w r t c m o nea he was o blank verse . He had be o e less o r m i m o r m o r o ccu dependent up n hy e , wh le he was e and e

pie d with the r hythm and the str ength o f the tho ught . In e mplo ying ter za r im a in this free manner he again sho ws

his char ac teristic style o f selec tio n with reservation . He adapted it t o his purpo se as he had adapted the sestet t o E i in i c in m an ngl sh style , and these nstan es , as any ’ o in i o o f E i i e r i thers the h st ry ngl sh l t ature , Wyatt s handl ng o f m e tr e pr o ves t o us h o w impo ssible it is t o plant a fo reign

m ric c m c i o r r m et al s he e exa tly , w th ut the nec essa y eadjust ent to ui i ni o f E i s t the nat ve ge us the ngl sh language .

m o r im in imi io m i f o r He e pl yed te za r a , tat n of Ala ann , an i o in o i s o m o i i o r ep st lary style ; but d ng , d ﬁed the r g u of the o rm i it f , adapt ng to an easy style o f ver se paragr aphs o f va r iou s l en ths i a o f c i g , nste d onﬁn ng the meani n g within o o f rc i the b unds the te ets , wh le the slight pauses o c c asioned

r m him t o c i by the hy e helped keep the balan e of the l ne .

’ 9 0 SIR THOMAS WYATT S POEMS

o f i o e m o o mi i o Io so n af l tt lt u l at , S o l p e r la gr and e mia in iquita te io c o r d isco n s o l a to E tanto a l o m , ’ io e mo e ru i o Ch g gg ,

P S . xxxvu . 8 .

o m m c Wyatt n o t o nly empl ys enj a be ent at the ter et , but

o c o r t o i m o . at the sestet als , ntra y the Ital an eth d The ’ o r i hl Psalms represent Wyatt s best w k , and though h g y i i a re i o . c s praise d after h s death , they l ttle kn wn The fa t , metri c al Psalms have never found m uc h favour in E ngland o win g t o the beauty o f language and the lyric al passio n

r i V r io so i r o displayed in the Autho zed e s n ; that wh le Ma t ,

r c a r e o o in c m Luthe , Bu hanan , h n ured Fran e , Ger any , and

r c i fo r ir m r ic io o f Sc otland , espe t vely , the et al vers ns the ’ m ff o r in i ir c i c i c Psal s , Wyatt s e ts th s d e t on have re e ved s ant ir i in i o f attention and little adm atio n . V ewed the l ght their intrinsic wo r th it wil l be seen that Wyatt rises t o a no bility o f utter anc e in th e Psal m s that i s sc ar c ely fo und r r o m is m o i elsewher e in his wo k . F eed e pl yed w th ease ; b is i i im i io i c r i o ught all ed w th the ag nat n , and s n e ty and m i i r His m i is m o r al po wer assu e real rel g o us fervo u . er t r i r ealized when his ve s o n is c o mpared with the sourc e . ’ Pietro Are tin o s pro se ver sio n has r ecently been disc o vered by ’ t r c f i E il ri . . o o r r o . M . sda e (B t Mus ) be the sou e Wyatt s ve s n Pietro Ar etin o i s the m o st extrao rdinary ﬁgu r e o f Italian i r r i o f i i c L te atu e and , ndeed , the Ital an Rena ssan e he it s c c c m c o stands as the type of de aden e , when art be a e l sely 1 c o c i imm i o m i nne ted w th oral ty . He wr te poe s , traged es , c o m di i r li io i c i c di i e es , d alogues , and e g us p e es , n lu ng L ves

o f i i i r m . Sa nts and the Pen tent al Psal s He neve read , and boasted that his o nly equipm ent f o r his writing was a bottle

1 Private de pr avi ty and po litical d e base me nt we nt wi th o n e o f th e mo ri i e i in the hi o r o f th e e r a st b ll ant awak n ngs st y W ste n wo r ld , n d the ’ 1 o c i io o f cr uil i h c i e ass at n aft and g t w t sa r e d things . Onl y a giant l k ” — . e o e c ed hi e a c im r M Ang l s ap t s d dly l ate . Lo rd Mo l e y o n Macchiave lli . ITALIAN INFLUENCE 9 1

His r ﬁll six m o f in k . o a d and paper lette s v lu es , and are dressed t o all the le ading personages o f his day ; he earned h his living by a p r o c ess of blac kmailing . Tho se w o refused to besto w gifts upon him wer e m ade no torious by his abusive

i i o in his c i o m P e r wr t ngs th se pay re e ved fuls e ﬂattery .

i m c o m o f i c sonal advert se ent was a ust the later Rena ssan e , and m e n o f no te were anxio us t o be o n go o d term s with r i t hi i A et no o esc ape s c alumn es . — In 1 539 4 0 he wr o te t o Cr o mwell in o r der t o o btain the 1 f r r him 300 c r o patro nage o Hen y VIII . Hen y sent wns ; ther eupon Ar etino dedic ated his sec o nd vo lume o f Letter s “ to the Magnanim o Henri c o Ottim o in One of ’ the latest entries in Cr o mwell s r em embrances was to ” 3 m m r m i i c m e re e be Aretino f o r s o e g ft . Pr n es and great n fr o m all parts thr o nged his palac e at Venic e and bro ught him i i r r o i f o r - r i m o r g fts , e the th ugh a w sh self adve t se ent thr ough fear o f c oming within the r ange o f his m alignant V ic in 1 527 o o ri tongue . He settled at en e and was then n t o u s f o r ma ldi cen ti a ; ther e he r em ained until his death in

1 556 i in i m c c o r i . Wh le Spa n Wyatt had u h nve se w th the V i m o r o him m a enet an A bassad , and thr ugh he y have ’ ’ bec o me ac quainted with Ar e tin o s Psal m s but Ar e tin o s no to riety made it imp o ssible that he sho uld have been 4 ’ i r o Are tin s i i lm r unkno wn . P et o Pen tent al Psa s we e pub lish e d in 1 536 r r i in 1 539 in 1 54 0 ; they were ep nted , and . Wyatt in all pr o bability rec eived a c o py o f the sec ond editio n thro ugh his friend the Venetian Am bassad o r at the

i c o r it i r m m r t o o r Span sh u t ; w ll be e e be ed , , that A etino r m 1 539 io wro te to C o well in . It was the fash n at that time

r r t o pa aph ase the Psalms .

1 2 S ee Libr i d ella Letter e e d . 1 609 . Pie r o r e i o . Ib , t A t n id . 3 ’ ” S e P e r 1540. ro m e r e me m r ce . tat ap s , C w ll s b an s 4 Y r e r h ro e r i e x m e o f hi o e e e . N h a s aft was a p v b al a pl a las ng t ngu as , in 1592 wr i e We re i e m o h m h r h , t s , want an A t n a ngst us t at ig t st ip t e se 1 1 o T e Liter r P go lde n asse s (P i er s P en il es ) . S ee als h a y ro fessio n in the i zabetha n A e P h E l g ( . S e avyn ) . SIR THOMAS WYATT ’S POEMS

1 539 c t m o E In De c ember , Wyatt a ed as A bassad r xtra t r o o r dinary t o Char les V o n his j o ur ney o Flanders th ugh ’ r o c o c c io o f E m r o r Fr anc e . Ma t elebrated the as n the pe s visit t o the Fr ench Co u r t by presenting him with his ver sio n r r t o E in o f the Psal ms . When Wyatt etu ned ngland May

t o l in o m r r i 1 54 0 h e retir ed A l gt n , and the Psal s we e w tten so me time between that date and his im pr iso nment in 1 54 1 January . The Satires and Psalms are gener all y gro uped to gether im c o e r c i c i as written at the sam e t e . A l s a qua ntan e w th ’ i im r m r f Wyatt s life makes th s p o bable . The te pe o the r m Satires is to tally different f o m that o f the Psal s . The Satir es express the attitude o f o n e wh o has passed thr o ugh a f i c o m o r o i r wh o im phase o d s f t and p ss ble dange , sets h self t i hi s i i a r e r o hi s r e c io o wr te , when sp r ts at the eb und , eﬂ t ns upo n his experienc es wi th a c er tain am o unt o f geniality and m r e o f o ﬂashes o f hu o u . In the Fabl the T wn and Co untry

o o r Ma d e s f o r i c c o i M use My M the s y nstan e , we re gn ze ” c o m t o Co r i o in ri Wyatt e u t , and nv lved the luxu es and r i c a t r i i i C . e ga et es of ou t l fe , when suddenly the appea s , . ’ i r c o o the K ng s w ath suddenly des ends up n the B leyns , and ” is c hi ir Wyatt aught by the p . But the Sat es express i r n r o rr o ne ther fea o s w .

o r m r r On the the hand , the Psal s we e unde taken at the ’ im r i i o r C o m m i t e when he was g ev ng ve r well s fall , bla ng

im fo r his o f c c in i o i r h self want su ess Spa n , and l o k ng fo rwa d t o his o wn immi i i . o r r hi fall as nent and nev table M eove , s Luther an tendenc ies had beco m e m o r e pro no unc ed durin g his r i c in i r es den e Spa n . Wyatt t anslates c lo sely six o f the i r o c o r o o seven nt du t y Pr l gues . In the earlier stages o f the lm in o o m i i hi Psa s he translates Aret , tt ng s passages o n ’ o c i r Ar e tin o s r d tr ne ; late , when pa aphrase bec o m es alm o st

ir r c i io o f o c ri o ent ely a e ap tulat n d t ne , Wyatt f llo ws his own i e t o im o o f m l n s and keeps the s ple th ughts the Psal s . The fo llo wing o pening sentenc es fr o m the Pr o lo gues o f

’ 9 4 SIR THOMAS WYATT S POEMS

u e i i P ro lo g i . ’ hi o e n d id i did i Ta cqu e si David to sto ch e gli T s s ng Dav d st nt is vo ce he bbe c antato l e so pr ad e tte par o l e e h y in h h e a b o wte he i h in que l santo tace r e pare va ch e il su o And t at w il w t sil e ntio r agio nasse co n la spe l unc a his Iy e t 1 h e c e w hich W do ve e r a rinchiuso de lla pace ch e Did se ke t av w Dio o e n o se h ave a fatta co n . ut y This sil e nce se r ve d t o a r ge w

and r e p lye . P m P xxxviii . Thi r d sa l ( s . )

De h S o r e si co me io ti h o r e O Lo r h e e h e o e h ign , p d as I t ( ) av b t gato e si co me ti r ipr e go n o n mi p r a yd and pr ay r e p r e n d e r e n e l tu o fur o re n e l qual e e Altho in th e b e n o alte r atio n po sta la e te r ne d amn a tio n e d e i r e i But th at we me n lik e as o ur se lve s n e lla guisa che gli dim o str e r a 10 in we say e r m o n e co e i e che Mesur in the ice o ur f , ns nt v la tua g just by mise ri co rdia vo lga l e spalle a l mio mutatio n pianto co n que llo sde gno che alla la Chastise m e n o t 0 Lo r d in thy o er a l r i o d i c o o ro r o r v lg a s l . fu No r m e c o rr e c t in wr athful c asti

atio n . P ro lo e g gu iv. [To sto che David si spedi d e lla Like as th e pilgr im that in a lo ng te rz a Canz o ne ] par ve n u pe r e gr ino way che misur ando co n l e m e nte la lun Fayn tin g fo r h e te p r o vo kyd by gh e z z a d e l camino e t have n d o n e gia so me wind o e r e fo rmito si rr e h d th o bu n pa t , a sta alla In so me fr e sh s a e lye d wn o m r a l cui r co lo h o i vi o m d e s o f d a b a f is ann n tat at y y, ’ r e r i r e e o o di e o o h i l au p nd nd alquant qu lla S d t Dav d . le na ch e gli ha to lto la fatica de llo re anda .

Fou r th P sa lm P s li ( . ) . Ha b bi mise r ico rdi a di m e Iddio Re w o n m e Lo r d fo r thy go o d n e s n o n se co ndo il piccio lo m e nto d e l mio and gr ace di 1 giun o d e l mi o o r ar e d e l mio Y o ﬁ thy n a tu r e a rt so bou n tifu l o m a piant se co ndo quella tua gr an Fo r that go o d n e s th at in t he m s i co i e r rdi a co n la qua le a va n z i di wo r ld do e th br ace ra n d e z z a i l vo lto d el ci elo i l etto de i Re g , p pugnant natur e s . mo n t — i , i l sen o di ma r i i l r embo della N OTE e r e o o g . H Wyatt f ll ws the ter ra i i ed i de llo abi sso et l a mes ura i p , de a o f the Psalm in to uching upo n de lo i m men so . th e ri e o f Go d which r e i o att but s , A t n inte r pr e ts as glo r y r e ve ale d in r e o mi e natu . Wyatt ts all passag s ’ o f Ar e tin o s re c io natu des ript ns . ITALIAN INFLUENCE 9 5

e P ro lo gu v. P o sc ia ch e David he bbe se o ngi n The die pe se cre ts that David he r e r ata la gr ande m ise r ico r dia d i Dio ad di d sing u o Of m e r c o f he o f fr a ilte o f bave re mise ri co r dia de lle co lpo s . y fayt S i r m e i i o cchio i e t t e man d o r ce i as ng n n g a , di n o n r ived e re la imagine d e l su o Of go ds go o d n e s p e cc ato

P lm P t a cii . Fif h s ( s . ) E saudisci S igno r e la mia o r a tio n e Lo r d here my pr aye r and l e t my da ch e tu vedi 1a co n tr itio n e d e l co r e cr ye passe so mma m e nte co ntr istato d e l su o Unto th e Lo r d wi tho wte impe di have r pe c cato fa che il mio grido m e nt giunga a t e

P ro lo gu e vi . Cantato e he bbe David il Whe n David h a d p e r ce y vid in ‘ pe ntito Re r ec e ve tte ne ll anim a un a his h e r t disusata c o n so l a tio n e p e r cu i e gli Th e S pir it o f Go d r e tur ne d that r e xild co no bbe ch e Iddio h ave va ape ta l was e . o r e cchie a l pr e gar su o

lm cxxx . S i xth P sa (P s . ) Da i pr o fo ndi io h o e sclamato a te Fr o m depth s o f sin and fro m a

S o r e S i o r e e i ci o r a tio n e ie e d e s a r e . ign , gn saud s la d p p y

mia .

P ro logu e vi i . TE — o e n o t o o th e N0 . Wyatt d s f ll w hi Pr o o e su bsti Italian in t s l gu , but ta tes o ur ver n e or i i n a l sta n z a s f y ﬁ g . S e m a i a Dio fur o r e gr ate l e This wo r d Be de m ce that in his o r a tio n e d e i suo i S e r vi gli i a gr ata m o wth d id so wnd es e r ch e e i se mith o m e qu ta di David , p gli la Did put Dav d it unt su e lse dal pr o fo ndo co r e As in a tr ance to starr e upo n th e gr o wn d And with his tho ught the h e igh t o f b e di d se vyn . S t e en h P sa lm P s . cxli ii v ( ) . S igno r e e saudisci la mia o r a tio n e He r e my pr aye r O Lo r d h e r e my ’ m o r i i ie e r r o co n o cchio r e t a p ta igua d l que st. de lla tu o mise rico r dia il pe n ite n tia d c mio e l o r .

The fo r ego ing exam ples sho w that Wyatt c lo sely fo llows ’ 9 6 SIR THOMAS WYATT S POE MS

’ Are tin o s metho d o f linking the seven Psalms to gether by r m ic i c o n c i o o o r mi . n e t ng Pr l gues , the whole f ng a d a at ep sode i ’ m But no thing c o uld be m o r e o ppo s te than Wyatt s anner .

r o o his o ri i c o As the task p o c eeds Wyatt f ll ws g nal less l sely , pr eferr ing a simple p a r aph a se whi ch keeps to the spiri t o f r m o r o ri o f A i the Psalms rathe than the e ﬂ d style ret no . The Italian c o ntinually ﬂies o ff into the r egion o f Rom an C o ic o c i ic i ath l d tr ne , wh h Wyatt , w th strong Lutheran

r t i ci r o o . o t o o i tenden es , natu ally efused f llow Aret n , , g ves o c i io o f r fo r m l ng des r pt ns natu e , exa ple , Thy hands the ” ’ did m in r io c o r o heaven ake , Wyatt s ve s n resp nds to a long i r io in i o f the s un m o d sse tat n the Ital an heavens , , on , and

r i i o f c sta s , and also the nhab tants heaven , angels and ar h ’ r m . o e i Ar angels On the th hand , Wyatt e phas zes e tin o s m o o f c o c i m m o f o o eth d nne t ng the Psal s by eans the Pr l gues , by linking o n the Pr olo gue itself t o the idea of the p recedi n g m f o r m c P s . o o Psal , exa ple , xxx ends as f ll ws

h r e d e e m e o r e in i u ite And s all all w q ,

The fo llo wing Pr o lo gue begins

2 t This wo r d r e d ee me y in his m o wth did so wn d e Did put David as it se me th unto me As r ce t o r r e o the r o wn d e in a t an sta up n g .

In this tr ance David pr o phesies o f the Wo rd that shall l m o m dwe l a ng e n . The who le Pr o lo gue is o r iginal and c o f di r io o n o c i in i takes the pla e a sse tat n d tr ne the Ital an , and is a m o st striking example o f the dignity and beauty ’ o f m Wyatt s ature style . Wyatt c o ndenses the Italian ve r sion c o nsiderabl y by i t o ’ keep ng the ideas o f the Psalms and avo idi ng Ar e tin o s i — r c . Fo r m P s . cii . 11 . 1 3 1 5 o s de t a ks exa ple , , are as foll w

1. 13 . he m My rt y myn d e is Withe rd up like b ay

1. 14 . Be ca wse h I ave fo r go tt t o take my bre de 15 . . re e o f l ﬁ the o r o f l My b d y w d tr uth I say .

i o i r i At th s p nt A et no enters upo n a lo ng disser tatio n o n the

’ 9 8 SIR THOMAS WYATT S POE MS

c is ci ci , ﬁne , and espe ally to be appre ated be ause there an i i c an absenc e o f sincerity in the Italian . S ngle l nes be taken o f m o f o r m fr o m the Psalms which a r e full har ny , exa ple

ar faict in telli e n s Le t him the hath p g ,

Jo y a n d rej o yce I say ye that be just.

Aretino c o ncludes with an epilogue telling how David went

hi o sin o f back t o rule s pe ple , and further dwells upon the m c mm . b reaking the sixth and seventh o and ents Wyatt ,

i ic c c i i with a ﬁner ar t st sense , on ludes w th the dea of the

m c iii i i . Psal ( xl ) , dwell ng upon forg veness

Tho u h ast fo r d o ne the gre t in iqu ite That ve xd my so wle tho u also shalt co n fo wn d My fo o s O Lo r d fo r thy be nignita a d Fo r thine a me I thy se rva un t y mos t b o wn .

th e There is a c ertain quain tness in the last lines . At ri i r mi i time of w t ng Wyatt was ha assed by ene es on all s des , i r c o n and eac h day was expec t ng to be ar ested . The i i c luding line s the usual ep stolary ending of the day . A ’ 1 i F iii . 60 the i o . . in letter of Wyatt s (C tt MS x f . ) Br t sh Museum ends Y r Lo r d shypp es alway Mo st b o wn d e n h i T o s W at .

The Psalms deserve m ore rec ognitio n . The Satires have r i r io m been justly p a sed , but they are ﬁne t anslat ns fro a m h i wo rthy m o del . The Psal s S ow m o re o rig nality ; the r i c i m a re ﬁne passages , the s n er ty and oral fervour sought

’ fo r in i in li r i i r va n the Ita an ve s on , and for th s eason Wyatt s

m c im i o r i c Psal s la a h gher , at least as h gh a pla e , as the r m r is c r i Sati es . The et e e ta nly m o r e har sh in the Psalms ; i o f r i they show s gns haste , whe eas the Sat res appear in the

E . ir co i r e i c o r c i MS as fa p es , v sed and re ted by Wyatt . H s impriso nment fo llo wed c lo sely upo n the wr iting o f the Psalms and immedi ate ly up o n his liber atio n he was c alled to arduous public service and suddenly died when ITALIAN INFLUE NCE o n a di plo matic missio n so that his la st and his best

r i wo rk was left un ev sed .

h c S era n i Two o t er so urc es have been tra ed . ﬁ o s r i f r o f m C o espo ns ble o another the po e s . The anz ne de i i ” 1 i i la Pat ent a , beg nn ng

P atie ntia alla malo r a che vo l co i o r P o i s f tune . Co llez i o n e di o er i i n edi te o o p , B l gna, 1896. evidently gave Wyatt an o pening fo r the poem

P atie nce o f all my smar t f r o r e is ru o F tun tu d as id e .

Lu do vi ci Ar i o sto supplied the sourc e o f two epigrams ; he is i r o i ri i io in also , I th nk , esp ns ble for a st k ng express n the ” poem Sins y o u will nedes .

S uch hamme rs wo r k within my hed h o o h e ls o m e ri T at s und n ug t unt y s .

Sur rey repeated th e metapho r in his E legy o n Wyatt (stanza ii)

’ A he ad whe re wisd o m s myste rie s di d fr ame Who se hamme r s still be at in that live ly br ain h As o n a stit y .

’ Ario sto s c m Gli su o siti r i i N o w o edy , p p , was w tten n 1 50 r r t pr o se in 9 . Ten yea s later he was pe suaded o put

r o m it c o Le o X i r it into ve se f r , and was a ted bef re w th g eat c o m in r c o f o m agniﬁcen e at R e the p esen e pe ple . 2 i io a bs en t i n the r o se edi ti o n s o c c r In th s vers n , but p , u s the fo llowing sentenc e Tutto e to r nato biz arr o e fantastico cr Tanto mar te llo ha che e p p o . 1 566 m m Gasc oigne translated (ed . ) He hath so any ha mers his i t o r in his head that bra ns are ready bu st . When Wyatt was in Italy he must have seen the verse fo rm o f

1 ’ Ne w so ur ce . 2 Gli su o siti ed . Cun liﬂe 1904 S e e p p , by , , whe r e par alle l versio ns o f o a n d er e di io i e the pr se v se t n s are g v n. H 2 100 SIR THOMAS WYATT ’S POE MS

c m c i io im i the o edy a ted , and th s express n pressed tself on

r his memo y . ’ c o c io i i c m a r c in In n lus n , Ital an nﬂuen e y be t a ed Wyatt s p o ems fr om the time o f his visit t o Italy ( 1 527 ) until the 1 54 1 i i c i o f c i i beginning o f . There are d st n t per ods a t v ty . ( 1 ) Translatio ns of Petrarc h into ro ndeau and sonnet o rm o o o f S e r a ﬁn o r io in f , f ll wed by study and t anslat n the i i o cc i his i m fo rm o f ottava r ma . Th s up ed le sure oments 1 5 — i hi C i 28 32. s i at ala s , It ghly probable that dur ng ’ these year s he had Tr issin o s P o eti ca as a text - b o ok of ’ P n so n s Cha u cer i o . pros dy , as well as y for a gu de co C ri 1 533—6 is m c o n The se nd ourt pe od , , arked by a sid e ra bl e m ic i c c o r in o i nu ber of lyr s , w th s ar ely any w k f re gn m o his im i m ' 1 53 6 o o dels , but after pr son ent , May , he t k (2) Alamanni fo r his m o del and wrote satires in terza

i 1 5 — hi i i c im . 3 37 9 s c c c r a ( ) In Spa n , p e es n lude an o a ” sio n al i c S 0 is th r e d e i translat on su h as Feble the , wr tten “ ” ’ “ o wte o f i 4 1 54 0 Ar i Spa n . ( ) In e t n o s Sette Salmi P della e n it e n tia ( provided him with a m o del fo r the ” m o r o f t e / P alm fra ew k h s s . ’ i r 1 527—4 0 i o Dur ng these yea s , , Wyatt s translat ons sh w c o i r r i in i i a ns derable ange of ead ng Ital an poets . Bes des his ri ci m r r c o m p n pal odel , Pet a h , wh he had doubtless

i m his o o r i i Tib ald e o stud ed fro boyh d , he ead Tr ss no , , Fil o sse n o m o i d i C i , Ro anell , and perhaps G usto ont , San r i m i . i i nazaro , A osto , and Ala ann These wr ters , w th the

c i S a n n a z a r o ri o o ex ept on of and A ost , bel ng to the Quattro ’ c ento . Wyatt s o nly imitation o f S an n a z a r o is the tr ans

io o f m c c i o in his lat n the ost on e ted s nnet work , a so nnet

, c i i r his r i i that were we una qua nted w th the est of w t ngs ,

o e r him t o o f c r r w uld d g ade the level the Quattro ento w ite s . m r o f c it As a atte fa t , was the public atio n o f his wo rks in 1 533 r h (afte is death) that set fo rth new aim s in Italian ’ o p etry . Wyatt s po etic al instinc ts wer e o ppo sed t o natur e in o , fo r i p etry and th s reason , perhaps , the pastoral was

102 SIR THOMAS WYATT ’S POE MS

’ c i Mu io o tmo s and seventeenth entur es . Spenser s p and ’ r im i Virgil s Gnat a re c o mp o sed in o ttava a . Dan el ’ m o it f o r Ci vil Wa rs r o f o r B a r on s e pl yed the , D ayt n the r mm Wa r ir i C it . ; St l ng , rashaw , and Gay used D u ond and o n o t i o m o c J nson were part al to the f r , but used an tave c c i c o c c i stanza a b a b d d , and the e ghteenth entury as onally r o im r p duced an o ctave stanza in c o uplets . Terza r a neve o o o o in E i o i i m ic t k r t ngl sh s l , but w th the dawn of the Ro ant peri o d and the attentio n t o lyrical fo r ms in the nineteenth c r im m i r o r i entury , te za r a has been e ployed w th ext a d nary

cc . o i in i m r i su ess If n th ng else th s easure had been w tten , ’ Shelley s Ode t o the West Wind would have sec ured fo r it im ri m i his m i c m o f pe shable fa e , wh le agn ﬁ ent frag ent the Triumph o f Life sho ws n o t onl y a c o mplete m astery of terza r im a but a c o nceptio n o f its power unequalled by ’ i i c 1 i l i m o ri c o f any Ital an s n e Dante . W l a M r s s Defen e ” ’ ” i r i C o f Gu neve e , Sw nburne s entury Roundels , and ’ Br o wning s sho r t - metr ed terza r ima in the Statue and ” o in i f r ma the Bust , all sh w d f e ent ways what beauty y be o t o u t o f i o rm in E i r g th s f ngl sh ve se . Ther e is har dly anything m o re suggestive in liter ary ’ histo ry than Wyatt s pr o gr ess seen in his imitation o f i o r Ital an auth s . When studying Petr arch he is like a c ripple i i o n c r c . h e r lean ng heav ly ut hes , but g adually and surely

r o r c o mi m o i p g esses , be ng re o r ginal as he gro ws more c o n ﬁd e n t i r i in , unt l a r v g at the Psalms we see that he c an stand o al ne . In the Psalms Wyatt attained t o m aturity in style and thought ; his ear ly death pr evented the c ulminatio n o f his r o f ic m i r powe , wh h the Psal s s an ea nest . Had he

i mi c r o m him l ved one ght have expe ted f powerful , fervent , ’ i c c m His ser ous utteran es su h as Donne s ser ons . last few po ems reveal

Gre ho h r e ho h h at t ug ts g av t ug ts t o ugh ts lasting to the e n d .

1 i c io o f h A ds uss n t e po ssibilitie s o f te r z a r im a is impo ssibl e h e r e ; th e co m r i o o f e i h cceedi pa s n Dant w t su ng wr iter s is a fr uitful subj ec t o f inte re st . CHAPTE R X

TH E OOOE T P OE MS AN D ORIGIN AL C OMP OS ITION S

’ TH E Court poems include the greater number Of Wyatt s

a r e c i o in . r songs , and h eﬂy f und the D MS They we e written in ho urs Of ease f o r the purpose Of pr o viding amuse m ic Co rn ssh e m fo r V t o . ent Henry III , and sung us y and 1 i r c Co o Fa rfax we e onstantly at urt , and the R yal Appen ’ di x and King Henry VIIIS S o ng B o o k in the B r itish Museum give Oopious examples o f the m usical c o mpo sitio ns r i i Co rn h fo r c o u t so ngs by these and o ther mus c ans . yss e 2 o m ic i o is m set Hey Joly R byn to us . Th s s ng an exa ple O Of o m f i c i f the nature s e O these lyr s . They were ev dently derived from s o ngs o r Co urt c aro ls Of a much ear lier date ; c Of c o snat hes su h songs had been handed d wn , and Wyatt and the other ve rsiﬁe rs Of the early S ixteenth c entury c r i m i o o m in ic r i ystall zed the nt the f r s wh h they have su v ved . It is important t o remember that in the early stage o f ’ Wyatt s c areer m usic and verse is indi ssolubly c onnec te d ; snatches Of verse wer e handed do wn in snatches Of so ng and 3 o m r i f Often f r ed the efra n o r the o pening wo rds O a new so ng . E xamples Of suc h introduc tory stanzas m ay be seen in the Mi h ff ” two songs HOW shuld I and In Most sc e e .

e d r Of S e P e r Cal n a tat ap s . 2 Th e e i Co rn ssh e is h ri i h se m S ee th e s tt ng by y n o w in t e B t s Mu u . co i h h H e o ac mpany ng facsimil e pr o d uce d fo r this c apte r . T at y J ly ” Ro byn was po pular and wide ly kno wn is see n by the fact that it is ’ i c ed in P e r c Reli u es is u th e c o in Twel th N i ht n lud y s q , and s ng by l wn f g , IV ii cl se 0 . o h e r c a s the r r . . 7 q An t po e m in the Pe r cy o lle ctio n h e f ain ” He o e n i is i e es i i o ur in th e y J ly J k ns , and nt r ting as sur v v ng in day ’ rin in So in S i O e r Iva n e D k g ng ull van s p a, ho . 3 S ee G o P ri ea nr o o n e ast n a s and J y this qu stio n. 1 03 ’ 104 SIR THOMAS WYATT S POE MS

- - a They form the opening lin es to a cha n so n oi p erson ges . f c m i ae Such so ngs are survivals Of a c ertain class O Fren h ed val i c o m l a n te is m , ( lyrics , where a p y ade by a young w fe or a

m an . o later develo pment) a lo ve plaint is utter ed by a B th o kinds are fo und in the ear ly S ixteenth c entury so ng bo ks .

’ ( 1 ) In Kin g Henry s S o ng B o ok

Th e o th er day I h er d a m ay n e Right gre vo u sly co mp l ay . (2) In the Royal Appendix

This yo nde r n yght I h e r d a wyght e Mo st gr e vo us ly co mpl ayn .

’ Wyatt s song How shul d I c o ntinues

N o t l o ng ago o it cha un cyd S OO As I did walk al o ne I h er d a m an th at n o w and than b mo n e Himse lf thus did e .

The o rigin Of these songs m ay be seen in the French 1 thir teenth and fo urteenth c entury lyric s beginning ’ ’ h L autrier ( o r L au tre Jo r ) Che vauc ai .

They were intro duced into E ngland and wer e adapted to c l io O c r c C c N . sa red and se ula subjects . In the Per y ol e t n , 1 0 m Vir i , a hy n to the g n begins

Thys e ndris n ygth Isaw a sygth A starr e as b r yght as day And e ve r amo ng A mayde n sung L ully by by lullay .

o m in M l o d S o S . v O Another p e the D , I love y and d eth

1 Les Or i in es de la P o e i e L d s r i u e en Fr a n ce . n r o i bid L i u g y q Jca y. . a s e xiii S . E s u isse Hi stor e M e i u du o n A e G o P ri . q q y g . ast n a s

106 SIR THOMAS WYATT ’S POEMS indications (in poems writte n about 1 532- 3) Of relief o n c o f o m i im c hi c in acc o unt Of the severan e a f r er nt a y , w h all i i r t o o o c c pro bab l ty refe s Anne B leyn , wh se hara ter greatly

r 1 526 - 33 is c o n se deteriorated between the yea s . There quently a cer tain point in the refrain Of another song

Of m ha ha h h e h ed . Spyte y p , p at w ll app

And in the following

An d n o w I fo lo w the co les tha t be qu en t a st m m n de Fr o m Do ver t o Cal esse ag yn y y .

i Co m r i in i o r in The earl er urt poe s we e wr tten e ghts fours .

r is r m o f six - i The e an ea ly exa ple syllable l ne stanzas , but all the m o re c o mplex fo rm s are found amongst the late Co r m 1 533—6 u t poe s , .

m r in c m S i l in Wyatt had atu ed thought , and be o e k l ed metri cal fo rm s ; in this peri o d he shows much ingenuity in c m i i Of i r in c i o b n ng verses d ffe ent lengths , and the reprodu t on

Of o r i m f urteenth and ﬁfteenth c entury ly c al for s .

m in D i c c Three poe s the MS . have ntrodu tory ouplets which serve so metimes as refrains

(a ) Payn e o f all payne s and mo st gr e vo ns payne Is t o lo ve and canno t b e lo vyd a ga yn e

The poem is in Troilus measure ; a parallel to this is to be in r c C i o c o NO . seen the Pe y lle t n , A sec ond po em beginning

(b) Grudge o n who lyst this is my l o tt Ne e r to if itt o v want want n tt. is o i i r i if itt f llowed by quatra ns w th ref a n , want nott , after every stanza ; the couplet is r epeated after every second stanza .

hi m 0 is in i i A t rd exa ple ( ) quatra ns , w th the last half line

Of i c o c r r e the ntrodu t ry ouplet epeated afte very stanza .

1 NO. 58 Chris m , A t as co urt c ar o l . COURT POEMS AND ORIGINAL COMPOSITIONS 107

i o f b c n OS . 23 24 E xamples ( ) and ( ) are to be seen N , , and io 3 2 in the Percy Co llect n . ’ No tt attributed Wyatt s po em s with intro duc to ry c ouplets i o r m Of it is i o m t o a Span sh f verse but ev dent , fr the

m in c Co c i l - exa ples the Per y lle t on , that they were wel known o m o n i m E i o m . ngl sh f r s Had they been new f r s a fore gn odel , c r i i c m in E Wyatt would e ta nly have n luded the the MS . Wyatt o cc asio nally writes in m o no r hym ed triplets and i o i a r e o in r c Co l c io quatra ns b th k nds f und the Pe y l e t n . ” M b e r o m in S . t m e is in The ﬁ st p e the D , Take hede y , ” i e m o o r m i r r i o r tr pl ts n hy ed , w th ef a n Theref e take hede . r Co r m is co mm o m 8 i fo 6 . The bas s the u t poe s the n easure , Wh en he bec ame m o r e skilf ul he em plo yed a variety Of i m 4 4 6 4 4 6 o u t Of m i . c o b nat ons He ade a stanza , the

m r e m o in i m i c o mm . on easu by e pl y g nternal rhy e Aga n ,

c o m i i 4 4 6 i i r r i by b n ng the nto one l ne , he a ved at the

i n o t o is i t en r i . n fo u r e e . Th s l ne was unkn wn It found a ’ i io in o o f o c C ro ic tentat ve fash n R bert Gl u ester s h n le , and ” m e l m o E I n . m i in the Tale Of Ga y The fa us . . poe ass gned o in ic is t o ic r o . R ha d R lle , and f und a MS wh h not later 1 4 4 0 is m Of e than , the best exa ple a regular fourt ener . c o m i o r i i Of o S i Wyatt b ned the f u teener w th a l ne d uble xes , ’ o i i o m r ic c m and thus r g nated the P ulter s easu e , wh h be a e ’ the staple form Of verse fr o m Wyatt s death until the 2 Shakespearean Age . ’ ’ Fo r the name Poulter s Measure we have Gasc oigne s ” o r i in o Of c io i auth ty the N tes Instru t ns . A not ceable ’ featu r e Of Wyatt s use Of this m easure is that regularity is r i i ro m i i Obse ved . Be ng bu lt up f a d v ded eight and a S ix fo r o i o S ix f o r S r i i the l nger l ne , and a d uble the horte l ne , t

1 E x m e r o m P e r c o e c io NO. 18 I h o d him i e a pl s f y C ll t n , l w s and ” e h b ar ho r a n d o i h R w ll y taug t Can a n bl w t naug t. ( e pe ating last i e e r e e r z l n aft v y stan a . ) 2 Chapm an dive ste d th e fo ur tee ner Of its dulne ss and mo no to ny in h e Ili t ad . E xample s Of fo ur tee ne r s o ccur in the e ar ly c o m e die s o f Sh e e r — e . i S ee H st P . i . i 5 1 6 i o r o ro sod S r Vo l . . 1 . ak sp a y f y a ntsbu y , pp ’ 11 08 SIR THOMAS WYATT S . POE MS

l ro m c o r r c m r Of sc arcely ever swerves f the e t nu be syllables , and the pause in the middle Of the eight and at the end

S ix fo r m Of the , exa ple

S O fe bleis th e thre d I]that d oe th th e burde n S tay Of my po wre lyﬁ in he vy p lyght that fall e th in d e kay

Of o and so thro ugho ut thi s po em . The Song I pas ’ p resents a few examples Of Wyatt s c harac teristic fr eedo m

iv is o . c r . (see hapte , p but on the wh le regular ’ ’ Po ulter s measure is pr obably Wyatt s last innovatio n in i 1 53 r ri in 7 . met e , and was w tten Spa n about o in i o m im S 0 Wri tten als Spa n , and ab ut the sa e t e as ” is r is i i i o f o m ic feble the th ed , the nterest ng tr logy p e s , wh h E is i in in cc r in . o u only the MS It wr tten the short l es that , ’ c m o m o m i s in o pounded , f r the P ulter s easure , and stanza m i r ic for , w th the fourteene tw e repeated , thus 6 6 4 4 6 4 4 6

a a, b b a, b b a E ach par t Of the trilo gy c ontains ﬁve stanzas ; every stanza in c Of i c c i o i ea h the three parts d s usses a erta n p nt . The 2 m is c d is whole poe a debate , and ea h part takes up and c a c r i i r usses e ta n v ew . That the th ee parts fo rm o n e p o em will c i be seen by a glan e at the ﬁrst l nes .

P a rt I. P a r t II. P r t III a .

i . LO h it is to Le e h S t . w at v t us to sl aun d e r Who mo st d o e th l o ve lo ve s l a u n d e r l o ve t 11 Fl e a lwa e s fr m S . . y o Fl e n o t so much th e Ye gr aunt it is a snar e the snare snar e S t iii TO o e o . . l v and t b e To l o ve an d n o t to b e To lo ve an d to b e wyse wyse wyse

S t . iv S ch a r h c . u t e Su h b e the p le sau n t Of all such p le asa un t d yve rs thr o e s daye s daye s

S t . Lo e is e v. v a f r ve nt Lo ve is a p l e a sa un t S uch fyr e a n d suc h fyre iyr e h e te

’ P o l e r me s u t s a ur e undo ubte dly se t th e fashio n fo r r e gular line s wi th e r e e r alt nat w ak and st o ng str e sse s which was e xte nde d t o th e t en - syllable

2 o he r o e m O An t p f t he déba t class is Mo st wr e tche d h e r t m o st mise r ” ” e . m h b e e r med h t e Two o ices. S ee ch vii abl It ig t t V ( ap . . )

’ 1 10 SIR THOMAS WYATT S POE MS

E vid e mo i Sc o tt is supposed to have visited ngland ( Me rs f his o m m a S o c . . O in the S c o tt . Text . ed p e s) , and there he y o r c it ic have heard the ﬁrst part , seen a opy of , wh h he t it i r in tr anscribed i n to hi s o wn di a l ec . Later was nse ted the

wi o r m o his i Ballantyne MS . th the poe s kn wn to be , w th ’ o the r esult that par t Of Wyatt s tril o gy has been errone usly ’ o ci i i attributed to Sc o tt in the Sc ott . Text . S ety s ed t on , and r in the Oxfor d B o ok Of Ve se . i c o m Two poems m ay be quoted as examples Of sk lful in Y s t o ss bl e i c o m l a n te bin a tio n s Of l es , y p y and If w th p y ” Y s t o ss bl e o m the payne myght be expressed . y p y f r s i i Of the o pening and clo sing r efr ain to a stanza c o ns st ng a i i h o mono rhymed triplet c o nta n ng t ree , f ur and ﬁve feet respec tively thus 1 Y S yt p o ssyb le That so hygh de bate S O sharp so so r e and o f such r ate S huld e n d S O so o n that was be gun S O late s b l Y s yt p o s y e .

If with c o mp l ayn te has a similar metric al s cheme but r r i in reve se o der , and the ﬁrst and last l ne of every stanza

i c ic 10 10 8 8 6 1 0. s de asyllab , thus The m o st c omplic ated fo rm Of metr e used by Wyatt is the t re iz a in e ; ther e a re two exam ples If in the wo rld m r c m Of and Ye know y he t my lady dere . The s he e r i is c c c . the latter a b a b b , a , d e d e , The ﬁ st ﬁve l nes

o ro i m r i i i r o c f llow T lus easu e , the s xth l ne nt du es a new r m is c c i r o i i hy e , but onne ted w th the fo eg ng l nes by the

ic m i r i r o o seventh , wh h rhy es w th the ﬁ st and th d ; then f ll ws

r i i r m e c o c i a quat a n w th two new hy es d d e , and the n lud ng c ouplet r hymes with the sixth line ; in this m anner the

e i c r F r o t re iz ain s a efully welded in to o n e stanza . o devel p ment Of skill in fo rm this t re iz a in e sho uld be c ompar ed with “ ” o i m with o wte n m o ic the d uza ne , Mada e any w rdes , wh h

1 ’ er e e em to b e o o in e r ise . 5 r n . H Wyatt s s f ll w g Dant s t e at , II , t a s by

Trissin o (pub . COURT POE MS AND ORIGINAL COMPOSITIONS 1 1 1

” iii is m i o r . c . erely three quatra ns run t gethe (See hap v , p . ’ Two i m c m ri in i c s ep gra s , lassed a ong Wyatt s o g al p e e , S o i c r i i t o o h w , I th nk , a e ta n ndebtedness Skelt n , She ” o Wh o i is o sat and s wed and hath herd . The dea f und in P hili S a row i in m c o n p p , wr tten the jagged etre and taining a delicio us element Of grac eful humour rarely seen in his m ic Of m other poe s , wh h are generally a so ewhat ’ Ske l t o n s i o saturnine nature . l nes are as f llow

I to ke my sa mp ler o n es Of purpo se fo r the no ne s TO so w in stich es o f silke My S par o w whi te as milke But wh e n I was so wing his be ke Me tho ught my spar o w did spe ke An d o pe n his pr e tty bill S aying m aid ye a r e in will Again m e fo r to kill Y e prick me in th e h ed With that my n edl e wer e r ed ’ Me th o ught Of Philip s b l Od e ” Min e her e right up sto d e .

It must be c o nfessed that all the dainty c harm h as ’ ’ r in i i c m ke lt o n s di sappea ed Wyatt s st ff l ttle ourtly poe . S lines a r e brimming o ver with life and sparkle with hum o ur ; ’ m r r c c i o his m s r Wyatt s e ely exp ess a on e t , but sh w a te y i m e t ro o r c n r m . ve the de asyllable , language , and end hy e

S h e sat an d so wed that hath d o ne m e th e wr o ng e h o Wh er eo f I playn and ave d ne m any a day, An d whilst she h er d my plaint in pite o us so ng h m h r th m r Wis ed y e t e sa ple as it lay . The b lyn d maiste r wh o m I have se rve d so lo n g Gr d i to h e r e h h e did h er e h e r u g ng t at say, Made he r o wn e we p o n d o h e r fyn ger b l e d e TO e if ric in e r e so o f le p k g w g od in dod e .

’ m o in ac r i hi s o Wyatt s hu ur , f t , arely enters nto p etry , although he was r egarded as a great wi t by his c o ntem ’ 1 12 SIR THOMAS WYATT S POE MS

1 i Wit m . p o ra rie s . W at and A are synony ous There r o cc io m fo r m in m a r e ho weve , as nal glea s ; exa ple the erry ” m b e t m e s d e little p o e , Take hede y lest ye be py , and Ther was never no thing m o r e m e p a yn e d but the best m a d e s i in ir m o th e r e s . example s seen the sat e , My y The r r i in c C eas o n , pe haps , l es the fa t that Wyatt was a ourt poet , and the fashio n fo r Cour t s o ngs was c o mpl ayn te s and

- m i i c o c i o o r i r i i . l ve l n d ges , or qua nt l ttle poe s deal ng w th n e ts His m o r e impo rtant work was undertaken in a very serio us r m Of mi i a im Of i i E i f a e nd , w th the g v ng to ngl sh verse the r r metr e and the fo rm Of Italian maste s Of lette s . im Off i c m But at t es Wyatt shakes the st ffness , eases fro “ his o i in o r i i r o o i his o wn t l f e gn wr te s , and l ks nto heart 2 i r is i and wr tes . The esult a handful Of lyr cs which will fo r o ir o wn in o o m a cc ever h ld the any anth l gy , and y su ess c o m i o c io Of E i fully pete w th the best pr du t ns the l zabethans . c m Su h , for exa ple , as

h S hu d W at l Isay . o r e n o t e t th e r i F g t y t yde nte nt . ” e e e r fo u r m th My lut awak p e last . TO e e e ch e h e r r s k w e wh e e m an d o e th lyve . ” Y e o m h er kn w y t my lady de r e . if I e m a r a And an y y save o le ye . ” Y s t o ss y p ybl e .

Cer tain o f the lyri c s written on the way to Spain o r in i r r in r in c Spa n we e neve se ted the D MS . Su h are Tho ugh ” ” i o r if LO it is t o th s (the) p t , And an Iye , what love , and Tagus Farewell .

Or i i n a l P o ems wr i tten 1 589— 92 g 4 .

’ Cer tain po ems c o nnec ted with incidents Of Wyatt s last r a re r m E . a r e o yea s absent f o the and D MSS , but f und in t h e o r r . . in T tt l P the Ha l MSS , as well as o e . Luo kes

’ S ee e r W th or i es . ho m W Full s T as yatt . 2 Co urt ho e Hi sto r o E n li s P h o etr vo l . 11 . 51 h a s i t p ( y f g y, , p ) sa d he last o r Of i io ’ w d appr ec at n Of Wyatt in his br illiant summin g up Of this autho r s or e eci in co n e c io i h w k, sp ally n t n w t the lyr ics .

1 1 4 SIR THOMAS WYATT ’S POEMS

The unfayn ed ch er Of Phyllis hath the place

That Br une t had . These later poems suggesting a new love express a genuine ” im it is i i O c Of sent ent , and poss ble that Phyll s , the bje t his f c io ri his c a fe t n , was the f end of later years , Mary , Du hess

ic m r i Of o Of MS . . R h nd , the owne the D (See Append x A ) m o r o m m i is o u nl in To tte l One e p e needs ent on . It f nd o y , ” e k tho u o is t o o c c i Sp e and sped . It losely pa ked w th ’ tho ught fo r To tte l s usual emendations Of small padding ’ i i ix o ma . s s w rds , and y be taken as Wyatt s vers on It a i in c ic c di i Of l ned stanza de asyllab ouplets , and the gn ty language and its epigr ammatic style mark it as one Of the o m last p e s .

S e e ho an d s ed e here il o r o wre o h h p k t u p [Iw w l p ug t e lpe th , Wher e po wr e d o e th want Hwill must b e wo n by we lth Fo r e e i ed o here i o r n hi n d w ll sp w w ll w ks o t s kynde , e th o o th fr e n d es h c h And gayn , y f s y s all ause t ee fyn d e . Fo r sute a n d go ld what d o the y n o t o b tayn e ? Of o o d b a d the r er a re h e e t a g and [I t y s t s w yn e .

The m ost striking thing ab o ut it is the epigrammatic forc e i Of c o and the fin sh the uplet . The form is r are until the end Of the S ixteenth c entury ; in the seventeenth c entury it o r o c f ir o h ve s between the st pped ouplet (c . S J hn ’ Beaum o nt s c o uplets To the Late King and the ’ m c o cf h enj a bed uplet ( . C a mb e rl ayn e s Ph a rr o n id a The fo r ce and finish Of Speke tho u and spedo that o l r i Of i m m w u d have earned the p a se Bo leau , see s an ano aly i n Wyatt ; but hi s m etric al style is disc ernible in the stro ng i i i r Of r i n t al st ess the fi st l ne , the stress foll owin g the c aesur a in c o i the se nd l ne , and the fr eedom Of the c aesura in the o r i r o m f u th l ne , f eed s that would not have been tolerated in ric c ic c the st t lass al ouplet . ’ o r m r i m P ulte s easure , the late ep gra s , and the c ouplets r quoted above , p ove that Wyatt c o uld be perfec tly regular

1 ‘ S ee Ch mber P o ets ix a s , s te e nth cen tur y. COURT POE MS AND ORIGINAL COMPOSITIONS 1 1 5

he c c i ir m e o . wh n h se In erta n styles , the Sat es and Psal s , mc o f his o r c l ic is irr and u h the de asyl ab verse , he egular r o r e c his r f o i th ugh p ef ren e , and after ﬁ st ef rts w th the glar in t o Of il c o cio g faults due want sk l , he settles down ns usly — t o a line Of ﬁve feet with c ertain freedo ms trisyllabic i c Of rr feet , nverted stresses , absen e weak stresses , and slu ed is i c in his r syllables . It qu te lear that ugged style , the style Of his m im o m i c i ore p rtant poe s , he was tak ng a erta n o in c i r c il o path , a path tr dden erta n espe ts by M t n (slurred syllables and inverted stresses) and Shakespeare (absenc e Of r o i o mi weak stresses) . Wyatt was g p ng t wards that ghty ’ ’ period whic h c o m es o u t in Mil to n s and Shakespear e s verse ic by m eans Of enjam bem ent . On the o ther hand the lyr s i r m m Of D MS . o the , the late ep g a s , and P ulter s easure e a r fo r rm o are proofs that Wyatt had an ha ny , and an eye m d id i i in c fo r c r r c o . n o t o e t f r He , l ke the Plé ade Fran e ,

c o r o r o rm Of ri a few years later , s n the lde f s poetry and d ve

m u t t m f r n e io the o o ake way o the w . Between the per ds

Of o r n e w o rm i r i Ol d o m w k at f s , he del be ately rev ved f r s

c i c i ﬁf c r that had r ulated dur ng the teenth entu y , and the

r c c ﬁfte e n th - c r r ic ly ic s of the D MS . onne t the entu y ly s

i i c i o n e o r two o m o w th the s xteenth entury , wh le p e s , n tably ” o o im ici Hey J ly R byn , have all the freshness and s pl ty o ic of the p pular lyr . ’ Wyatt s tendency througho ut seem s to have been the Of E l i r i i study ng sh and fo e gn fo rms Of ver se side by s de . It is highl y p ro bable that while he was studying the vario us ’ E i r ic o r m o i c i in Trissin o s ngl sh ly al f s , he had a str ng n ent ve ’ ’ r i Of D r i o n o r Trissin o s t anslat on ante s t eat se p et y , and P o eti ca i 1 5 P ti ca is o in 9 . o e , publ shed t gether 2 The fully illustr ated with signs and symb o ls t o exp r ess diff er ent m ric o m i e - c e o we et al f r s and stanzas . S xt enth entury po ts far mor e t o these public ations than has been hitherto i tho ught . The vario us lyric al fo rm s used by the Plé ade make o n e stro ngly suspec t that the P o eti ca was their text I z 1 1 6 SIR THOMAS WYATT ’S POEMS

’ m c m in i book Of prosody . Dante s re arks on the o b at ons Of

e - i i in thr e , five , and seven syllable l nes bore fru t the “ ” famous Avril c hanson ; but we must asc ribe to Wyatt 1 the ho nour Of the fir st English imitation Of the great Italian in the combin ation Of fives and tens in the poem

S ss I yt p o ybl e .

1 ’ e De vu l . elo . . X11 a n d c z o e xix s a Dant , g q II , an n , Po ci ch Amor .

1 1 8 SIR THOMAS WYATT ’S POE MS

i i m ht i Of the Boeth us , If thow w lt yg y be , wr tten 4 1— 2 1 5 .

’ The latter par t Of Wyatt s c ar eer was saddened by m any

r i i m r his im t oubles and anx et es ; atured and aged befo e t e ,

his i it is r o as portra t shows us , natu al that he sh uld turn fr o m the r estless spirits Of the Renaissance t o a m or e c o n Of i i i c t e mpl ative View l fe . Hav ng exper en ed the varying o r Of ic c m i o i f tunes a publ areer , he e erged w th ut b tterness

Of iri c m i ni r c Of his sp t , and the al and d g ﬁed utte an es last po ems sho w that he had at length reached a plane fr om whence he surveyed the exigencies o f life with equable m o i r i i r i io de ean ur, w thout fea , and w thout r tat n . CHAPTE R XII

CON CLU S ION

AN attempt has been made t o set fort h the importance ’ E M ci i r Of Of in S . Wyatt s text the , the spe al nte est the

MS i c c i his o . D . , and the nfluen es affe t ng p etry E i There are no indicatio ns in the MS . to just fy the i T tt l m i c io m in . n o e etr al alterat ns ade the A MS and , and r there a e c ertain textual weaknesses in A and T . ’ Wyatt s system Of ve rsifica tio n suggested a model . One ’ r has been found in Pyn so n s 1 526 editio n Of Chauc e . The ’ first few lin es Of the Pro lo gue Offered examples Of Wyatt s ’ c c m i Of i Of style . A areful o par son Wyatt s text w th that the 1 526 Chaucer brought to light the fac t that every rule fo ll owed and every freedom allo wed by him was traced i i to th s edi t o n . Irregular lines in the 1 526 editio n by the omission Of m a weak syllable are supported by the MSS . ; for exa ple , the li ne h h a h h in t e R m a his cOurS e ee . at lf e nn . (S p

c c r in Co r He n wr t o o u s the pus , g , and Landsd wne MSS . It m ay be infer red that Chaucer all o wed the suppr essio n Of r c a i i i c the weak syllable afte the esura , as well as n t ally ; su h lines as Al bismo r i h l te ed w t his ha b ergeo n . an d Twe n lty bo kes cla d in black and r ed

c i C c i a l i 1 are ons dered hau er n , a though Ten Br nk urged

1 ’ ’ Te n Brin Cha ucer iii . 309 et se H c i C k s , q. e o ns d er s that hauce r s irre u ar i ies ere co ed to the o c o ic er e h the o e g l t w nﬁn t syllab v s , and t at p t 1 19 ’ 1 20 SIR THOMAS WYATT S POEMS

c that such o missions were not intended by Chau er . The

o o c i m i i MSS . , h wever , f r e us to bel eve that any l nes fa le ” f i bl e C c im . . O . ii . in a sill a , as hau er h self tells us (H F ’ Ano ther marked c har acte r istic in Wyatt s verse is the Of in uxt a slur ring Of cer tain weak syllables , vowels j

i i Of n o . i p o sit on , and the regard ng h as letter Br dges ’

r i r . o enunciated this rule fo M lton s ve se Now , th ugh Wyatt c annot be named with Chaucer and Milto n for hi s ili r i m i c i an d poetic ab ty , he sha es w th the Ital an s holarsh p , this fac t ac c ounts fo r c ertain points in c ommon in their

ve rsiﬁcatio n . Wyatt deliberately c o nnec ted himself with Chaucer in or der to r e - establish the dec asyllabic lin e ; he to ok the 1 526

i io his i his o w r i him to ed t n as gu de , and n natu al b as led construc t his system Of ve rsiﬁca tio n o n the irregularities i Of m o r i c . o he d s overed He ev lved , nstead the s o th egular ’ i i c i s o m in P n so n s i i a ' ch a ra cte r l ne wh h n r al even y ed t on ,

i ﬁ e - r i i ri ic i i ist c v st essed l ne w th t syllab feet . Th s del berate study Of an E nglish m odel side by S ide with Petr ar ch and o ther Italian authors gives Wyatt a differ ent plac e in i r c o i t o r o l teratu e . He ann t be sa d have st uggled n without i c o cio him a gu de , for he ns usly set before as a standard the o E c t o im greatest p et ngland had produ ed up that t e . Thus he fo rms a c o nnec ting link between Chauc er and the E liza bethan a ge . Wyatt was l ong declar ed to be no follower Of C c r c ci i O i hau e be ause superﬁ al l kenesses were not bv ous . d id i r cr i He not , l ke Sur ey , des be the sote season he r t o r c ri io n o t was ave se natu e des pt ns , and had the gr ac e Of ’ is rr c i i language that Su ey s h ef attr bute as a poet . But there ’ are touches throughout Wyatt s poem s Of his appreciatio n ’ Of C c i r o hau er s nhe ent w rth . He sho ws h o w tho r o ughly he

Ca n ter bur Ta l es Tr o ilus knew the y , and the , and in direc tly

ho n o t b e he r e o e fo r irr e u ri ie in h e r o ic r s uld ld sp nsibl g la t s ve se . A car e ful o f the n e w r e e x il r o e hin h C 1 1 study pa all l t t w l p v , I t k , t at hauce r Englishe d the eca e an d o d cer i r o d syllabl , all we ta n f eed ms ,

’ 122 SIR THOMAS WYATT S POE MS

There is both external and internal evidence for this statement . The Satires and Psalms deserve a wider popularity for i u their no ble thought and the r vi gorous lang age , but he vindicates hi s claim to meri t in the few lyric s whic h will always ho ld their o wn amongst the m ost beautiful Of the

c in Elizabethan lyri s . Wyatt , though a lesser degree , has the same elem ents that c ompose the muse Of Do nne and

r in i m c im ic B own g . L ke the he wrote tender , gra eful , wh s al m to o c r his lyric s ; like the , , he has been ensu ed for hard and r in i m ir regular met e . But all three poets wrote th s anner o m c ic not fro m in c apacity but fr ho e , and Wyatt possesses with them the W him se lf in close - pac ked thought when he i s moved . c o m i in i in his Wyatt m ay be pared w th Brown g , aga n , c e i E in i o i he ry outloo k Of l f e . ven when pr s n , w th death starin g him in the face (in 1 54 1 ) he writes to S ir Francis Brian

r a ri hi o u d i h e e a ain e S u e me I B an t s w n w ll l g .

’ m c m r i c m A ong Wyatt s onte pora es , Bos an ore nearly resembles him in hi s wo r k and aims but Bosc an was c Ga rcil a sso V supported and en ouraged by de ega , the ili i Of i r Of his ic i Ph p S dney Spa n , by eason poet gen us , his r c r hi mi i c c s . g a e of hara te , and l tary glory 1 c c i Ga rcil a sso Bos an worked at the hende asyllable wh le , in i Of ri i i c c r the ntervals a short and b ll ant publ areer , w ote

c o S a n n a z a r o e l gues and pastorals after , and sonnets after

r r c . o n o m Pet a h Wyatt , the ther hand , see s to have had no m E i c m o ri o help fro ngl sh onte p ra es , th ugh he doubtless had i m o r i m e n Of m m fr ends a ongst f e gn letters , a ong who were ’ i r i P O e s V i m Gh be t the p datary , and the enet an a bassado r .

1 H e began to wr ite in 1 526 o n the ad vice Of Navagie ro to re place th e Old ho r a i i me r e the i he e ca a s t C st l an t s by Ital an nd syll ble . Wyatt sta rted his o r o n the So e s an d R n 1 52 — w k nn t o d eaus in 7 8 . CONCLUSION 1 23

His chi m m i r ic a c id a eve ent was a az ng , pa t ul rly when we ons er that his liter ary wo rk was acc omplished in ho urs snatc hed fr o m his duties at the E nglish Court o r in the d iplomatic r ic se v e . ’ Wyatt was known t o the E liz abethan writers in To tte l s Mi sce lla n y ; it s po pularity is evident fro m the number Of i io it f o r The Go lden Tr ea su r ed t ns , and was that day what y o r o f S n gs a n d Lyri cs is t o o u s . ’ Shakespear e s ear liest introduc tio n t o p o etry was probably ” ’ m Of o in by eans the Songs and S nnets , and Wyatt s Satir es he m ust have found ideas which m any year s later hi i c appear ed in his plays reanimated by s own gen us . Su h lines as these All th o thy h ea d wer e ho wp t with go ld S e r aun t i h m ce h a wb er t o r o r kn ff g w t a , sw d y Canno t r e pulse th e car e th at fo l o w S hu ld ; E ch e kynde Of lyff hath with him his dise se m ic o r u i in c ust have sown seeds wh h b e fr t , the spee h on r m i H V i 1 in R ha r II c n en r v . i c d e e ony y , , and the passage , i 1 60 i i . i III . , beg nn ng

within th e h o llo w cr o wn h r o th m o r m Of i T at unds e tal te ple s a K ng .

’ Shakespear e s c har ac ters a r e S O essentially individual that it is difﬁ cult and unsafe t o suggest that any passage

c m a n r is reﬂe ts the Shakespeare . But the e o n e sentenc e that we m ay safely c laim as not o nly expressing a popular im i i o ic t o his o wn r ci i sent ent , but as g v ng v e app e at on , when ’ he places in Sl e n d e r s m o uth the exc lam atio n

Ih a d r athe r than fo r ty S hi llings Ih ad my b oo k Of S o ngs a n d S o nne ts ” - M . I. h e r e . W. . . W ( , l

o d i o ri Of o u r i o r T ay , w th all the gl es l terature bef e us , the S o ngs and So nnets p r esents the r ather dull and lifeless c Of o r imm i c i E i aspe t p et y ed ately pre ed ng the l zabethan Age . ’ ’ Wyatt s po ems l ie between Sur r ey s and Un c e r ta in e

A r Wri wh W r t nl his i ci Of utho s ters o e e n o o y d s ples , but a 1 24 SIR THOMAS WYATT ’S POE MS

’ r io m m Of ve r siﬁc ti later gene at n ; oreover , Wyatt s ethods a o n i r i c E i are obliter ated by the ed to . S n e the l zabethan Age m o i his r o was ade p ss ble by labou s , and the wh le burden Of

i i ﬁve - o i his o r it i s establ sh ng the f ot l ne fell upon sh ulde s , S o in E but just that we h uld read Wyatt the MS . as he left it his m ic c m is c i ic , where etr al s he e learly nd ated .

’ 1 26 SIR THOMAS WYATT S POE MS

r E c i i the back has the lette s S ; these are pla ed s de by s de , r while the initials o n the fro nt c over are o n e ab o ve the o the . The di sc o very Of the o wner Of the vo lume ought t o thr ow i i light upon these in t als . Ther e are fr agments Of o ther signatures on the s cr ap Of

- vellum pr eser ved as a p o rtio n Of the o riginal ﬂy leaf . Besides the names Mar gar et How and Mary o ic a re i c c o m Shelt n , wh h wr tten arelessly a r ss the vellu , ther e a re po rtio ns o f distinc t S ignatur es at the t o p Of the m 1 imm i scrap Of vellum . A word a r ayge has ed ately it r i o H . H O o i is o r r bel w the lette s , bel w th s an the pa t al ” i r H e n r r i r o o Of o o . s gnatu e , , and a p t n a d wnwa d str ke These two vestiges Of signatur es a r e enclo sed in the usual o rm Of o r i c o mm o im N o w i f ﬂ u sh n at that t e . these part al i r O t o o wn r f M i O S . s gnatu es ught reveal the e s the , and g ve

m c o n c o r i c o c i so e lue to the letters the ve , wh le a n lus ve chain Of evidenc e must necessarily Include Mar garet H o ward and Mary Shelton .

Mr . B o nd suggested Mary Shelton as the ﬁrst owner ; it

i i t o i h e r w ll be adv sable deal w th ﬁrst . The State Papers give the fo ll owin g fac ts S ir Jo hn an d 2 o r r i Of ir o Lady Shelt n we e pa t sans Anne Boleyn . S J hn ’ r Of ri c E i 3 was Stewa d P n ess l zabeth s ho useho ld . Lady ’ o n o n Shelt n , An e B leyn s au t , was gouvernante t o the ” ’ r C rin Of r o c hi 4 1 536 Lady Ma y , athe e A rag n s ld . In the 5 r o f a r e m io n o t daughte s Lady Shelton ent ned , but by m 6 . r r o m fo r h e r is na e Ma ga et Shelt n , fa ous beauty , sent t o Co i ’ urt n the same year t o attrac t the King s attentio n

’ t o di him o m o 7 and vert fr Anne B leyn s enemies . This r i 8 Ma garet Shelto n s described as m ar vello us like Chris in , c Of i r t a Du hess M lan , whose p o trait Of late has attrac ted m c io so u h attent n . Mary Shelto n is not mentioned ; she 1 Mr . . . . o o M . S e . D T B W d , D pt Br it . Mus kindly inter pr e ted this wo r d fo r m e ma r r ia e as g . 2 S t 3 e er . 4 at Pap s Ibid . Ib id . 6 7 Ibid . 8 Ibid . Ve n etia n Archives . 1539 . THE D MS 127

o if was probably a y unger daughter , but she were the ﬁrst o w it m o r 1 536 fo r in S ir ner ust have been bef e , that year m r im i in o si Tho as Howa d was pr soned the T wer , and u ng

t hi s ri i i o m his . the D MS . as a so lac e o g ef by wr t ng p e s to lady ’ No w Mary Shelto n s nam e appears in c o nnec tion with the ’ is c o i o r i S ir Howards , and upled w th Henry H wa d s fr end o r o r o c c i i r J hn Cle e . But Henry H wa d was up ed w th Hen y ’ m i r in so n i r hi s in 1 5 36 . F tz oy , the K g s , unt l afte death Fro — ’ i 1 54 0 5 S ir Jo hn Clere was Henry Howar d s c ompan o n . i in in 1 54 5 They were mprisoned the Fleet together , and , when S ir Jo hn Cler e died fro m the eff ec ts Of wo unds received i c i o his i o r t o wh le prote t ng Henry H ward , fr end wr te ve ses his memory in whic h the fo llowing line occ urs

S he lto n r l e S u r re fo r Lo rd ho ch e . fo ov , y t u as

i t r i wo . Internal ev dence from the D MS . furn shes facts Ma y ’ E Kn ve t o Shelto n s handwriting and that Of S ir . y (an ther r i Of C o cc o n m nl m f end lere) ur the sa e page , and the o y poe

in r o r is c o i r o . the D MS . by Hen y H wa d p ed by Ma y Shelt n

i i c i o i ul . Ava lable ev den e , then , g ves the foll w ng res ts r r 1 5 6 Ma y Shelton is n o t m entio ned befo e 3 . Between 1 54 0— 5 she is c onnec ted with th e Ho war ds and their friends E Kn ve t r . i r Kn v t C C . e y and S J . le e y and lere are first m i in h e 1 54 t 1 ir . . S C ent oned State Papers , J lere was the ri c m i r 1 54 —5 r r o o o Of . o 0 f end and pan n H H wa d , . Su ey wr te m 1 54 5 o i i o in m m o Of C e r . the s nnet , ent on ng Shelt n , e ry l e , o o m in r o c i The nly p e the MS . by Lo d H ward , and erta nly r i 1 53 6 i r r is o . w tten after , was nse ted by Ma y Shelt n It ’ c r r in is 1 54 0— 4 lear then that Ma y s pa t the MS . , and she is n o t i i o n therefore the first owner . The part al s gnatures the upper part Of the sc rap Of fly - leaf ought to reveal som e c t o i o w . HO m . lue the nersh p Let us take the first na e , H . 1 526 o Of D Of o o In Henry H ward , son the uke N rf lk , was 1 i Of c e ght years age . He had re eived a c areful education 1 D ear Gen tilsho mmes o etes p . Bap st . ’ 1 28 SIR THOMAS WYATT S POE MS

c under the tutelage Of Jo hn Cheke . Henry was early ele b ra te d for his ac complishments ; he wrote elegant t ra n sl a i c i tio ns and to ok pleasur e in ve r siﬁca tio n while st ll a h ld . i i m his r i His fo ndness for verse was partly nher ted fro elat ons ,

u rchie r r B e m e r s r o r f Bo , Lo d ; Pa ker , L rd Mo ley ; Straf ord , o D Of o i and George B leyn . The uke Norf lk , who held a h gh po sitio n at Cour t when Wyatt was the leader Of the c ourtly

m m a r his i D MS . c akers , y have p esented son w th the for opy ” r e i in m o m c . o v g the poe s that he brought f ourt b. t . d e n tl fo r r m y stands the ﬁ st owner , Henry Howard ; the na e is enclosed in the usual fo rm Of ﬂourish c o mmon to signa tures . In 1 529 Henry was c h o sen t o be the c o mpanio n Of Henry

i r o D Of ic m o Of V E i F tz y , uke R h nd (son Henry III and l zabeth i i o o Of . Bl unt) , then eleven years age They l ved at W nds r

in in c mm o i c and shared everyth g o o n . The y ung pr n e was io i in o stud us and thoughtful , del ghted p etry , and played c o n 1 i c m o i o perfe tly the lute . He ev dently be a e j nt wner ’ Of M D S . hi m i s . the , and na e was wr tten below Howard s 1 211 co m 32 2 therefore stands for Henry Fitzroy . A ’ pariso n o f their S ignatures in Do yle s Bar onage c orrob o rates ’ i o th s the ry . Henry Ho ward s signatur e has the roun ded

r Of i c i b as he e , and that the pr n e has an upr ght letter ’ f o m r f his r i i ? s ewhat afte the style O fathe s s gnature . A i Of i m ad i 1 529—32 c ser es entr es was e dur ng the years . Su h po ems as Hey Joly R o byn and And wyl t thou leve m e r r o c i i i im . thus we e p bably op ed nto the MS . at th s t e It ’ ’ i s probably due t o Fitzr o y s love Of music and the King s lo ve f ’ o r his so n that so m e Of Wyatt s ﬁnest lyr ic s wer e inserted at this time and handed do wn to poster ity ; fo r altho ugh

in C i his ic ci c i Wyatt was then absent ala s , lyr s r ulated n MS .

u fo r m m Of and were s ng the a use ent the Court .

1 532 o r i r o t o r c In H wa d and F tz y went F an e , were t e c i e d ’ e v at the Cour t Of Francis I and treated like the Kin g s 1 Dena: Ge n ti lsho mmes o étes. B a s p p t .

’ 1 30 SIR THOMAS WYATT S POE MS

’ ’ cl a in i c o m o r r ) , Do ugl s , the K g s n e e , Th as H wa d (Hen y s un e

e r o r Of ic Mar gar et Sh e lto n , H n y H wa d and the Duke R h ’ c o c io i . is m o nd . Anne B o leyn s nne t n w th the MS to be seen i 6 b in i cr i io n f . 7 the ns pt n

11 an puma s g “n

69 a is dl r At the fo o t Of the page f . a hand ba y d awn and the ” S i r gnatu e ﬁ n . Th ere is a c urio us c o nnec tio n between the insc ription ” a m o wr e s t h e o m t m e mi r I y , and p e That y that th ” h r i Of r d id ster e my s yp p . The last th ee l nes the ﬁ st stanza r u n The n in my b o k wr o te my m istr e ss Ia m yo wr e s yo u m ay we ll b e sur e

An d shall b e whil e my life do e th dur e . — h . i 11. 5 . . 1 7 D MS . f 7 , st ,

r . r o r i o r 1 526 The p o em is ea ly and was p bably w tten bef e , in when Wyatt was paying attentio n t o Anne . If the

c r i io r r i o e m m o s pt n we e w tten by Anne B l yn , as see s st

o l it in h e r m i Of o o r . pr bab e , was a d h n u days Wyatt h a d i o t o r his o r m r c f o r in 1 53 3 qu te g ve f e pen hant Anne , M th e r c Of h e r r i i i o m in S . but p esen e w t ng and th s p e the D , suggest the p o ssibility that the vo lume belo nged t o Wyatt 1 in th e r h t r c in 1 526 r r c . o ﬁ st pla e W en he went F an e , athe

i i l i in r l m a h i him d sgusted w th fe gene a , he y ave left beh nd o m c o i i his r o m ic Of the v lu e nta n ng ea ly p e s , wh h the Duke

o o k r t o his s n N rf l p esented o . ’ Mar garet D o ugl as handwr iting is fo und o n many Of the page s c o ntaining th e lar ge gr o up Of p o em s c o pied under ’ r i r o r i io r i m i Ma y F tz y s supe v s n . A unn ng c o m entary s

1 is im o e to r o e h ho h r i e Th e MS . was It p ssibl p v t is wit ut fur t e e v d nce . ’ c e r i e e fo r o rt o e m in h ch h a d co c o l a ly nt nd d C u p s, w i Wyatt s a nspi u us

ce . he ec m e the r o e r Of r ch e O f Richm o d o n e r pla W n it b a p p ty Ma y , Du ss n , pa t ’ was e o e e ir e to o e m h e ce the r e f o e m d v t d nt ly Wyatt s p s , n la g gr o up o p s c o e co e c i e in the m e — a h 69 8 . pi d ns ut v ly s and , ff . 7 THE D MS 1 3 1

m o i h e r o rite i c c c o mm o cc r ' ade , den t ng fav u p e es ; su h ents u ” “ ” r t o hi h as Le ne but syng t s , and t ys , and thys m r c 8 1b r o c c ch e ﬂ r . y but e a ks ease after f , and a b eak urs Th e e c di ar e m c r c o in the MS . pages pr e ng u h wo n by nstant ’ a r n perusal ; La dy Margar et s c o mments e o these pages .

th o m a re c o i i n the sa me ha n d in k When e p e s nt nued , the i m c r r i c s u h f eshe and the pages qu te lean . 1 1 i i E vents o cc ur r ed in 5 36 wh c h expla in th s . The Cour t had har dly r ec o ve red fr o m the sudden exec utio n Of o r i o ci it Anne and Ge ge Boleyn and the r ass ates , when was startled by the news that S ir Tho mas Ho war d had sec r etly 2 i io m i r r o . n arr ed Ma ga et D uglas The K g was fur us , and 3 i ff r ir vo wed heavy pun shment o n the O e nde s . Inqu y pr o ved that S ir Tho mas Ho ward had lo ved the La dy

r fo r r c Of ic m o Ma garet a yea , that the Du hess R h nd had 4 lent he r suppor t and chaper o nage in o rder that they might 5 m ee t witho ut suspicio n ; the lo ver s h ad m e t many times in re s c Of c in c the p en e the Du hess , but always the absen e 6 h m ri a o . r e i c a n Of. r c the L dy B leyn Ma gar t had e e ved a p g , whi le S ir Tho mas was in po ssessio n Of a diam o nd and a 7 phisn a mye given t o him by Mar gar et ; they wer e r i i o c o c l ri r c t o im o the w se nn ent . B th u p ts we e senten ed ’ m o i t i o m . C o o e i r pr s n ent r well , p ss bly abat the K ng s ange , declar ed th at h e had Obtaine d a statem ent fr o m the lady ” she c e se th t o i f m 8 that have feel ngs o r that gentle an . r r m i o m t o c o m m ic i S ir Ma ga et , eanwh le , f und eans un ate w th

o m o r e h f Th as H wa d . She engag d t e help and sympathy O he r ri c e Of ic m o n i o o w . f end Mary , Du h ss R h nd , a w d w r m h e r h i . T e m Ma y ust have lent the D MS volu e , w th ’ r r c o mm c r o r Ma ga et s ents s atte ed ve the pages , and a few

r e i he r in ci r r i io c o ve s s wr tten by pen l , was su ept t usly nveyed t o S ir h o m in r i l o . i o T as the T we Th s exp a ns the w rn pages , i l ” c . 8 1 ic c o i th e o o w o f c a espe a ly f , wh h nta ns s ng N all h nge ,

1 S a e P e r 1 5 2 3 4 5 36 . Ibid . Ib t t ap s , id . Ibi d . Ibid . 6 7 8 Ibid . Ibid . S e P e r tat ap s . 1 32 SIR THOMAS WYATT ’S POE MS

’ wi th Margar et s c o mment Ler ne but t o syng yt . The

i c o i o . D MS . tself nt nues the st ry A series o f p o ems by S ir Tho mas Ho ward o c c ur s in ano the r Of i o par t Of the b o o k . Stanzas ntense h pefulness and assur anc e that all wil l be wel l a r e fo llo wed by ver ses expr essing r m i t o r r ﬁrm ness and unalter ed r eso lve t o e a n true Ma ga et . He speaks Of means taken t o unde r mine his r eso lutio n by c o l r o r c r o m i o i aj e y uelty , but the p e s always end w th l v ng ” f r i io o wo rds t o my no ne swete wy . At length p vat n t ld o r m o his r up n a f a e that was never r bust , and last ve ses are ” r f r hi m a r t o his s a c y o death that s s o ul y go fo th lady . ’ A br ief statement anno unced Tho mas Howard s death in th e o r r o m ir o t o o r i T we f ague . S J . Wall p wrote L d L sle ” M Lo rd m i in o r 4 Of - 1 y Tho as d ed the T we days ago an ague . ’ Th e is o i in Wr io th e sl e s C r o ic i event n t ﬁed y h n le . Th s r o n H a ll o we s E ve r o m r yea , All , the Lo d Th as Howa d , r o h r t o th e Of o r o i in ri o in b t e Duke N f lk , d ed p s n the Tower his o c r i t o o r r ri and b dy was ar ed Thetf d and the e bu ed . Als o the Lady Mar gar et D o uglas that had lyen in priso n ’ in the To wer Of Lo ndo n fo r lo ve between him and her was

r o i a a n e h e r l ib e r tie h o w pa d ned by the K ng and set g y at , ” b i o his ver eveli e r o - e t she to k death y h . B ken hearted and ’ r r in despe ate ve ses the D MS . bear witness t o Mar gar et s ’ r ie t o r Of Wri o the sl e s m g f , and the t uth y state ent .

r o r t o in o m E c Hen y H wa d alludes the event the p e , a h m a c his beast y huse fere .

It is n o t l o ng ago o h S it that fo r lo ve o n e O f the r ace did e n d his lyff i n WOO In to we r str o ng and high fo r his ass ure d tr o th

Wher e in e r e he e his re h the wo th as t s sp nt b t alas e ruthe . i ' Th s o utburst Of sympathy and in dignatio n fr o m Henry o r o n e Of r H wa d was the ﬁ st links . in the c hain Of events

ic him c o r wh h led ﬁnally to the s aff ld ten yea s later . i Such s the little tr agedy whic h in the purity Of its senti 1 S a e P e r o . 3 t t ap s , N v , 1537 .

’ 1 34 SIR THOMAS WYATT S POE MS

’ Kn ve t s o m i c o o m e S ir E . v rses , y , and ther s ellane us p e s r r c o i e were inserted within the next th ee yea s . Mary nt nu d ’ th e entries Of Wyatt s po ems whic h included S O feble is ” th re d e r Of ir . the , and pa ts the Sat es In 1 54 4 Lady Mar garet was a fﬁa n c ed to the E ar l Of m i o r r e t o c o . r Lenn x , and etu n d S tland Ma y ust have g ven th e vo lum e Of ver ses t o h e r friend in r em iniscenc e Of her

th e E i Co f o r e t o o ic e in life at ngl sh urt , the n xt event n t the ’ is c Of o r D a rn l e s i n hi s o wn D MS . the presen e L d y verses N o w o r s o n o f r ha n dwr i ti n g . L d Darnley was the Ma garet

’ o n ee o m o o i r m in Lenn x ( D uglas) ; she , re ver , was nst u ental bringing ab o ut the m ar riage Of h e r s o n with Mary Queen

e i i i O f c o . o n o n o S ts L rd Dar l y was v lently l ve w th Mary ,

‘ r r e e in th e m and the efo the vers s D MS . ust have been ’ i fo r i t o h e r i his m o e r r o wr tten , and g ven , w th th s app val .

r Of co n o t o i in m ic o Ma y Queen S ts nly del ghted us and p etry , but her ambitio ns c o nc erning E ngland must have inc lined h e r t o lo o k with spec ial favo u r up o n a volum e c o ntaining

E i Co o m r the ngl sh urt p e s . When Ma y ﬂed t o E ngland e r Of i i i aft the battle Langs de , she ev dently ncluded this o m in h e r v lu e baggage . In c onnec tio n with this theory h e r baggage was a c o nstant so urc e o f tr o uble t o tho se wh o had the c harge Of h e r ; they grum bled abo ut the s evera l 1 ca r ts o f boo ks that she insisted upo n taking with her

h e r c o f r i c c e whenever pla e es den e was hang d . F r m o any year s S h e was plac ed under the E ar l Of Shrews ’ r 2 c . His i E iz e o n e Of bu y s harge w fe , l ab th , was the c harac r Of h e r so n r C i te s that day ; , Hen y avend sh , by a fo rm er

, o o i t o r Of c husband als pr ved a fr end Ma y Queen S o ts , and as a token Of gr atitude S h e pro bably gave them the o m Of o m v lu e p e s . This theory i s c o r ro bor ated by the Letter s E . . o n c Of o i r S the ba k the b ok ; they stand , I bel eve , fo S hr ewsbu r his i E li za beth y and w fe . It is by n o means u n c o mm o fo r n bo oks to bear the names o r initial s Of husband 1 2 Se e r o de . ” F u P o r o Be ss o f rd i pula ly kn wn as ; Ha w cke . THE D MS 1 35

1 i o m o o m in and w fe . A hands ely b und v lu e the British

m r i i i . rm . o c o Museu , bea s the n t als H A su unted by a r wn in f r r r and stand g o Henry VIII and Anne B o leyn . A fu the r r i f r p o o f Of the ﬁnal o wne sh p O the D MS . by Sh ewsbury and his wife E lizabeth is the fac t that this lady was the

o r o f o i E in r ir f unde the Dev nsh re states De bysh e . She

o i c c i wh o h e r utl ved three su ess ve husbands , all left huge po ssessio ns which she emplo yed In building up the fo rtunes

ir C i mi o . r o Of the avend sh fa ly . The Dev nsh e MS was p bably o n e Of r o o to c i n C i i a the ﬁ st b ks be pla ed the avend sh L br ry ,

i C wo i r o ri i c . o g nally at Hardw ke Hall hats rth , bu lt th ugh

he r o r c m th e r i - c Of endeav u s , be a e ﬁnal est ng pla e the tr easur es that we r e c o lle c ted by this fam ily ; thus the ’ r r e m i e E i Devo nshi e MS . a ned aft r l zabeth s death appar ently unto uc hed until it was unear thed in the early days Of the ninetee nth c entury and used by No tt fo r his editio n

Of n o w i i - c in Wyatt . It has a fitt ng rest ng pla e the B ritish i r m e it s i r r i o . Museu , aft r st ng h st y Internal evidenc e has thus enable d us to pie ce to gether m Of the sto ry Of the D MS . by eans external evidenc e ’ r c i ro m Wri o th e sl e s C r o ic e d awn h efly f the State Papers , y h n l , ’ ’ o r o Fr o u d e s His to r o E n la n d D yle s Ba nage , and y f g . The histo ric al fac ts c o r ro b o r ate the internal evidenc e and give c t o r o r t o o n r lues the fi st wne s , and the later w e s whose i i i a r e t o o o n c o r Of b OOk n t als be f und the ve s the . In this ’ ' i im o o u t o r way Wyatt s l fe and t es pen bef e us . As we tur n ’ we n t o ver the page s Of the D MS . o o nly r ead Wyatt s Co r o m a r e m i i o r i u t p e s , but we ad tted nt the ve y l fe and atm o spher e in whic h he b r eathed ; the m ist Of year s is d is

o l a r e c r r i i o th e r c Of o p l ed , and we a ed nt p esen e gay n bles

Co r i i o th e m o i im r io n and u t lad es , and nt st nt ate elat s Of hi i th e m o r i i i ci Of his s l fe and st th ll ng n dents day .

1 ’ h o c e i Li r r S w as , K ng s b a y . APPE NDIX B

S P E CIME N S HE E TS OF P OE MS

i 1 5 2 B e h o ld e o . r 0. 7 8 1 . Rondeau . l ve The ea l est m exa ple . E r i 1 52 —8 . 0. 7 2 . o o . Sonet The l ng l ve a l est ex m a ple . r o r i 1 537—9 in . 3 . Sonet . Ye that love P bably w t in i ten Spa n . i — i o . E i r m m . 1 533 6 p g a . Alas Mada e M ddle per d

R E 1 . OND AU Be ho ld e Lo ve thy po we r h o w she e de spise th My gr e at payne h o w litl e sh e e r e gar de th th e ho o th he r h e e a e h n o c r e ly , w eo f s t k t u br o ke n S he h a th e and ye t sh e e hide th sur e right at h e r e se : and litle S h e d r ed e th We p en d tho u a r t a n d sh e un ar med sitte th TOO the e d isd a ynf u l] h er lyf sh e l e d e th TOO me spite ful] wt o wt s ca wse o r m e sur e

Beho ld e Lo ve . I a m in hOl d e if pitie the e m o ve th go o be nd thy bo we that sto ny h e r t b r eke th and with so m e str o ke ave nge the disple asur e Of the e and him that so rr o w do e th e ndur e an d as his Lo rd e thee l o we ly e ntr e ate th

Beh o ld e Lo ve . 11 E MS . . 1 . i , f S gne d i i C For var ants see Append x . ’ hi r o is r o Of io T s ndeau p bably the ﬁrst Wyatt s translat ns , an d attempt at a ﬁve - str essed line fo llo win g th e Italian

m in Of c exa ple the use the hende asyllable . It is plac ed ﬁr st in his Auto graph Volume (E It is the ﬁrst Of the

r Of o m in D r i la ge group p e s the MS . where the efra n is 1 36

’ 1 3 8 SIR THOMAS WYATT S P OE MS

But (witho ut the slu rr ing sign)

cr ueltié d o ubl e n és ei h e . 1 . by and ( g t syllabl s)

“ ’ 1 cr ue c u e r o f li n d e served ch e . 2. O l a s aung

2 c r is S i r c o i In , uel two syllables , the gn unde auser , den t ng

i r r o i o n slurr ng , p events the st ng stress fall ng the weak f ” syllable O . Indic atio ns such as these a re Of inestim able value in

ci i cc io Of o i S de d ng a entuat n d ubtful l nes , and hows that ’ m o u t Wyatt s sche e was well th ught o .

14 . e fo r the e co d o o . 1. Trisyllabl s n f t

o i Of o c e c O f N te that the quatra ns the tav , and the ter ets r e m r the sestet a a ked by Capitals .

E 3 . S ON T Y o u that in lo ve ﬁn d e lucke and h ab u n d an ce an d i e in a n d o fu ll Olitie l v lust J y J , arise fo r shame d o away yo r sl ugga rd ie arise I say d o m ay so me o b se r va u n ce Le t me in b ed l e r e mi in mischa u n ce y d a ng , l e t m e re me mb r th e hap m o st u nhappy h m e e i e in Ma m o co m o n l t at b t d y st y , o o n h o ms o e i ill t o a va as w l v list l t d u n ce . S e phan es saide tr ue that my n a tivi t e 1 mischaun ce d was w the r ul er Of th e may h e e ro e Of h th i g st, I p v t at e ve rit e . in May my we lth an d e ke my liff I say h e o d so Oft in ch r av st n su p pl e xi tie . r e o ce l e t me dr e me Of o r f i j y y e l citie .

11 E M . S . 64 . i S d . , f gne TV

i o is o n e o ri Th s s nnet a late , pr bably w tten in Spain in 1 53 8 an d is o ri i i i , g nal , w th s gns Of Chaucerian influenc e in 11 3—4 . . There is a m arked di ffer enc e in the fluency and style Of the late r sonnets Wyatt has b r o ken away from the hendec asyllable whic h gives an awkwar d eff ec t in E i r i ngl sh ve se . Th s sonnet stands first f o r its felicity Of r io m i Of it s exp ess n and tuneful odulat on vowel sounds . SPE CIME N SHE E TS OF POE MS 1 39

r ri i i r c o d l 1 o c c c fo o o . 4 . . N te the ha a te st tr syllable the se n f t

th e i In this later sonnet sestet is n o t divided nto terc ets .

R M 4 . OTTAVA I A Alas madame fo r st e lyn g o f a ky sse ‘r have I S O much yO myn dith e n o ffe nde d have I the n do ne S O gr e vou sly am isse that by n o m e ane s i t m ayb e am e nde d : The n r e ve nge yo u and the ne x t way is this an o thr kysse shall have my lyff e nde d fo r to my m o wth th e ﬁr st my h e r t d id suck the e x h c o Of m r n t s all l en e ute y b e st it pluck . 3 E MS . . 31 . S i e d , f gn

’ Co rr ection s i n Wya tt s ha n d “ ” r o bbing alte re d to . ste lyn g;

mi e . 5 . ir r e din r e en o u h r e o u h n o t l . F st a g v ge y t e n and su y s all ss 1 ” ” r e r r m . l . 7 . ﬁ st alt e d f o t o n ” h x h 8 . t e e cl e n h h . l . n t s all e alte r e d fr o m t e to thr s all

’ Co r r ec tio ns by a la te r hand than Wyatt s ” 2 h e r i o ff e ed . l . . t n nd 4 th m e r a b e m e m e e . l . . att y nd d ” fI hr h . 6 . M l o e ed . l . y y t ug nd

’ This epigr am is included her e t o S h o w h o w Wyatt s MS . o m im r o i rri o m o r was s et es alte ed p ss bly by Ha ngt n , but e ’ ro th e r r c io is th e o . r c o p bably by N tt Whe e e t n Wyatt s , se c ond r eading is given in the text when the c o rr ec tio n is ’ n o t it i i s o o o e . Wyatt s , g ven as a f tn t ’ The po em is an instanc e Of a very po pular c o nc eit ; Wyatt s ’ ’ sio is r i f a r t s d u r C . M o o o Of e a ﬁn s . ver n a t anslat n S o r n ea , ” E n l e i 1 52 9 . ba sant , ’ 1 40 SIR THOMAS WYATT S POE MS

5 m 1 m a 9 s a 8 5 o 3 i s 8 ﬁ m a : 8 « m 3 a o wo 5 5 v 0 ? a 2 9 9 $ 2 3 m z g w 8 5 5 o 2 o u S w 3 g o 5 a n 2 Mo E s s 5 5 C c h S c h o 0 b 9 o o 9 H o s m c s a e 5 9 a o e £ p E a H . 3 . w a 3 O a m w s s 3 a 8 S o 9 8 w 5 a 9 s a o a c £ 5 e m 3 0 a B 9 8 n m b a E u 5 2 a 8 m s c 5 £ : 2E 8 c e 5 mo 5 4 0 m5. 8

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p m a a s 2 u 2 5 5 O a A k o a 8 O m 5 s q . o 2 2 s 9 H a a S m c H 3 h s. H m $ s g £ w 8 H w a E . 5 a 8 i 3 s s 5 H B n S 8 E » 5 5 fi o 2 e 5 H e o S H r H E a 8 a 2 n e . fi S E h E 3 9 » z a 8 9 m 3 s a x 5 r 8 H h c o m s 5 5 H o a o 8 . e o s 5 s. 8 9 S 5 e m 2 s m o w 8 3 2 “ 2 a 5 a e e s « n n a £ H a 5 g s 8 fl g H : 8 ? c s 3 o S e E » m o c s 6 : 2 a a : H 5 s o a 2 w 3 s H n e s H — a 0 o s A 9 s 2 s 0 o H E 9 m a 2 o m e e w n 5 E s 5 : 5 3 e. 5 o s 5 5 H m S e 5 H 5 2 9 9 n ; e w o : s 3 c c g o a o e 8 2 o H e E m O B 0 o 2 5 £ c 3 s n n 8 o 3 9 2 2 a e a m 3 o o « 3 e s s 6 E 2 ? m 2 8 n 5 o m z 2 w 0 g 5 c S fi 8 3 8 M n : m e c H o a 8 a 6 2 3 a 3 u e 2 2 s m . s s o m 3 c o o a a e 8 E a 2 S x H 8 E 0 w 0 o . S 9 e o o e 0 s 8 9 n 0 a 5 8 v H o E k 5 5 fi fi a 2 2 b S e a . n S e a s S e o “ 8 " o 5 o 8 o s a S 9 > 5 3 n m 2 d ” m : 5. a. a . o m a ; 2 H n w w ; mm H H 3

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c H m m « m m m m a o H N m H m m m m m m m m m m w v v v Q

m 9 S H . 8 5 2 8 $ H o a E 3 2 3 m 5 5 H d 3 2 o m w 5 5 s H ? m o e : u 3 A 3 v H H o 9 o o £ S H 3 H H 8 w g 5 8 5 5 8 E a 2 H 3 s 3 “ S 3 5 R 8 5 H H H o 2 A i 2 5 o 2 w s 9 S d o n H ? 8 3 2 8 m ? 3 H H 3 o e 0 o H 9 S n v S » 9 n 0 : o t H 3 H 2 3 S H w 9 H o H 0 2 5 H o b E 3 ? m p w 2 3 o ﬁ 2 0 H H w H 5 H n o oP wH 5 3 v o a 0 H a 8 H E P i q 8 s ? 8 t 5 a e h H s H m 8 H m 3 H 0 i 2 H 3 c ? a o o o o w H S 8 3 o 8 o 9 m S H u S o B 2 H 3 b n t 8 o a H H o 8 m 5 o K 8 o w 5 H 2 H 4 w 5

’ 1 50 SIR THOMAS WYATT S POEMS

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v 5 w o c 6 o o H o 0 2 2 2 H 2 v z o H . a 2 H 8 m H w E 5 . 5 5 H 5 H c m ; v 3 H z a a : H o 5 a a H H H H m H v a H 3 H H H B 3 9 5 ﬁ o o 8 H o e 5 « 3 5 H H w 5 a 5 H H 3 a H 2 a 2 H o . 2 5 H 3 0 3 5 0 H u o G : E m 6 0 h 8 m 0 0 8

m m m m c 2 o H a a a 3 m 8 2 9 o a : ; ﬂ : : :

L o n e S 8 8 u 5 E m c 3 a 5 8 S 5 9 H B 5 3 3 w 2 3 a 2 s 2 2 a fl » 3 a o 2 g o £ 3 u 5 r 5 w ? 0 a 8 s 5 w 3 6 : : N 9 P o 3 2 3 S : o 8 o m o 9 $ E o o 5 S 5 : m fl ? 5 $ fi m @. 2 8 e E a 3 H 5 o 4 P MS IN THE G RT N M 1 5 1 OE E E O S .

V m m o . n 3 fi 8 » M B c fi 0 a 8 o 9 5 fl 3 3 q 3 o 3 n o o 8 2 “. 2 a v 5 : c 5 0 S c 2 3 $ u 5 8 5 m 5 3 E 5 a 8 c o a 5 $ a 3 p a $ a c S 2 ? 8 g a 8 c 4 » . e o E s 5 2 9 3 : £ z > 5 2 2 m o m a 2 £ o a 3 5 m » 8 3 3 fi k ~ S m a 8 w a 9 » i ? u & a fi 8 2 8 n 2 c a fi ? 2 3 9 a“ 2 fi 5 5 8 3 2 a 3 S o 8 S 5 m s n 2 3 E 2 w5 E? c 6 a “ a A 5 b B ? . 0 ’ 1 52 S IR THOMAS WYATT S P OEMS

. . 5 0 H 2 9 S 8 o c 5 E : a 9 b 8 5 o 5 8 fi 3 9 3 a 0 8 8 5 z 2 w 2 3 0 a S 8 o 8 2 E E a 0 E 2 8 M o 2 0 0 » g m m m 5 8 2 0 5 Q 0 . B a g “ : 4 8 8 . a Q a “ ; O 8 m : E m 8 3 n w 2 S z o 6 o 8 w 5 mm o 8 8 v 9 6 a . s t E p m 3 c So 3 E 3 c . $ n a a . 5 x fi 8 o 2 . m n a fi x 5 5 6 0 1 5 w c 5 0 x 6 m mm 0 . m o 9 9 a w . mm m 5 m 9 . n d 6 5 m 6 6 9 o 5 m 9 2 ma . 5 5 6 5 5 5 w 0 n 5 5 5 - 3 8 6 5 2 mm 6 4 2 2 3 2 2 3 4 6 2 6 a 4 4 4 4 3 3 4 m 6 5 5 o 3 9 o 9 m 9 5 2 8 8 9 3 o 8 $ 8 w 0 5 b 2 5 3 n 3 3 fi : 0 5 8 5 o : 2 5 5 5 5 5 m o

s « 5 ” 3 S E S a fl S 8 fl S a 5 fi t a E 8 3 a E E t 5 E a t 9 2 9 t 5 a 9 t $ 8 g $ 8 5 fi 5 8 3 3 3 a 3 3 8 0 0 0 o 8 0

w a w a m a m m $ m c w w m o : s m . m a ? g “ 2 2 2 ;

” A 9 F £ “ m 2 0 E 8 m 2 5 0 2 3 0 6 9 : a 5 2 E $ 8 3 v a p Q 5 9 2 n 5 a 9 2 a o o n 3 . 5 “ o S t 0 5 s 3 Q 8 » 3 2 5 fi H 9 h 2 6 w5 E “ 0 5 S a o 5 t h m 5 E 6 m 8 5 u £ 8 c $ m a “ h m a e 5 g o u n c S 8 u w2 9 A a w : 0 a g a 8 a 0 a6 n 6 S 0 w E o 5 3 9 a m ? b n fl > 2 w u 2 3 s 2v m2 9 : 8 a , 8 2 2 g 5 o g 9 25 o E m 3 : o 5 a 2 o 0 g 2 c m t o t n m 3 fi 2 9 d d e 3 8 u c 3 5 0 8 3 a m o : 8 » k 3 3 5 5 n o 2 8 w 0 a 6 m 6 o m 8 n 5 c o v 5 8 m 8 . E m . a ” R w 8 5 Em2 o a w 2 5 m a o 8 8 . s m 5 5 5 g . m m . 4 2 u fi E 5 u 6 w d 6 5 6 0 i x n e 9 8 9 o 8 5 . . . 5 . 5 . 5 m 5 mm m g a mm 5 mm 5 mm »

’ 1 54 SIR THOMAS WYATT S P OEMS

’ * din i h he i c o rr e c e d in Ha rin to n s e di io hei n s . The r e a g w t ns was t g t n e c se the o r o in th e o h a n d th e o f the Psalms , b au w d was unkn wn s ut , ’ e r e i i f c o rr e cted line ha s appe ar e d in e v y d t o n o Wyatt. Wyatt s

h e re r e o re Th irst r ead i n in the E MS . m e th e te xt is st d , e f g ak s 23 ' i he i re fu e e ve n m o r e c e r me an ng , ns as g , l a

fo r that in h e ins as m an in m o r tal stryff h h c o n str a n d m e fo r t o h d m he d he at y y y .

is The se co nd r e ading E MS .

Fo r that in h e ins to He his wr ath so r yﬁ h h m e o r ced d ed to h d m h h e at f as y y ed .

o r r e c io W (C t n by yatt . )

* P e c r to W is r c e d t o i ec o r Y ka/p p ur . ulia yatt ; it t a a d al tal w d ( o r k o r he r c o ie e r m ie t o o shir e and n t n unt s) , as a t appl d a y u ng co lt ; it n ” has ec o r m e i n o th e o r m e r a s nda y an ng , wa t n in f kipp ,

- i h i e l o w a l e h o e . . is ed J Dan s k pp , a us (W D It us satirically by Wyatt

’ S avo ur e th o me h o f ka u r s e s w at a p p stabl ,

o f o i o r r e r i e e r o . in the se nse a want n , w ld , un st a n d p s n 22 h e i in th e E MS . e r o r . ko wa rd . T e sp ll ng app a s T wa d

2’ And if th o u spake To war d (ko war d

h ed in r i ed e di io t o a word . O R co r c C ang p nt t ns wa d, J auda ’ “ 23 x - d r e r f Ge rm an sufﬁ ar . Wyatt s p fe e nce o r k r ath e r than 23 c e in c o b e se t o t o o r he r in ﬂ e ce sp ll g ann t d wn n t n u n . It is fo und

in the o h . L b us h . fr e quently s ut Cf . e ke c min h i h e i t a n a . o e o l e . . e o ppy F a g , av ng a ad , appl d Cf Sk lt n ” Al e s o fo r th o ce nappy e n n .

h c f - - k ud . r c o rm o r e . r i i i e . ua c e e rm . e e . r e re q y A ai f p s pa t pl t , nd , nd T u p s

r ici e o rm e r e r e ced th e e r o e in - n e pa t pl f s w pla by v bal n un nd g u g ,

mg .

r aba te . im i i h e N r e G o r . . P e h m hi Abat , d n s ( a s l ssa y) Cf utt n a , and t s er o o m e im e r abb a tin o alt ati n s t s by g a syllabl e r line . shr i ht. Shr i e e d o g k , us as a n un by Wyatt . Onl y fo un d e lse wh er e as a re e ri e o r i h r p t t past par t cipl e . Cf . C auce

’ z Shri h s E me l e ho wl e th P a l a mo n . Kt T g t y and ( . . A .

S c . r i i r e er ed in Yo r hir e i e c r E i e M. . J sk ka (st ll p s v ks d al t as sk k ) , c s hr ie be n . sta u lk. To o ri o r o i e e r o co c g wa ly n s l ssly ; p bably nne ted with AS . ste ale . ” si tteth . m e r o e r it is ec o mi o r . I p s nal v b , b ng , ﬁts It sitte th me to “ e r e i . c. it m to o n , ﬁts e clo se ly. GLOSSARY OF ARCHAIC WORDS 1 55

” tacad . o r o e W ro m t a ce t o il e c ed ie e B r w d by yatt f Italian s n , qu t d , still ed And wh e r e I had my tho ught and myud a l ta ced ’ 2 a l r th l fr a il n e s e l e a sur Fr o m e e y and vayn p ,

o rr o r o m i a t r i r c e d tr aced . B wed by Wyatt f Ital an t ass , att a t

With th e amo r o us danc e have mad e me tr ac ed .

’ Tr anslated fr o m La qual m attr asse all amo r o sa schie r a . c r o h we a t a ce d fo r the r io o f ci o It is u i us t at find t anslat n ta t , and f a r a c f he r io o f r s e The di io tr ac ed instea d o t ed o r t t anslat n a tt a s . ad t n n f th e r e x t o th e ec o o r i e o f the r r e e o p fi a s nd w d nst ad fi st, p v nts ’

o e r r i . o cc r in m o o e m hi h d ubl slu ng It u s Wyatt s st faulty p , and , w c

r it is r e r e e t o eco m e r e r . e ve way ad , fus s b gula The fo r m as it is fo und is c e r tainly pr e fe r abl e t o

With th e am o r o us da nce have made m e a tr ace d d h h a d h An w e n I my t o ught and myn d e t a ce d .

- to torn . o r in hr e ds i h i e i i e r e t o . T n s , w t nt ns t v p ﬁx

z i n s . z in ci th e m e fo r five in hr o o f di ce . Two e o r , J ng , na a t w fiv s , a “ " - five six the c m e r . ee . and a , was lu ky nu b S Amb es as B IB L IO GR A P H Y

E NGLIS H W O RKS

E i h G r e r ARB E R E . An ngl s a n Th e S ur r e y and Wyatt Anth o l o gy ’ o r P o e m British Anth o l o gie s . H . H wa d s s ’ I S TO h m e r E i h P o e AR O . C a b s ngl s ts

. . S e T I e i h Wo r e d W W . A K NS ON , J . C . K nt s ds , k at Gr e o r e ch e r E ic e A D R . E . B E RN R , at M al T a s , p t tus m P . E H E OD O E D E . BE Z , T R sal s h e e r e his Pr e d e ce S S OIS A S . S BO S , F . ak sp a and S o e r i m h o h e r P o e m o f Pe r r ch H . G. B O N H nn ts , T u p s and t s t a f S e e c Mino r Dial o gue s o L . Anns . n a Live s o f th e Que e ns o f E ngland Li e o o Of E i h S o e BOWYE R N ICH OLS . A ttl B k ngl s nn ts f o x e P r i h OW E . . i o r o BR N , J C H st y B l y a s f Ma ch n i iz e CI TY i r o . A DE S O E . C M N D a y H y , C t n I H Li e o f o e CAVE ND S . f W ls y

i Ricci . E LLI I E E UTO. e m o ir r e e C N , B NV N M s , v s d by

E i h P o e . CH AMBE RS . ngl s ts UC FF E Y Th e o e o f th e T e o f Ca u n te rb u n e HA E GE O . C R , R B k al s o f a u n t b d s o n 1 526 o e C e r ur e e . P n B k y Tal s , y h o e d h e 1 532 T e W r ks , . by W . T ynn i e o f h e P o e c i i M o e Th e L t o S . CIS BE R . , T v s ts, nta n ng n t s by Re e a n d e . o o J d J . Hasl w d I P S e e E h P o e ce ie O E . . C LL R , J v n nglis ts , Mis llan s he P e e r e o f E O I S . T C LL N , A ag ngland H E a S ie O I S OH U TO . C LL N , J N C R N ss ys and tud s h e Ca n tab r i ie n s s OOP E . e e C R , T At na g

COURTH OP E W . . o r o f E h P o e r , J Hist y nglis t y i h o A IS G. c e e D V , M a l Ang l I E I S C m e i i o f Lit e r a t ui e S . e D RA L , I AA A n t s h r h H f E ODD . c l s tOI o n D , C C u y gland

Y E . E Th e O ci r o e o f E O L . D , J fﬁ al Ba nag ngland

E I S TE I L. i R i I N N, Ital an e na ssance n E ngland

H W R . Il S E P o r i o . r o m i FAN A , ast F d (Tr ans f Ita l an)

I E DMA P AUL . n e o e h e r Of E i h i o r FR NN, A n B l yn , a C apt ngl s H st y (1527—36) 1 884 F R W E O D . . o r o f E 1 8 5 , J A Hist y ngland 7 E H i 0' i 4 ULL OMAS . . o r o f m i 1d e i e r to 1 634 1 8 0 F R, T , D D H st y Ca b Un v s ty Histo r y o f th e Wo r thie s o f E ngland 1 662 An gl o r u m S pe culum 1 684 G E R . i i ARN TT, Ital an L te r atur e 1 898 e P e r r ch m o e s 1896 Dant , t a , Ca n 1 56

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x . Co tto n MS . f. iii ’

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P ri n te d f o r th e U NIVE RS ITY o r ONDON P RES S L L , td . b , y IC H AR D C LAY S ON S Ltd . o n d o n a n d Bun a R , , L g y .

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