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Petrarchan Reform and Reform of Petrarch in Early Modern England

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Petrarchan Reform and Reform of Petrarch in Early Modern England University of Nevada, Reno Petrarchan Reform and Reform of Petrarch in Early Modern England A Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English By Satyaki Kanjilal Dr. James Dillon Mardock/ Dissertation Advisor December, 2015 © by Satyaki Kanjilal 2015 All Rights Reserved THE GRADUATE SCHOOL We recommend that the dissertation prepared under our supervision by Satyaki Kanjilal Entitled Petrarchan Reform and the Reform of Petrarch in Early Modern England be accepted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Dr. James Dillon Mardock, Advisor Dr. Eric Rasmussen, Committee Member Dr. Philip Boardman, Committee Member Dr. Kevin Stevens, Committee Member Dr. Kenneth Lucey, Graduate School Representative David W. Zeh, Ph. D., Dean, Graduate School December, 2015 i Abstract Discussions of Petrarchism in early modern English studies often focus on its influence on secular love lyrics, but Petrarch’s Canzoniere also has a religious undertone. Petrarch’s speaker in the in-vita section of Canzoniere focuses on the image of Laura, where he fluctuates between committing to God and committing to the image of Laura. After Laura’s death, Petrarch’s speaker gradually goes through despair in the in-morte section of Canzoniere to learn of his mistake and eventually commit to God. John Calvin, in his Institutes of Christian Religion, points out that a supplicant never definitively knows the state of his election. This uncertainty creates within the speaker a fluctuation between the state of hope for his soul’s salvation and a state of despair at the prospect of the damnation of his soul. Calvin, in his “Sermons on Ezekiel” and in some commentaries on Psalms, points out that God often induces a state of despair within his elects to draw them closer to Him. This dissertation identifies this state of fluctuation between two positions and the necessity of despair as two tropes that Calvinism and Petrarchism share. This dissertation also studies how early modern English poets Anne Lok, Sir Philip Sidney, and John Donne can be perceived simultaneously as Calvinists and Petrarchans. Although Lok’s “Meditations of a Penitent Sinner” apparently appears to have nothing in common with Petrarchism, her sonnet sequence is Petrarchan in nature because it displays the necessity of despair before one commits to God, as well as the fluctuating supplicant. In addition, Donne’s “La Corona” uses the poetic form of rosary poems, which was primarily associated with Roman Catholicism, to display his speaker’s commitment to the reformed doctrines. Furthermore, Sidney’s An Apology for Poetry fails in his endeavor to adapt the poetics that he inherited from medieval Roman Catholic Europe to display the undertones of Calvinist doctrines. Nevertheless, he argues that a poet should inspire virtue among his readers through his poetry. If Sidney’s Astrophil and Stella is read according to this directive, then the only reading of Astrophil and Stella that makes sense is to read Astrophil as a reprobate. Donne’s speaker in his “Holy Sonnets” is both Petrarchan and Calvinist because the speaker fluctuates between the positions of hope and dejection in his spiritual journey and must experience despair to eventually commit to God. ii Dedication This dissertation is dedicated to the following: My parents who were supportive and patient with me Dr. James Dillon Mardock, without whom I would not be where I am today. iii Acknowledgement I would like to thank my advisor, Dr. James Dillon Mardock, who groomed me as a scholar. To the English Department at the University of Nevada-Reno, I would like to thank for the nurturing atmosphere that I found as a graduate student. Especial thanks go to my cohorts Thomas Hertweck, Matt McKinney, Francisco Nahoe, Peter Picetti and Mark Farnsworth for their kind words of encouragement. Finally, I would like to thank my committee members for their flexibility and patience. iv Table of Contents 1. Preface….………………………………………………………1 2. Chapter One...............................................................................18 3. Chapter Two …………………………………………………..57 4. Chapter Three ………………………………………………..104 5. Chapter Four………………………………………………….157 6. Conclusion …………………………………………………….202 7. Bibliography ………………………………………………….206 1 Preface For a student of early modern English literature, the objective of studying John Donne as a Petrarchan sonneteer is difficult, because in a letter to his friend Sir Henry Goodyear, Donne disparages sonnet writing. Donne’s ill-advised marriage to Anne More had ruined any chance or ambition he had to gain employment in the Jacobean court as a diplomat. At a time when Donne was considered by King James for an ecclesiastical position at St. Paul’s Cathedral, Lady Lucy Bedford, who was quite powerful due to her influence over Queen Anne, had doubts as to whether Donne would be suitable for such a position. Donne writes to Sir Goodyear out of concern, “That that knowledge which she hat of me, was in the beginning of a graver course, then (sic) of a Poet, into which (that I may also keep my dignity) I would not seem to relapse. The Spanish proverb informes me, that he is a foole which cannot make one Sonnet, and he is mad which makes two” (Emphasis added) (Letters 89–90). It is not possible to know for certain whether Donne was being facetious or serious when he wrote those lines, because it seems from the context of the letter that Donne meant what he said; regardless, we find that Donne wrote over 30 sonnets in his career. Hard-pressed for luck and anxious that Lady Bedford’s opinion of him might ruin his chance at obtaining a secured position in the Church of England, Donne was perhaps forced to call himself “mad” in his letter. Donne consciously projected an image of himself, where he associated this “mad” part of him with his youthful indiscretion and his “reformed” persona with his mature years. This argument that Donne’s projection of his young persona as “mad” and his later years as “wise” gives credence to Donne’s attempt at distinguishing between his persona of “Jack Donne” and of “Dr. Donne.” Throughout his life, Donne had encouraged the distinction between these two personas, and an example of such an 2 attempt at such a distinction can be observed in a letter that Donne wrote to his friend Sir Robert Carr when he sent him a copy of his Biathanatos: Keep it, I pray, with the same jealousie; let any that your discretion admits to the sight of it, know the date of it; and that it is a Book written by Jack Donne, and not by D[r.] Donne: Reserve it for me if I live, and if I die, I only forbid it the Presse, and the Fire: publish it not, but yet burn it not; and between those, do what you will with it (Emphasis added) (Letters 19). The fact that Donne associated his sonnet writing with madness and an act of youthful indiscretion was a deliberate ruse employed throughout his life becomes further clear to anyone studying his religious sonnets. In this dissertation, I study Donne’s religious sonnets and prove that his religious sonnets show clear evidence of an influence of the Calvinistic theology. Through my dissertation, I implicitly argue that had Donne been truly “mad” and young when he wrote his religious sonnets, he would not have taken religion as seriously as he does in his sonnets. Often, studies of Donne’s Petrarchism focus on Donne’s secular poems and they tend to ignore his religious poems. Clay Hunt’s Donne’s Poetry: Essays in Literary Analysis incorporates a detailed analysis of Donne’s secular poems, where he analyzes the Petrarchan speakers. N.J.C. Andreasen’s John Donne: The Revolutionary, much like Clay’s study, has a section on Donne’s Petrarchism. These two books are typical of Donne scholarship on Petrarchism, as they ignore Donne’s “Holy Sonnets” in their discussion. Another book, Patricia Garland Pinka’s The Dialogue of One: The Songs and Sonnets of John Donne, has an excellent chapter on how Donnean speakers in Donne’s secular poems take up different Petrarchan 3 personae. I believe that Pinka’s choice of title—“the songs and sonnets of John Donne”—is deliberate, because Donne’s “Songs and Sonets” are conspicuous in their absence of any regular sonnet. Although we have works such as Heather Dubrow’s Echoes of Desire and Gary Kuchar’s “Petrarchism and Repentance in Donne's Holy Sonnets,” such studies are few and far between in Donne scholarship. I believe that when the majority of Donne scholars think of a Petrarchan speaker, they have a very secular figure in mind, possibly someone such as Sir Philip Sidney’s Astrophil. Scholars in their discussion of Donne’s Petrarchism tend to either ignore or forget, as I argue in this dissertation, that Petrarch’s Canzoniere or Rime Sparse, which served as models for early modern English Petrarchists, were also primarily religious in nature. I will argue in my dissertation that the secularism of Sidney’s Astrophil and Stella is Sidney’s conscious attempt to show the influence of the Reformation theology on his sonnet sequence. I argue in this dissertation that in medieval Roman Catholic Europe, the concept of poetics allowed a poet to use an apparently secular text, such as Canzoniere, to perform the secular function of entertaining a reader, as well as the religious function of helping a reader to achieve his salvation. For example, the delusion of Petrarch’s speaker in Canzoniere was supposed to entertain a reader, and the praise of Laura, who after her death ended up in the company of saints in heaven, acted as “good work” on the poet’s behalf.
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