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The Locus Amoenus: Ethically Justified Space in Seventeenth- Century Poetry

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The Locus Amoenus: Ethically Justified Space in Seventeenth- Century Poetry The Locus Amoenus: Ethically Justified Space in Seventeenth- Century Poetry By Sarah Dempster 19418890 Grad. Dip. Education, University of Western Australia, 2001 BA (Hons), University of Western Australia, 2006 This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Social Sciences 2012 ii iii Abstract The subject of this thesis is the locus amoenus, the classically derived ideal place appropriated by seventeenth-century rural poets. The poetic representation of a place of both safety and comfort took both topographical and ideological form in the upheaval of the seventeenth century. To date, no extended studies of the locus amoenus in seventeenth-century rural poetry have been published. Moreover, examinations of this subject conventionally focus on classical expressions of an ideal place. This thesis provides a critical consideration of the locus amoenus regarding the poetry of Aemilia Lanyer, Ben Jonson, Mildmay Fane, Robert Herrick, John Denham, Andrew Marvell, and John Milton. The classical roots of the term locus amoenus reveal many of the elements that went in to the poetic fashioning of the ideal place. More than classical symbolism, the ideal place of the seventeenth century was set against a backdrop of agrarian capitalism, anxieties over social hierarchy, and civil war. By studying a variety of poets and their contexts, it is possible to account for and clarify the manifestations of the ideal place the century produced. Aemilia Lanyer and Cookham are considered first in this thesis. The poet envisages the female family at the centre of the ideal place in command of the estate. Next, Ben Jonson creates the estate of Penshurst as a place of temporary respite, away from the flattery demanded of him at court. Mildmay Fane, with his combination of staggering wealth and moderation in all things, seeks a quiet, natural locus amoenus, and is remarkably consistent in his commitment to the via media throughout his body of work. Fane’s ideal place holds friendship as the anodyne to civil strife and the increasing difficulties between Parliament and the Stuart monarchy. His great friend, Robert Herrick, shared the same Royalist sympathies, but perceives that social harmony can be found on the ideal estate. The way to this estate lies in the traditions and sports of old, where peasants dutifully bring in and celebrate the estate’s harvest with a benevolent lord. John Denham found the ideal place was firmly rooted in both historic and present-day England, perceived from his vantage point atop Cooper’s Hill. Andrew Marvell’s approach to the ideal place is one based on community, spirituality, and moderation. Marvell’s ideal landscapes are surrounded by the aftermath of civil war, whether in vegetative military symbolism or a mowing down of grass like so much human flesh. Lastly, Milton subverts the Jonsonian practice of the masque of praise to transpose a physical space into a locus amoenus of the mind. Ultimately, it is in the redeemed soul that Milton perceives the strongest hope for an enduring locus amoenus. This thesis reflects on the individual idealism and identity that each poet wished to create. By focusing on an assembly of poets, I demonstrate the importance of understanding the complex and diverse potential of the locus amoenus in the seventeenth century. Even though the nature of each ideal place is not always congruous between poets, much can be learned about the social, political, and cultural nature of the seventeenth-century ideal place when considered together. This study of the locus amoenus not only illuminates strife-ridden England, but considers the characteristics of landscape for defintion in a new, more peaceful world. iv v Acknowledgements In writing a PhD I have come to owe a great deal to many people. I was the privileged recipient of an Australian Postgraduate Award, and so great thanks must go to The University of Western Australia for allowing me the opportunity to write my PhD. Throughout this time, I have learned a vast amount from my supervisor, Professor Robert White, who generously agreed to supervise this project. His personal support and intellectual example have contributed enormously to the creation of this thesis. Professor White gave much crucial advice in the early stages of thesis planning and graciously read and guided my work as it developed. His knowledge of literature is truly brilliant, and I consider myself fortunate to have had such an intellectually accomplished supervisor. His cajoling manner, intelligent assistance, and attention to detail will inform my research for years to come. Further, Emeritus Professor Christopher Wortham has assisted and fortified this work in more ways than I can easily define or repay. Professor Wortham kindly agreed to supervise this thesis despite a very full schedule of teaching, and has been perpetually full of encouragement and good counsel. His thoughtfulness, brilliant intellect, and comprehensive knowledge of literature provides an example to all who aspire to be teachers. I have also been fortunate to have had many conversations on the subject of literature with my great friend Dr James McNamara. Both wittingly and unwittingly, he has facilitated the transformation of early musings into clear argument. Here, I record my heartfelt thanks to him for reading over this thesis. I remain indebted to Dr McNamara for his faith in my work and enduring friendship. May our conversation continue for years to come. I would also like to thank Ian and Lin Beach for their good humour and frequent meals. Your home has provided a welcome refuge from the anxieties of writing. I must also thank my grandmother and grandfather for teaching me the virtues of education and hard work. This thesis is an appropriate way to memorialise your values. Equally, greatest thanks to my mother, for further reinforcing those educational principles and taking the time to teach me to read. Your voice of guidance has remained with me throughout this academic journey. Finally, I would like to thank Chris Beach, who has been by my side throughout this period of study. It is my pleasure to record the deepest appreciation of your support and care. Your sustaining love and unfailing support has made this thesis possible, and to you I lovingly dedicate this work. vi vii Contents Introduction 1 Chapter One Aemilia Lanyer: ‘The Description of Cooke-ham’ 1611 26 Chapter Two Ben Jonson: ‘To Penshurst’ 1611 and ‘Inviting a Friend to Supper’ 1616 47 Chapter Three Mildmay Fane 69 Chapter Four Robert Herrick: ‘The Hock-Cart’ 98 Chapter Five John Denham: ‘Coopers Hill’ 1655 121 Chapter Six Andrew Marvell 147 Chapter Seven John Milton 168 Conclusion 184 Bibliography 188 viii ix List of Illustrations Portrait entitled ‘Charles I on Horseback with M de St Antoine’ painted in 1633 by Anthony van Dyck (fig.1) 143 Engraving by Pierre Lombart inspired by van Dyck’s portrait of Charles I on horseback, produced some time after 1655 (fig. 2) 144 Engraving by Pierre Lombart, ‘The Headless Horseman’ (fig. 3) 145 A subsequent impression of the plate by Pierre Lombart, with Cromwell’s head removed and replaced with that of Charles I (fig.4) 146 x 1 Introduction The long literary tradition of the locus amoenus, or pleasant place, demonstrates the universality of the search for an ideal realm. Originally theorised by Hesiod and Homer, and developed by Virgil and Ovid, the locus amoenus is traditionally a natural place offering safety and comfort to those dwelling in it. Whilst literary depictions of the locus amoenus hold a number of common features—for example, grass, shade, and water—there is no single, unifying description for the concept. It can manifest as an argument, a memory, and a longing for how things should be. Notwithstanding these various methods of presentation, the locus amoenus remains a discernible idea in the Western literary tradition. From the different versions of the ideal place evident in seventeenth-century poetry, modern readers can better understand the way upheaval impacted poets from different social and political backgrounds. The development of the poetic ideal place from the mid to late Middle Ages runs parallel to the physical locus amoenus in real life, frequently intersecting. However, neither ideal place will ever properly be achieved as both the real and imagined locus amoenus are only ever aspirational. Thus, the ideal place imagined via the medium of poetry, and that sought physically in topography, both help to orient each other, even though in both cases the locus amoenus is a fiction. Moreover, the real and imagined ideal place serves as an escape from the issues of the real world for the writer. For this reason, the locus amoenus is invariably written from a position of vested self-interest, despite the poets’ determined attempts to adopt a position suggesting some sort of universal truth. It can be a comforting and attractive ideal, but that is because the poets do everything to make it seem so. In this thesis, I explore the multifaceted notion of the locus amoenus from the early 1600s to the 1680s. To do so, I consider the work of Aemilia Lanyer, Ben Jonson, Mildmay Fane, Robert Herrick, John Denham, Andrew Marvell, and John Milton. I have chosen these poets because they provide a range of well-known and less-known voices, but are all alike in their desire for an ideal place. Through a close study of the most relevant locus amoenus poems by each of these authors, I elucidate the presence and nature of the ideal place in seventeenth-century English poetry. Within these readings, it will become apparent that the ideal place is frequently conceptualised in geographical and topographical ways. In classical times, the locus amoenus was often thought of in terms of agricultural spaces and idyllic, untrammelled pastoral landscapes.
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