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THE CUHTÆI^ÜHAHY STATUS AHD FUNCTION of the Elizabethail SONNET Johanna Marjorie Procter Thesis Submitted for the Degree of Ma

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THE CUHTÆI^ÜHAHY STATUS AHD FUNCTION of the Elizabethail SONNET Johanna Marjorie Procter Thesis Submitted for the Degree of Ma THE CUHTÆI^ÜHAHY STATUS AHD FUNCTION OF THE ELIZABETHAil SONNET by Johanna Marjorie Procter Thesis submitted for the degree of Master of Arts of London University May 1966 Bedford College, London ProQuest Number: 10097293 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10097293 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 . ABSTRACT This study attempts to present Elizabethan views upon the sonnet, both as a literary form and as a poem of society, and following from this, the uses to which it was adapted. Chapter One examines contemporary definitions of the "sonnet", to determine the breadth of meaning which the term had for the Elizabethans, and to establish the literary and social over-tones important to the following chapters. Chapters Two to Four discuss the literary aspects of the quatorzain. They describe the influence of Renaissance critical theory upon the Elizabethan attitudes to the stanza, and seek to show that the enthusiasm for and later revulsion against the poem resulted firstly from the importance of Petrarchanism in establishing a modern vernacular literature, and secondly from the consequent rejection of this when the task was completed. Within this framework attention is drawn to the importance of the theoretical criticism of the classicists (Chapter Two), and the influence of practical criticism of the sonneteers and their artistry upon writers and readers (Chapters Three and Four). The two following chapters examine the reaction of Elizabethan society to the Petrarchan sonnet. Chapter Five stressing its relevance for the courtier class, and seeking to indicate those points which gained favour or opprobium for the verse; Chapter Six describing the factors which probably influenced religious opinions 3 . on the quatorzain, and those which played a part in the later conversion of the sonnet to devotional use. The remainder of this thesis attempts chiefly to illustrate that the Elizabethans found the flexibility of the Petrarchan sonnet suitable for conveying feelings both public and private. The seventh chapter studies the role of the stanza in Petrarchan love in literature and life, examining its dual functions as a personal and generalized poem; whilst Chapter Eight considers the quatorzain as a poem of compliment and abuse in sixteenth-century society, dependent in each instance upon Petrarchan expression. Chapter Nine examines in particular the religious sonnet, emphasizing the influence of Petrarchanism upon the language of devotion, but also discussing the moralistic quatorzain briefly. Chapter Ten explores the relationship of the sonnet and music in literature and in actual settings, illustrating some points of musical treatment. The Conclusion endeavours to bring together the main points of this study, to clarify the Elizabethan conception and understanding of the quatorzain. 4 NOTE The texts referred to in this enquiry have been chiefly confined to those by English writers who composed during the reign of Elizabeth I, exceptions being made to include occasional reference to the writings of James VI of Scotland, and to some outside the period which throw light upon Elizabethan attitudes to the sonnet. These limits have been imposed because the emphasis of this thesis falls upon the importance of the quatorzain, literary and otherwise, for this society. Consequently, although the attempt has been made to indicate the by-ways along which the sonneteer ventured, most detailed examination has been given to the stanza as a Petrarchan poem. The aim has not been to impose a predominant pattern upon the Elizabethan sonnet, but to bring into relief the important lines of this pattern against the literary and social background of the age. CONTENTS P CH. I : Elizabethan Eefinitions of the Sonnet 6 Ch. II: Elizabethan Critical Attitudes to the Sonnet (l): 2? The Sonnet Form Ch. III: Elizabethan Critical Attitudes to the Sonnet (2): 4? The Evaluation of the Sonneteers and their Practice of Imitation Ch. IV: Elizabethan Critical Attitudes to the Sonnet (3)- 8l Criticism of Petrarchan Themes, Conventions, Conceits, and of Points of Style Ch. V: Elizabethan Social and Moral Attitudes to the Sonnet 128 Ch. VI: Elizabethan Religious Attitudes to the Sonnet 206 Oh. VII: The Sonnet as a Poem of Love 244 Ch. VIII.: The Sonnet as a Poem of Compliment and Abuse 304 Ch. IE: The Sonnet as a Reflective Poem 34l Ch. X: The Sonnet as a Song 369 Conclusion 424 List of Abbreviations 436 Bibliography 437 CHAPTER OWE Elizabethan Definition of the Sonnet The term "sonnet" in Elizabethan usage is both interesting and perplexing. It is interesting because the word was capable of conveying meanings beyond the formal description of that particular type of poem to which it is confined today; and it perplexes, because the sixteenth-century writer did not always indicate which meaning he had in mind, and later readers are frequently left to unravel the precise definition from the context, where this is possible, or to hazard a guess, in those cases in which the context is also amorphous. In this study upon the Elizabethan sonnet, part of which attempts to clarify contemporary attitudes to the poem, it is essential to be aware of the various senses which the term held for the Elizabethan, and an examination of the shades of meaning which the sonnet had in sixteenth-century writings is a necessary foundation for such an enquiry. The investigation reveqls that the quatorzain was not considered to be an isolated form, but took its place amongst other types of verse with which it shared characteristics of form, subject matter, and adjuncts. These relationships are of importance in understanding the Elizabethan 7 . approach to the regular sonnet, and the contemporary versatility of this complex poem. The New English Dictionary gives two definitions of the sonnet. The first is descriptive of the particular verse form associated with the quatorzain, and the second offers a general description of the flexible nature of the term: 1 . A piece of verse (properly expressive of one main idea) consisting of fourteen decasyllabic lines, with rimes arranged according to one or other certain definite schemes. 2. A short poem or piece of verse; in early use especially one of a lyrical and amatory character. These senses outline the basic technical and extended meanings of the word, but they do not provide the details required to fully understand the Elizabethan usage of the term. Contemporary critics showed little desire^ to define the sonnet. Most were more concerned with the morality of poetry than with the definition of its forms, and of those writers interested in the practice, rather than in the justification, of poetry, only Gascoigne and James VI of Scotland gave formal descriptions of the poem. In view of the current flexible practice, Gascoigne was tentative in proposing his definition: some thinke that all Poemes (being short) may be called Sonets, as in deede it is a diminutiue worde defined of Sonare, but yet I can beste allowe to call those Sonnets whiche are of four^ene lynes, euery line conteyning tenne syllables. The firste twelue do ryme in staues of foure lines by crosse meetre, and the 1st two ryming togither do conclude the whole. There are Dysjaynes, and Syxaines, which are of ten lines, and of sixe lines. commonly vsed by the French, which some English writers do also terme by the name of Sonettes.(1) The young Scottish king, on the other hand, made no concession to English vagaries, in defining "Sonet verse" as "of fourtene lynis, 2 and ten fete in euery lyne." However, few Elizabethans elected to follow such precepts wholeheartedly, and it is only possible to be sure that a writer was thinking specifically of the regular sonnet if he used the term in a context which clearly indicated this (as in the passage quoted above from Gascoigne, or in Daniel's Defence of Ryme, when he answered Campion's attack on the poem^), or if he referred to the "quatorzain" itself. The Posies, 1575» which Gascoigne reprinted from the earlier Hundreth Sundrie Flowres,1573» as his own composition, upheld the practice he advocated in the "Certayne Notes of Instruction" of the later volume, for only those poems which are technically sonnets were so termed. In this, the work followed the principles of the earlier book, which, if not Gascoigne's own collected work, reflected a similarity of approach to the poem between the soldier-poet and the editor of A Hundreth Zj. Sundrie Flowres, The Vannetyes and Toyes of Sir Arthur Gorges also demonstrates a strict use of the term, for the quatorsain "is the ^Certayne Notes of Instruction, 1575» Elizabethan Critical Essays, ed. G,G. Smith, Oxford, 1904, I, 55» ^Ane schort Treatise, 1584, Eliz.Crit.Essays, I, 223« ^Eliz,Crit,Essays, II, 3^5. Zf For the question of authorship of this volume, see the edition by B,M, Ward, 1926, pp. [vii] ff. 9 . only form in the whole manuscript to receive the title Sonnet".^ Francis Davison showed a strong tendency towards a scrupulous approach in The Poetical Rhapsody, l602, in which, whilst not every quatorzain is graced with the name of sonnet, it is only applied to this poem, and three others closely related to the form: one is a quatorzain which has an extra couplet; nine are eighteen-line sonnets from Watson's Hekatornpathia ; and one is a piece of verse of twelve lines, which, although not metrically connected with the regular sonnet, 2 is a "reporting" poem, as are some quatorzains.
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