Poems of Richard Barnfield 1St Edition Ebook

Total Page:16

File Type:pdf, Size:1020Kb

Poems of Richard Barnfield 1St Edition Ebook POEMS OF RICHARD BARNFIELD 1ST EDITION PDF, EPUB, EBOOK George Klawitter | 9780595367986 | | | | | Poems of Richard Barnfield 1st edition PDF Book Schwetschke, —60 , vol. At the least wise, the wiser sort, however in censuring them, they may dislike of your errors; yet they cannot but commend and allow of your reformation: and all others that shall with indifferency read them, may reap thereby some benefit, or contentment. Cut off thy locke, and sell it for gold wier: The purest gold is tryde in hottest fier. In sooth I will not be moonsick to please, nor out of my wits though I displease all. Thus as they wandred both about the world, At last Death met with one of feeble age: Wherewith he drew a shaft and at him hurld The unknowne arrow with a furious rage, Thinking to strike him dead with Deaths blacke dart; But he, alas, with Love did wound his hart! D es I have called these, the first of my few Poems; which how happy soever they prove, yet Criticism itself cannot say, That the name is wrongfully usurped. O Love! To write much in this kind neither know I how it will relish: nor, in so doing, can I but injuriously presuppose ignorance or sloth in thee; or draw censure upon myself for sinning against the decorum of a Preface, by reading a Lecture, where it is enough to sum the points. Lucia, Porto Rico, [xxiii] and thence towards North Virginia. And if he so escape with life away, He counts himselfe a man most fortunate, Because the waves their rigorous rage did stay, When being within their cruell powers of late, [Pg 37] The seas did seeme to pittie his estate. Jove 's daughters love; whose study still shall be, both far and wide,. Here are wanting some stanzas describing Queen Elizabeth. In one or two places in this Booke I vse the name of Eliza pastorally: wherein, lest any one should misconster my meaning as I hope none will I haue here briefly discouered my harmeles conceipt as concerning that name: whereof once in a simple Shepheards deuice I wrot this Epigramme. Readers also enjoyed. It is only of late that something like justice has been done to the great poetical qualities of Barnfield, to his melody, picturesqueness, and limpid sweetness. Yet the reader who read one text into the other would be doing so on their own initiative. He quarrelled with Richard Martin afterwards Recorder of London —to whom he had dedicated Orchestra —and assaulted him at dinner in the Middle Temple Hall, breaking a cudgel over his head. I cannot keepe the meane; for why alas Griefes have no meane, though I for meane doe passe. Rejecting these extravagant eulogies, we may claim that Davies, while he was leading the life of an inns-of-court man of fashion, had remained a steadfast lover of learning and letters; that he had stored his mind richly; and that his well-turned quatrains have had an inspiring influence on later poets. Then did he rarify the Element,. Quod cupio nequeo. Alas, the while that unawares he drue The fatall shaft that Death had dropt before, By which deceit great harme did then insue, Stayning his face with blood and filthy goare: His face, that was to Guendolen more deere Than love of lords, or any lordly peere. Had the poem appeared a few years earlier, it would have been entitled to more consideration; but the achievements of Greene, Lodge, and others had made it possible in the closing years of the sixteenth century for any young writer of respectable talents to compose such verse as we find in Alcilia. Love heard his prayer; and swifter than the wind,. Upon which he puts to sea, the wind blowing south-south-west and west-south-west many days' Prince's New England Chronology ap. Onely this, I will vnshaddow my conceit: being nothing else, but an imitation of Virgill , in the second Eglogue of Alexis. But in another world, divided far,. Yet if thou wilt but show me one kinde looke, A small reward for my so great affection, Ile grave thy name in Beauties golden booke, And shrowd thee under Hellicon's protection: Making the muses chaunt thy lovely prayse, For they delight in shepheard's lowly layes. The learned sisters sute themselves in blacke, Learning abandons white and lighter hues; Pleasure and pride light colours never lacke, But true religion doth such toyes refuse: Vertue and gravity are sisters growne, Since blacke by both, and both by blacke are knowne. Hence sprang the fable of Tiresias ,. For both the great Master of Italian rymes Petrarch , and our Chaucer , and others of the Upper House of the Muses, have thought their Canzons honoured in the title of a Ballad : which for that I labour to meet truly therein with the old English garb, I hope as ably to justify as the learned Colin Clout his Roundelay. Goddess of my thought! Love , when you sew, your needle's point advanceth,. Loosening with her hand the band of desires that brings delight to the mind, she bared her bosom entirely, and was not mindful of her breasts. Love me no more! Tania Demetriou. Poems of Richard Barnfield 1st edition Writer To whose unusual strains in Music, and emphatical emphasis in Love; I will leave you to turn over a new leaf! One, Walter Allen, hastened to alert the English scholar who had been misled. It was not just the English hexameter that gave hostages to fortune. The affectionate Shepheard being the first: howsoeuer undeseruedly I protest I haue beene thought of some to haue beene the authour of two Books heretofore. Antinous answered, Jewel of the earth! A Mars in anger, yet a Venus ' creature;. Schwetschke, —60 , vol. Epic-literate readers are doubly guilty. He was the son of Richard Barnfield, gentleman, and Mary Skrymsher — Ryan marked it as to-read Dec 04, N Venice fair, the city most admired;. Ah be not staind, sweet boy, with this vilde spot, Indulgence daughter, mother of Mischaunce; [Pg 22] A blemish that doth every beauty blot, That makes them loath'd, but never doth advaunce Her clyents, fautors, friends, or them that love her, And hates them most of all, that most reprove her. Redirected from Richard Barnefield. Unbeknownst to him, Leander is swimming in safety. Original article is at: Barnfield, Richard. Thou doost betray thyselfe to infamie, When thou art once discerned by the eye. Then of what great estimation and account, this Lady Pecunia , both hath beene in the Worlde, and is at this present, I leaue to your Iudgement. There are no discussion topics on this book yet. He was brought up in Shropshire at The Manor House in Edgmond , his upbringing supervised by his aunt Elizabeth Skrymsher after his mother died when Barnfield was six years old. A Pastoral Elegy upon the death of the most noble. Though few may be at the pains to read through Nosce Teipsum at a blow, it is a poem that lends itself admirably to quotation. N d why not I, as he. Namespaces Article Talk. London: Smith, Elder, A ir stood the wind for France,. Categories : births deaths People from the Borough of Stafford People from Newport, Shropshire 16th-century English poets 17th- century English poets 17th-century male writers English male poets. As when Amphion with his charming Lyre. O thee, Alcilia! Bugle and jeat with snow and alablaster I will compare; white dammasin with blacke; Bullas and wheaton plumbs, to a good taster The ripe red cherries have the sweetest smacke: When they be greene and young, th' are sowre and naught; But being ripe, with eagernes th' are baught. Or when bad subjects gainst their soveraigne Like hollow harts unnaturally rebell, How carefull is he to suppresse againe Their desperate forces, and their powers to quell With loyall harts, till all againe be well. The learned sisters sute themselves in blacke, Learning abandons white and lighter hues; Pleasure and pride light colours never lacke, But true religion doth such toyes refuse: Vertue and gravity are sisters growne, Since blacke by both, and both by blacke are knowne. She finally rejected his addresses, and young 'J. In Barnfield was, I think, such a reader, if the shameless finale of his own epyllion is something to go by: For Aurora mounts before he leaves to be mounting: And Astraea fades before she faints to be falling: Helen a light Huswife, now a lightsome starre in Olympus. But her an old man had beene sutor too, That in his age began to doate againe; Her would he often pray, and often woo, When through old age enfeebled was his braine: But she before had lov'd a lustie youth, That now was dead, the cause of all her ruth. If it be sinne to love a sweet-fac'd boy, Whose amber locks trust up in golden tramels Dangle adowne his lovely cheekes with joy, When pearle and flowers his faire haire enamels; If it be sinne to love a lovely lad, Oh then sinne I, for whom my soule is sad. Kostia rated it really liked it Aug 21, Poems of Richard Barnfield 1st edition Reviews Marlowe, that is, makes the reader alone guilty of any thought of that fatal ending. She blushingly declined, and mildly chided him for trying to persuade her to new-fangled follies. Hard-hearted minds relent, and Rigour's tears abound,. Tennyson, with somewhat wearisome iteration, pleaded through stanza after stanza of In Memoriam that the longing which most men unquestionably have for immortality must needs be based on a sure foundation:—.
Recommended publications
  • Poetic Tradition and the History of Love in Early Modern
    POETIC TRADITION AND THE HISTORY OF LOVE IN EARLY MODERN ENGLAND: EXPLORING REPRESENTATIONS OF LOVE IN THE SONNET SEQUENCES OF SIDNEY, SPENSER, BARNFIELD, AND WROTH A Thesis Presented to the Faculty of the Department of English California State University, Sacramento Submitted in partial satisfaction of The requirements for the degree of MASTER OF ARTS in English (Literature) by Ashley Thomas SPRING 2020 © 2020 Ashley Thomas ALL RIGHTS RESERVED ii POETIC TRADITION AND THE HISTORY OF LOVE IN EARLY MODERN ENGLAND: EXPLORING REPRESENTATIONS OF LOVE IN THE SONNET SEQUENCES OF SIDNEY, SPENSER, BARNFIELD, AND WROTH A Thesis by Ashley Thomas Approved by: __________________________________, Committee Chair Jason Gieger, Ph.D. __________________________________, Second Reader David Toise, Ph.D. ____________________________ Date iii Student: Ashley Thomas I certify that this student has met the requirements for format contained in the University format manual, and this thesis is suitable for electronic submission to the library and credit is to be awarded for the thesis. __________________________, Graduate Coordinator ___________________ Doug Rice, Ph.D. Date Department of English iv Abstract of POETIC TRADITION AND THE HISTORY OF LOVE IN EARLY MODERN ENGLAND: EXPLORING REPRESENTATIONS OF LOVE IN THE SONNET SEQUENCES OF SIDNEY, SPENSER, BARNFIELD, AND WROTH by Ashley Thomas This study explores representations of love, power, gender, and sexuality in the sonnet sequences of Sir Philip Sidney, Edmund Spenser, Richard Barnfield, and Lady Mary Wroth. Although Sidney and Spenser are esteemed authors whose work has shaped our perceptions of Renaissance thought, I look at the sequences of Sidney and Spenser as problematic works that endorse misogynist and hierarchical models of love.
    [Show full text]
  • Richard Barnfield - Poems
    Classic Poetry Series Richard Barnfield - poems - Publication Date: 2004 Publisher: Poemhunter.com - The World's Poetry Archive Richard Barnfield(1574-1627) Richard Barnfield (1574–1627) was an English poet. Barnfield was born at Norbury, Staffordshire, and brought up in Newport, Shropshire. He was baptized on 13 June 1574, the son of Richard Barnfield, gentleman. His obscure though close relationship with William Shakespeare has long made him interesting to scholars. In November 1589 Barnfield matriculated at Brasenose College, Oxford, and took his degree in February 1592. He performed the exercise for his masters gown, but seems to have left the university abruptly, without proceeding to the M.A. It is conjectured that he came up to London in 1593, and became acquainted with Watson, Drayton, and perhaps with Edmund Spenser. The death of Sir Philip Sidney had occurred while Barnfield was still a school-boy, but it seems to have strongly affected his imagination and to have inspired some of his earliest verses. In November 1594, in his twenty-first year, Barnfield published anonymously his first work, The Affectionate Shepherd, dedicated with familiar devotion to Penelope Rich, Lady Rich. This was a sort of florid romance, in two books of six- line stanzas, in the manner of Lodge and Shakespeare, dealing at large with the complaint of Daphnis for the love of Ganymede. As the author expressly admitted later, it was an expansion or paraphrase of Virgil's second eclogue Formosum pastor Corydon ardebat Alexim. Although the poem was successful, it did not pass without censure from the moral point of view because of its openly homosexual content.
    [Show full text]
  • Thomas Watson, Christopher Marlowe, Richard Barnfield Tania Demetriou
    2 The Non-Ovidian Elizabethan epyllion: Thomas Watson, Christopher Marlowe, Richard Barnfield Tania Demetriou ‘I like short poems, but I want them to be epic.’ Alice Oswald1 Prologue or preludium: Richard Barnfield’s Hellens Rape One of the most riotous mythological narrative poems of the Elizabethan 1590s is Richard Barnfield’s Hellens Rape (1594), an experiment in hexameter verse, alliteratively subtitled ‘A light Lanthorne for light Ladies’.2 The rape of Helen is narrated by Barnfield like never before: Adulterous Paris (then a Boy) kept sheepe as a shepheard On Ida Mountaine, unknown to the King for a Keeper Of sheep, on Ida Mountain, as a Boy, as a shepheard: Yet such sheep he kept, and was so seemelie a shepheard, Seemelie a Boy, so seemelie a youth, so seemelie a Younker, That on Ide was not such a Boy, such a youth, such a Younker. (sig. G3v) Miraculously, given this narrative pace, Paris manages to make himself known to King Priam, and persuade him that he ought to bring back his aunt ‘Hesyone’ from Greece. On his laddish outing across the Aegean, he is escorted by ‘Telamour’, ‘lust-bewitched Alexis’, and ‘eyefull … Argus’, companions who prove predictably keen on a detour to ‘Lacedaemon’, where they are hosted by Helen in Menelaus’s absence. This is how the disaster happens: 55 First they fell to the feast, and after fall to a Dauncing, And from a dance to a Trance, from a Trance they fell to a falling Either in others armes, and either in armes of another. … … Each one hies home to his own home Save Lord and Ladie: … … Well to their worke they goe, and bothe they jumble in one Bed: Worke so well they like, that they still like to be working: For Aurora mounts before he leaves to be mounting: And Astraea fades before she faints to be falling: (Helen a light Huswife, now a lightsome starre in Olympus.) (sig.
    [Show full text]
  • Emaricdulfe by EC Esquier (1595)
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 8-2007 Emaricdulfe by E. C. Esquier (1595): Materials Toward a Critical Edition Georgia Chapman Caver University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the English Language and Literature Commons Recommended Citation Caver, Georgia Chapman, "Emaricdulfe by E. C. Esquier (1595): Materials Toward a Critical Edition. " PhD diss., University of Tennessee, 2007. https://trace.tennessee.edu/utk_graddiss/135 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Georgia Chapman Caver entitled "Emaricdulfe by E. C. Esquier (1595): Materials Toward a Critical Edition." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. D. Allen Carroll, Major Professor We have read this dissertation and recommend its acceptance: Paul Barrette, Heather Hirschfeld, Robert Stillman Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by Georgia Chapman Caver entitled “Emaricdulfe by E.
    [Show full text]
  • Reclaiming the Passionate Pilgrim for Shakespeare
    Reclaiming The Passionate Pilgrim for Shakespeare Katherine Chiljan he Passionate Pilgrim (1598-1599) is a hornet’s nest of problems for academic Shakespeareans. This small volume is a collection of twenty T poems with the name “W. Shakespeare” on the title page. Only fragments of the first edition survive; its date is reckoned as late 1598 or 1599, the same year as the second edition. Scholars agree that the text was pirated. Why it was called The Passionate Pilgrim is unknown. It has been suggested that the title was publisher William Jaggard’s at- tempt to fulfill public demand for Shake- speare’s “sugar’d sonnets circulated among his private friends” that Francis Meres had recently mentioned in Palladis Tamia, or Wit’s Treasury , also published 1598. Jag- gard somehow acquired two Shakespeare sonnets (slightly different versions of 138 and 144 in Thomas Thorpe’s 1609 edition), and placed them as the first and second poems in his collection. Three additional pieces (3, 5 and 16) were excerpts from Act IV of Love’s Labor’s Lost , which was also printed in 1598. A total of five poems, therefore, were unquestionably by Shakespeare. But attribution to Shakespeare for the rest has become confused and doubted because of the inclusion of pieces supposedly by other poets. Numbers 8 and 20 were published in Richard Barnfield’s The Encomion of Lady Pecunia: or The Praise of Money (1598); No. 11 appeared in Bartholomew Griffin’s Fidessa (1596); and No. 19, “Live with Me and Be My Love,” was later attributed to Christopher Marlowe.
    [Show full text]
  • Michael Drayton's Poly-Olbion
    UNIVERSITÀ DEGLI STUDI DI PADOVA Dipartimento di Lingue e Letterature Anglo-Germaniche Scuola di Dottorato di Ricerca: Scienze Linguistiche, Filologiche e Letterarie Indirizzo: Anglistica Ciclo: XXII MICHAEL DRAYTON'S POLY-OLBION: A STUDY IN PERSPECTIVE Direttore della Scuola: Ch.ma Prof.ssa Paola Benincà Supervisore: Ch.mo Prof. Mario Melchionda Dottoranda: Sara Trevisan Abstract (English) This dissertation provides a study of Michael Drayton’s Poly-Olbion (1612; 1622), a loco-descriptive poem divided into two parts consisting of eigh- teen and twelve Songs, respectively, each one being prefaced by an engraved map. The verse describes the topography of the English and Welsh counties and the historical feats that took place in the locations in question: the ”narrators” are local landscape features, such as woodlands, forests, mountains and valleys, but mainly rivers. In the first part only, each Song closes with a learned prose commentary by the antiquarian John Selden. The study’s purpose is to highlight the position Poly-Olbion held in the network of seventeenth-century and subsequent English literature and culture. It aims to bring together the fragmentary criticism and literary influence of the poem into a coherent view leading to a joint analysis of its contents and the history of its reception. It thus reveals, on the basis of a large amount of information, the interaction of synchronic and diachronic perspectives in order to discuss the poem’s matter in the light of contemporary and later criticism, and vice versa. The reasons for the many ever-shifting opinions on Poly-Olbion are related both to the times and modes of composition and to its content.
    [Show full text]
  • Shakespeare's Shifting Sonnets. from Love's Labour's Lost to The
    In and Out: Shakespeare’s Shifting Sonnets. From Love’s Labour’s Lost to The Passionate Pilgrim Sophie Chiari To cite this version: Sophie Chiari. In and Out: Shakespeare’s Shifting Sonnets. From Love’s Labour’s Lost to The Passionate Pilgrim. The Englishness of English Poetry in the Early Modern Period. The Triumph of the Sonnet? , Laetitia Sansonetti, Anne-Valérie Dulac et Rémi Vuillemin May 2016, Strasbourg, France. hal-01719713 HAL Id: hal-01719713 https://hal.archives-ouvertes.fr/hal-01719713 Submitted on 28 Feb 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. In and Out: Shakespeare’s Shifting Sonnets. From Love’s Labour’s Lost to The Passionate Pilgrim Sophie Chiari, Université Clermont Auvergne, IHRIM (UMR 5317) While Shakespeare’s Sonnets did not appear in print before 1609, some of his sonnets were actually published before that date, which seems to suggest that there was hardly such thing as the so-called ‘private’ circulation of poems in early modern England.1 In a miscellany of twenty sonnets and lyrics entitled The Passionate Pilgrim (1598-1599) and printed by William Jaggard, one can find three poems from Love’s Labour’s Lost, a play whose earliest extant quarto edition dates back to 1598.2 Jaggard’s collection, which also comprised poems by Richard Barnfield, Bartholomew Griffin (the author of a 1596 sonnet sequence entitled Fidessa, More Chaste than Kinde), Christopher Marlowe and, possibly, Sir Walter Raleigh, sold so well that a reprint of 1612 included additional poems by Thomas Heywood.
    [Show full text]
  • Paul Hammond, Ed., Shakespeare’S Sonnets: a Original-Spelling Text (Oxford: Oxford University Press, 2012)
    Paul Hammond, ed., Shakespeare’s Sonnets: A Original-Spelling Text (Oxford: Oxford University Press, 2012). 504pp. ISBN 978 0 1996 4207 6 Patrick Murray University of Glasgow [email protected] As editor of the original 1609 edition of Shakespeare’s poems, Paul Hammond, a distinguished scholar in the field of early modern studies, tackles head on the crucial question of how to update early modern texts for the twenty-first century reader. Balancing ease of access against fidelity to the original work is a hazardous enterprise, and consonant with the intricacies of translation. Indeed, it could be argued that any current edition of a work published in the sixteenth and seventeenth centuries is in essence a translation. For example, changes in publishing frequently necessitate the modernisation of spelling, standardisation of typography, and amendments to pagination. And that is not including the natural evolution in language that occurs over generations. Thus two editions of the same work, if separated by nearly five centuries, are often radically different when set side by side. A number of issues then arise: does the editor attempt fidelity to form by direct translation, regardless of over-complication and abstruseness? Or do they attempt to project their own interpretation of meaning while ignoring form and structure, key constituents of language in general, and lyrical mediums in particular? Famously, Jorge Luis Borges contrasted such paradoxes with the problems of ‘direct writing’ observing with typical eloquence that ‘[n]o problem is as consubstantial to literature and its modest mystery as the one posed by translation’.1 Borges goes on: ‘To assume that a recombination of elements is necessarily inferior to its original form is to assume that draft nine is necessarily inferior to draft H – for there can be only drafts’.2 This warning against qualitative comparison suggests the reader consider not fidelity or ‘accuracy’ but rather what the new edition or translation does with the original work.
    [Show full text]
  • Courtly Love and Social Change
    1 Introduction When the popularity of courtly love began to wane in the late 1500s through the early 1600s and other paradigms of love encroached upon its dominance with the social elite, essential elements from its philosophy, no longer guarded as the distinct purview of those with genteel blood, were appropriated by some very unorthodox authors who recreated the role of a courtly lover in ways that broadened greatly its definition. These authors from comparatively disadvantaged social positions were able to utilize some of the inherent contradictions within the doctrines of courtly love and its place as an essentially medieval philosophy in a modern society to write some ingenious literature that encourages its reader/audience to reevaluate their entire perception of love and who is most qualified to fill the admired role of courtly lover. The process of rethinking this position and allowing people outside of the traditional upper class men into the role entailed a reevaluation of those social groups who formerly had been almost universally excluded from the position. In the work of Mary Wroth, for example, putting a woman in the active role of lover instead of the traditional passive role of beloved forces the question of why the gender division of roles exists at all, and emphasizes the unreasonable assumption implicit in courtly love discourse that only men pine after an unreachable beloved. The writings of Mary Wroth, Francis Beaumont, and Richard 2 Barnfield all rewrite courtly love in a manner that encourages their audiences to rethink some of the most deep-seated of contemporary social stigma surrounding groups like women, the middling sort, and men with homosexual leanings.
    [Show full text]
  • Programme (PDF)
    If music and sweet poetry agree A sequence of words and music from the time of Shakespeare CLAIRE SILLINCE reader MARTIN SHEPHERD lute Welcome to our short performance in the wonderful church of St Mary Magdalen. We have conceived the programme as a continuous sequence so please reserve any applause until the end. Programme Solus cum sola JOHN DOWLAND If music and sweet poetry agree RICHARD BARNFIELD The Sharp Pavan RICHARD ALISON How sweet the moonlight sleeps WILLIAM SHAKESPEARE (The Merchant of Venice, V, 1) The Frog Galliard JOHN DOWLAND Shakespeare I know a bank) SHAKESPEARE (A Midsummer Night's Dream, II, 1) The Fairy Round ANTHONY HOLBORNE The just exchange SIR PHILIP SIDNEY Lady Rich’s Galliard JOHN DOWLAND Music to hear (Sonnet 8) SHAKESPEARE Mr Dowland's Midnight ANONYMOUS Prologue (chorus, Henry V, VI) SHAKESPEARE Dowland's Galliard ANONYMOUS Robin is to the greenwood gone ANONYMOUS Slow, slow fresh fount BEN JONSON Lachrimae Pavan JOHN DOWLAND 2 Care-charmer sleep SAMUEL DANIEL What then is love but mourning? PHILIP ROSSETER Leave me, O love SIR PHILIP SIDNEY All the world's a stage SHAKESPEARE (As You Like It, II, 7) Heres Paternus (pavan) ANTHONY HOLBORNE What is our life? SIR WALTER RALEGH Death be not proud JOHN DONNE The Composers and Poets JOHN DOWLAND (1562-1626) was perhaps the greatest lutenist/composer of his age and worked in various courts in Europe before finally gaining a place at the English court in 1612. He published four books of songs, but his lute music survives almost entirely in manuscripts written by others, notably Mathew Holmes, Precentor at Christ Church, Oxford from 1588 to 1597.
    [Show full text]
  • Shakespeare's Sonnets: a Critical Study
    ================================================================== Language in India www.languageinindia.com ISSN 1930-2940 Vol. 19:12 December 2019 ================================================================ Shakespeare’s Sonnets: A Critical Study Appalal Abdulgaffar Attar (Ph.D.) Lecturer College of Sciences and Arts, Almethnab Qassim University, Saudi Arabia [email protected] ================================================================== Abstract William Shakespeare needs no introduction to the scholars of English generally, and poetry especially. As a sonnet writer, he penned 154 sonnets which became extremely popular among the readers of all the ages throughout the world His sonnets are measured a continuation of the sonnet tradition that swept through the Renaissance from Petrarch in 14th-century Italy and was finally introduced in 16th- century England by Thomas Wyatt and was given its rhyming meter and division into quatrains by Henry Howard. With few exceptions, Shakespeare’s sonnets observe the stylistic sort of English sonnet—the rhyme scheme, the 14 lines, and therefore the meter. But Shakespeare’s sonnets introduce such significant departures of content that they appear to be rebelling against well-worn 200-year-old traditions.[2] Instead of expressing worshipful love for an almost goddess-like yet unobtainable female love- object, as Petrarch, Dante, and Philip Sidney had done, Shakespeare introduces a young man. He also introduces the Dark Lady, who is not any goddess. Shakespeare explores themes like lust, homoeroticism, misogyny, infidelity, and acrimony in ways in which may challenge, but which also open new terrain for the sonnet form. Shakespeare's Sonnets are some of the most fascinating and influential poems written in English. Keywords: Shakespearean sonnets, Italian model, Theme of love, compensation and separation, Wyatt and Surrey’s style, Youth-hood.
    [Show full text]
  • Michael Mooten Independent Scholar
    1 The Old Suitor: A New Allusion to William Shakespeare? Michael Mooten Independent Scholar Another arrow out of Cupid’s quiver, The which was carried by the winde at will. --Richard Barnfield, The Affectionate Shepherd (Grosart 9: 1st day, lines 44-45; Stanza 8, lines 2-3) Richard Barnfield claimed that his controversial The Affectionate Shepherd was nothing more than a nonliteral reworking of Virgil’s second eclogue. However, many scholars believe that Barnfield’s real intention was to make a homosexual proposition to a young man (very likely an aristocratic patron of poets)1 and that his statement that he was merely imitating Virgil was disingenuous (McCarthy 114). I agree with this latter conclusion and further assert that Barnfield’s work is even more nimble than it appears. I propose that (1) In 1594, Barnfield was competing against William Shakespeare for the patronage and affections of the aristocrat Henry Wriothesley. (2) The Affectionate Shepherd has propositional intent but also functions as libel targeting Shakespeare; the work contains hitherto unrecognized Shakespearean allusions. (3) In order to send his personal message, Barnfield reworked a classical Ovidian myth, inserting contemporary figures masquerading as characters, including one I name “the Old Suitor.” (4) This Old Suitor, a defamatory caricature of Shakespeare, allowed Barnfield to surreptitiously reveal his opinion of the famous poet and to send Wriothesley an admonition concerning Shakespeare’s amorous intentions. The Characters 1 Discoveries 30.1 (2013): 1-11 2 The Affectionate Shepherd starts by introducing us to a number of characters. Critics agree that the narrator -- a poetic shepherd named Daphnis -- represents Barnfield himself (Daugherty 10).
    [Show full text]