Seccombe and Arber, comps. Elizabethan Sonnets. 1904.
IntroductionI. The Elizabethan Sonnet-Literature
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Little of the perennial fascination which lovers of poetry find in Shakespeare’s sonnets can be set to the credit of the contents of these two volumes. There were, among Shakespeare’s contemporaries, writers who occasionally reached a high degree of excellence in the sonneteering art. Sidney and Spenser, Lodge and Constable, Daniel and Drayton, whatever their inferiority to Shakespeare at his best, rank at times with him and other great masters of the craft in literary skill and feeling. Drayton’s famous poem, ‘Since there’s no help, come let us kiss and part,’ deserves a foremost place in any catalogue raisonné of Elizabethan sonnets. But Drayton, like all notable Elizabethan sonneteers, exhibits strange inequalities of thought and of expression. He and they are more remarkable for their ‘alacrity in sinking’ than for any power of sustained flight in the exalted regions of poetry.
The sonnet at the end of the sixteenth century had for English writers a perilous attraction. Sonneteering was in universal vogue among all who interested themselves in literature, amateurs and professionals alike. Every youth of ordinary education was moved to woo the Muses in a sequence of sonnets. There was hardly an aspirant to poetic fame of the age who failed to experiment in sonneteering near the opening of his career. A perfect sonnet is one of the most difficult of all forms of poetry. Only the fullest command of the harmonies of language, and the ripest power of mental concentration, ensure success. Yet the brevity of the form, the singleness of the idea which is all its construction seems to crave, encourages the delusion that it is easy of accomplishment.
In spite of the wide dissemination of literary interest and literary feeling in Elizabethan England, the average level of literary capacity was not much higher than that of other epochs. It was consequently inevitable that, when the rage for sonneteering set in among the Elizabethans, the mass of their sonneteering efforts should be bad. Thomas Watson and Barnabe Barnes, Giles Fletcher and Bartholomew Griffin, here and there sound a pleasing note in their voluminous collections. But for the most part their sonnets lack either meaning or music. The rest of the sonneteering tribe—the authors of the sonnets collected under the various titles of Cœlia, Zepheria, Diella, Chloris, and Laura—are notable for little else than the uncouthness of their verbiage and their poverty of thought. They are mere wallowers in the bogs that lie at the foot of the poetic mountain.