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The Renaissance period: 1550–1660 > Elizabethan poetry and prose > Elizabethan lyric

Virtually every Elizabethan poet tried his hand at the lyric; few, if any, failed to write one that is not still anthologized today. The fashion for interspersing prose fiction with lyric interludes, begun in the Arcadia, was continued by Robert Greene and Thomas Lodge (notably in the latter's Rosalynde [1590], the source for Shakespeare's As You Like It [c. 1598–1600]), and in the theatres plays of every kind were diversified by songs both popular and courtly. Fine examples are in the plays of Jonson, John Lyly, George Peele, Thomas Nashe, and Thomas Dekker (though all, of course, are outshone by Shakespeare's). The most important influence on lyric poetry, though, was the outstanding richness of late Tudor and Jacobean music, in both the native tradition of expressive lute song, represented by John Dowland and Robert Johnson, and the complex Italianate madrigal newly imported by William Byrd and Thomas Morley. The foremost talent among lyricists, Thomas Campion, was a composer as well as a poet; his songs (four Books of Airs, 1601–17) are unsurpassed for their clarity, harmoniousness, and rhythmic subtlety. Even the work of a lesser talent, however, such as Nicholas Breton, is remarkable for the suggestion of depth and poise in the slightest performances; the smoothness and apparent spontaneity of the Elizabethan lyric conceal a consciously ordered and laboured artifice, attentive to decorum and rhetorical fitness. These are not personal but public pieces, intended for singing and governed by a Neoplatonic aesthetic in which delight is a means of addressing the moral sense, harmonizing and attuning the auditor's mind to the discipline of reason and virtue. This necessitates a deliberate narrowing of scope—to the readily comprehensible situations of pastoral or Petrarchan hope and despair—and makes for a certain uniformity of effect, albeit an agreeable one. The lesser talents are well displayed in the miscellanies The Phoenix Nest (1593), England's Helicon (1600), and A Poetical Rhapsody (1602).

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