III. Next on the list of those poets to whom the English language and English literature are indebted, stand Wyatt and Surrey. With regard to the first, I will hardly say more than that he was an Anacreon compared with his contemporaries. Rather gentle in his genius, he wrote love verses intuitively, and added in no slight degree to the melody of the language.
But Surrey added more. His love for the fair haired Lady Geraldine sent him "knight-erranting" among the romances and romantic grounds of Italy; and he is said to have been so well acquainted with the Tuscan tongue, and so well read in Italian authors, as to be a marvel, even in the days when Venice was the Paris of young English noblemen, and the Appenines their Switzerland. It may be as well to quote a few lines from Surrey's poems, as he has the reputation of having introduced much of the southern softness into English verse.
"Lines writ by Henry Howard Lord Surrey—being a complaynt that hys Ladie, after she knew of hys love, kept her face always hydden from hym.
| "I never sawe my ladie laye apart Her cornet blacke, in colde, nor yet in heate, Sith first she knew my griefe was growen so greate, (Whyche other fansies dryveth from my harte, That to myself, I do the thought reserve,— The which, unwares, did wound my woful brest;) But on her face, mine eies mote never rest: Yet synce I knew I dyd her love and serve, Her golden tresses—cladd allway with blacke, Her smyling lookes, that had thus evermore, And that restraynes which I desire so sore: So doth this cornet governe me alacke! In sommer sunne, in winter's breathe, a frost Wherebye the lyghte of her fayre lookes I lost." |
The reader will recognize this as a paraphrase, or indeed almost literal version of one of Petrarch's canzoni. He may, if curious enough, amuse himself by studying it with the original, not for the purpose of detecting the very visible theft, but for comparing a specimen of English verse, while not nearly escaped from its rudeness, with the Tuscan of perhaps the most musical of all bards.
The sonnet, so frequently used by Surrey, and after him by Shakspeare and nearly every other English poet, was (according to Sir W. Jones,) introduced from Arabia into Italy: thence, with other stanzaic structures into England by Chaucer, who in one of his visits to the south, is reported to have met Petrarch and made his friendship, in Genoa. Surrey was doubtless the most skilful sonnet-weaver of his day, and though too fond of the inversion, for which Milton is so much blamed, for the most part pleases both ear and understanding. His end was an unfortunate one. Henry VIII added the poet lover to the list of those whom tyranny brought to the scaffold. He was beheaded in the year 1500.
IV. Sir Philip Sidney was famous throughout all Europe for his intellectual and personal accomplishments. He was spoken of as a candidate for the throne of Poland on the death of Sigismond Augustus, but Elizabeth was unwilling to lose the "prime jewel of all England," and retained him at the English court. It is more than probable that he would have been defeated; for the claim of a Duke of Anjou, pleaded by so wily an advocate as Montluc, "the happy embassador," would have been more than strong enough to vanquish that of an honest, open-minded British gentleman.
The character of Sir Philip Sidney was without reproach. Not unlike Lord Surrey in his renown, he was yet more a hero than his illustrious precursor. Lord Surrey was an accomplished and illustrious patrician, the first of his age; but Sidney was a refinement upon nobility. He was like the abstract and essence of romantic fiction, having the courage (but not the barbarity) of the preux chevaliers of ancient time—their unwearied patience—their tender and stainless attachment. He was a hero of chivalry, without the grossness and frailty of the flesh. He lived beloved and admired, and died universally and deservedly lamented. He is the last of those who have passed into a marvel; and he is now remembered almost as the ideal personification of a true knight.
Sir Philip Sidney's poetry was not without the faults of his time. It abounds with conceits and strained similes, and the versification is occasionally cramped. Nevertheless, many of his sonnets contain beautiful images and deep sentiment, (such as the 31, 82, 84, and others,) though a little impoverished by this alloy. But Sidney's reputation was won upon crimson fields, as well as upon poetic mountains. He wooed Bellona, as well as the Muses; and his last great act, when dying at Zutphen, is of itself enough to justify the high admiration of his countrymen.7