but making a rhyme of "feareth" and "appeareth," not on the penultimates, but on the mere "eth." In the following poems even worse liberties are found, and the strange turns and twists which the poet gives to his decasyllables suggest either a total want of ear or such a study in foreign languages that the student had actually forgotten the intonation and cadences of his own tongue. So stumbling and knock-kneed is his verse that any one who remembers the admirable versification of Chaucer may now and then be inclined to think that Wyatt had much better have left his innovations alone. But this petulance is soon rebuked by the appearance of such a sonnet as this: —
"Unstable dream, according to the place
Be steadfast once, or else at least be true.
By tasted sweetness, make me not to rue
The sudden loss of thy false feigned grace.
By good respect in such a dangerous case
Thou brought'st not her into these tossing seas
But mad'st my sprite to live, my care to increase,1
My body in tempest her delight to embrace.
The body dead, the sprite had his desire:
Painless was th' one, the other in delight.
Why then, alas! did it not keep it right,
But thus return to leap into the fire?
And where it was at wish, could not remain?
Such mocks of dreams do turn to deadly pain."
Wyatt's awkwardness is not limited to the decasyllable, but some of his short poems in short lines recover rhythmical grace very remarkably, and set a great example.
Surrey is a far superior metrist. Neither in his sonnets, nor in his various stanzas composed of heroics, nor in what may be called his doggerel metres – the fatally fluent Alexandrines, fourteeners, and admixtures of both, which dominated English poetry from his time to Spenser's, and were never quite rejected during the Elizabethan period – do we find evidence of the want of ear, or the want of command of language, which makes Wyatt's versification frequently disgusting. Surrey has even no small mastery of what may be called the architecture of verse, the valuing of cadence in successive lines so as to produce a concerted piece and not a mere reduplication of the same notes. And in his translations of the Æneid (not published in Tottel's Miscellany) he has the great honour of being the originator of blank verse, and blank verse of by no means a bad pattern. The following sonnet, combined Alexandrine and fourteener, and blank verse extract, may be useful: —
"I never saw my lady lay apart
Her cornet black, in cold nor yet in heat,
Sith first she knew my grief was grown so great;
Which other fancies driveth from my heart,
That to myself I do the thought reserve,
The which unwares did wound my woeful breast.
But on her face mine eyes mought never rest
Yet, since she knew I did her love, and serve
Her golden tresses clad alway with black,
Her smiling looks that hid[es] thus evermore
And that restrains which I desire so sore.
So doth this cornet govern me, alack!
In summer sun, in winter's breath, a frost
Whereby the lights of her fair looks I lost."2
"Good ladies, ye that have your pleasures in exile,
Step in your foot, come take a place, and mourn with me a while.
And such as by their lords do set but little price,
Let them sit still: it skills them not what chance come on the dice.
But ye whom love hath bound by order of desire,
To love your lords whose good deserts none other would require,
Come ye yet once again and set your foot by mine,
Whose woeful plight and sorrows great, no tongue can well define."3
"It was the(n)4 night; the sound and quiet sleep
Had through the earth the weary bodies caught,
The woods, the raging seas, were fallen to rest,
When that the stars had half their course declined.
The fields whist: beasts and fowls of divers hue,
And what so that in the broad lakes remained,
Or yet among the bushy thicks5 of briar,
Laid down to sleep by silence of the night,
'Gan swage their cares, mindless of travails past.
Not so the spirit of this Phenician.
Unhappy she that on no sleep could chance,
Nor yet night's rest enter in eye or breast.
Her cares redouble: love doth rise and rage again,6
And overflows with swelling storms of wrath."
The "other" or "uncertain" authors, though interesting enough for purposes of literary comparison, are very inferior to Wyatt and Surrey. Grimald, the supposed editor, though his verse must not, of course, be judged with reference to a more advanced state of things than his own, is but a journeyman verse-smith.
"Sith, Blackwood, you have mind to take a wife,
I pray you tell wherefore you like that life,"
is a kind of foretaste of Crabbe in its bland ignoring of the formal graces of poetry. He acquits himself tolerably in the combinations of Alexandrines and fourteeners noticed above (the "poulter's measure," as Gascoigne was to call it later), nor does he ever fall into the worst kind of jog-trot. His epitaphs and elegies are his best work, and the best of them is that on his mother. Very much the same may be said of the strictly miscellaneous part of the Miscellany. The greater part of the Uncertain Authors are less ambitious, but also less irregular than Wyatt, while they fall far short of Surrey in every respect. Sometimes, as in the famous "I loath that I did love," both syntax and prosody hardly show the reform at all; they recall the ruder snatches of an earlier time. But, on the whole, the characteristics of these poets, both in matter and form, are sufficiently uniform and sufficiently interesting. Metrically, they show, on the one side, a desire to use a rejuvenated heroic, either in couplets or in various combined forms, the simplest of which is the elegiac quatrain of alternately rhyming lines, and the most complicated the sonnet; while between them various stanzas more or less suggested by Italian are to be ranked. Of this thing there has been and will be no end as long as English poetry lasts. The attempt to arrange the old and apparently almost indigenous "eights and sixes" into fourteener lines and into alternate fourteeners and Alexandrines, seems to have commended itself even more to contemporary taste, and, as we have seen and shall see, it was eagerly followed for more than half a century. But it was not destined to succeed. These long lines, unless very sparingly used, or with the ground-foot changed from the iambus to the anapæst or the trochee, are not in keeping with the genius of English poetry, as even the great examples of Chapman's Homer and the Polyolbion may be said to have shown once for all. In the hands, moreover, of the poets of this particular time, whether they were printed at length or cut up into eights and sixes, they
In original "tencrease," and below "timbrace." This substitution of elision for slur or hiatus (found in Chaucerian MSS.) passed later into the t' and th' of the seventeenth and eighteenth centuries.
As printed exactly in both first and second editions this sonnet is evidently corrupt, and the variations between the two are additional evidence of this. I have ventured to change "hid" to "hides" in line 10, and to alter the punctuation in line 13. If the reader takes "that" in line 5 as = "so that," "that" in line 10 as = "which" (
"In summer, sun: in winter's breath, a frost."
Now no one would compare a black silk hood to the sun, and a reference to line 2 will show the real meaning. The hood is a frost which lasts through summer and winter alike.
In reading these combinations it must be remembered that there is always a strong cæsura in the midst of the first and Alexandrine line. It is the Alexandrine which Mr. Browning has imitated in
In these extracts () signifies that something found in text seems better away; [] that something wanting in text has been conjecturally supplied.
Thickets.
This Alexandrine is not common, and is probably a mere oversight.
