1
Myth, Music, and Lyric
Even though the word âlyricâ appears nowhere in Shakespeareâs verse or drama, it is clear that by the close of the sixteenth century his own and his contemporariesâ writings were responding to an idea of lyric poetry as something classical in resonance, musical in origin, and emotively moving in effect. The word comes from âlyre,â the instrument of Orpheus and Apollo long associated with celebratory poetry of heightened diction or distinctive verbal craft. With the increasing availability of Greek and Latin literature, the absorption of Aristotle, the renewed attention to Horace, and the commerce in critical theory with Europe, the word âlyricâ entered the English language in the 1580s in the wake of a self-conscious classicizing of its heritage. George Puttenham, in his Arte of English Poetry of 1589, looked back on âLirique Poetsâ of antiquity: Pindar, Anacreon, and Callimachus in Greek, and Horace and Catullus in Latin. These were the poets of âpleasure,â the âmelodious poets,â whose writings were often accompanied by musical instruments.1
But intended musical performance did not necessarily stand behind every poem called a lyric. What came to matter more and more to readers of the later sixteenth century were genealogies of poetry in which the idea of the lyric participated in a history of literary ennoblement. Sir Philip Sidney, in his Defence of Poesy of 1583, had said as much, scripting an inheritance of vernacular verse from Chaucer through Surrey to Spenser keyed to excellence, nobility, and beauty. The Earl of Surreyâs âlyrics,â he writes, have âmany things tasting of a noble birth, and worthy of a noble mind.â Lyric poetry may reflect a higher power or a higher birth, but in addition it makes something better of its reader. Poetry enhances us, and there is something that anticipates, in these remarks, what critics of a later century would see as the sublime: the raising up of emotion and sensibility. William Webbe caught some of this notion in his Discourse of English Poetry of 1586. Working from Horaceâs Ars Poetica, Webb averred that âSometime the lyric riseth aloft,â and it is clear that, by the early seventeenth century, to call a poet âlyricâ was to praise not just skill or form, but heritage and effect. The term increasingly became associated with such modifiers as âdelicateâ and âsweet,â with certain poets coming to epitomize its form and function.
But at the heart of lyric form and function are not only legacies of classical performers or the class-shaped codes of courtly conduct, but also the dramas of impersonation. Lyrics may be performances, but they sustainâboth often in their content and in their cultureâa fiction of performance. The rhetorical trope of prosopopoea centered on âcreating a character and performing anotherâs voice.â2 Puttenham rephrased it as âCounterfait in personation,â and a species of fiction-making.3 Lyric performance is, itself, a kind of impersonation, and at the heart of that word lies persona, the Latin term for the actorâs mask. To speak in verse, whether on the stage or in the bedroom, was to take on a sense of âperson,â to assume a character. That lovely moment in Midsummer Nightâs Dream, when Peter Quince misspeaks his stage directionââhe comes to disfigure, or to present, the person of Moonshineâ (3.1.55â56)âbrilliantly exposes the frisson of speaking in anotherâs voice. For every impersonation is not just a figuration but a dis-figuration, a making wrong, a counterfeiting in âpersonation.â To write a poem is, in some sense, always to disfigure oneself: to personate, to put a mask before the speaking face. This imagery, so central to early modern poetics, has been revived by the twenty-first-century critic David Orr. Lyric poems, he avers, âdonât have characters, they are charactersâand characters with an oddly doubled aspect. We hear the voice of the poem, but we also understand that weâre hearing a filtered version of the poetâs own voice. . . . The poet isnât so much taking on a character as donning a mask.â4
This question of donning a mask, the question of how dramatic a lyric poem may be, lies at the heart of both our own critical assessments of the genre and the early modern practices of poets and editors. Jonathan Culler has summarized a broad inheritance of critical approaches, noting that for all of their apparent voice and drama, lyric poems do not âoffer representations of speeches by fictional characters but memorable writing to be received, reactivated, and repeated by readers.â5 In this formulation, he is not that far from Helen Vendlerâs notion of this kind of poetry âvoicable by anyone reading it.â With each of those readings, a given lyric may take on a different social purpose, and it is this quality of lyric poetry that made it possible for early editors, anthologists, and publishers to bring together pre-existing texts into new frames of meaning and occasion.
Such anthologizing of short poetry had been practiced from antiquity onward, and much of our surviving classical and medieval vernacular verse comes to us already contextualized in compilations. The idea of the anthology controls much of early English notions of the literary.6 Not only were short poems brought together into compilations; longer poems were themselves often read as anthologies of a sort, capable of being broken up and rearranged for individual needs (such were the practices with Chaucerâs, Gowerâs, and Lydgateâs long poems well into the sixteenth century). Even with the advent of print, the anthologistic impulse controlled much of literatureâs dissemination, marketing, and critical reception. Often, when individual copies of major, authored poems were produced, readers would bind them together into personal collections (Sammelbände, in the term used by bibliographers), creating clusters of books, each of which came to voice a social purpose or a historical narrative. Texts have their meaning in the codex or the compilation. They are, to some degree, already voiced, already playing roles in assemblies of love, devotion, praise, plea, and desire.7
This sense of lyric poems stripped of character or voice ignores the ways in which these works come down to us. What histories of editing and compilation do is constantly refigure these ways, creating in effect not brand-new characters, but layers or echoes of voice and reference. To read selections, say, from Chaucer in a medieval manuscript is to read poems cobbled out of or extracted from earlier works. They are old texts put to new purposes. Their history echoes behind them.
Sixteenth-century anthologists and printers exploited these echoes. The compilers of the Devonshire Manuscript of verse in the 1530s, for example, selected stanzas out of pre-existing poems (Chaucerâs Troilus and Criseyde, most prominently) and made them into new assemblies of amorous conversation.8 In the mid-1550s, Richard Tottel brought together poems from the age of Henry VIIIâmost famously those of Wyatt and Surreyâto make courtly verse available to a new generation and a new class.9 The readers of his Songes and Sonnetts (now known as Tottelâs Miscellany) experienced the verse of an earlier generation in a new way: in print, in regularized spelling and meter, and in a particular order keyed to authorship. Whatever the original environments of these poems may have been, in Tottelâs book they exist for what he called the âprofit and pleasureâ of his readership. Each poem has a title now descriptive of a social, biographical, or historical occasion: âThe louer comforteth himself with the worthiness of his loveâ; âComplaint of a dying louer refused upon his laidies uniust mistaking of his writingâ; âOf the louers unquiet state.â These titles do to lyrics precisely what Vendler says we should not do to them. They create a âsocial fictionâ or a âbiographical revelationâ for each poem, and in the process they make this book a record of historical performances. The poems of the volume leave the worlds of court and courtesy and enter the marketplace of books and buyers.10 They come together in new ways, and we may read their sequence, along with bibliographer Paul Marquis, as tracing, now, âthe plight of the persona from the private world of courtly love to the public world of politics and religion.â11
Tottelâs volume had an immense impact on the social and aesthetic sensibilities of readers and writers for the half century since its first edition appeared in 1557. It shaped a taste for commercially produced, printed anthologies of verse that similarly gave a social fiction to aesthetic artifacts. One of the most popular of such publications was The Passionate Pilgrim of 1599: a collection of songs, sonnets, ballads, and brief narratives put together by William Jaggard, with William Shakespeare prominently displayed as the author on its title page.12 Even though only five of this volumeâs eighteen poems are unquestionably by Shakespeare (two sonnets and three excerpts from Loveâs Labourâs Lost), the entire book has a âShakespeareanâ feel to it: what Colin Burrow describes as a quality that gives its readers âjust enough to enable them to believe they are by Shakespeare if they really want to.â13
The commercial and aesthetic contexts for The Passionate Pilgrim remain transparent: the cultural commodity of Shakespeareâs name, the print shop opportunities for bringing out popular verse, the broader climate of poetic identity in the late Elizabethan years. But this book also represents the problem of what I call the displaced lyric. Jaggardâs volume, in its printing and reprintings, takes previously circulating poems, removes them from their earlier narrative or dramatic contexts, and creates new sequences for the reader. As I have noted, this action in itself is nothing new. What is different about Jaggardâs volume is that it juxtaposes lyrical and dramatic excerpts into new sequences of narrative impersonation. Open the volume and find what we now would recognize as a version of Shakespeareâs Sonnet 138, âWhen my love swears that she is made of truth.â Then we will find a version of Sonnet 144, âTwo loves I have, of comfort and despair.â But then we find Longuevilleâs sonnet to Maria from Loveâs Labourâs Lost, âDid not the heavenly rhetoric of thine eye,â and all is different. Today, we read these first gestures for the fact that they are Shakespeareâs. And yet, for the early reader, before the Sonnets had been published, just in the wake of Loveâs Labourâs Lost printing in 1598, these moves create a sense that we are reading something more akin to narrative than excerptâthat the voices of the Sonnets and the play have been displaced, removed, and reimpersonated into something else. To paraphrase Peter Quince, they come disfigured, to present the person of the âPassionate Pilgrim.â
Throughout this volume, Shakespeareâs texts interact with others to contribute to a broader sense of what a lyric sensibility had come to be by the end of the sixteenth century. At stake is not just Shakespeareâs impact on potential sales, or our modern judgments of his verse against that of the largely anonymous compeers in the volume. At stake is that this is a book that makes an argument about what lyric is: about its impact on the reader or the listener, about the place of music in poetic performance, and about the idea of authorship itself. The Passionate Pilgrim does not just simply collect texts. It dramatizes them. It takes performances by literary characters and dramatic personae and presents them, anew, as fresh scripts for presentation. The heart of the volume is a set of counterfeits, a series of imagined acts of performing anotherâs voice.
It is precisely this increasing sense of performing in anotherâs voice that makes the lyric moments within plays so acutely difficult and challenging. By the early 1600s, Shakespeare himself had begun dramatizing its effects. Lyric moments in Romeo and Juliet, or Midsummer Nightâs Dream, or Twelfth Night, or Loveâs Labourâs Lost, seem straightforward: ordered stanzas of heightened language, addressed in dramas of appeal or praise. But when we come to Hamlet, things have changed. Now, poems and letters come to others, stripped of their original voices. Texts are disfigured, some by Hamlet, some by others. Hamlet is of course a play of impersonations, and it has long been seen as a watershed for Shakespeare. Nothing seems the same after it. Gender, genre, sentence, and soliloquy all seem irrevocably different. One area that has been little explored, however, is its new relationship of lyric utterance to dramatic action. Hamlet is a play of old texts in new voices, of poems and letters intercepted and reread, of songs sung by those unqualified to sing them.14
Take, for example, that remarkably complex and layered moment in act 2 when Polonius opens Hamletâs letter to Ophelia and reads and interprets it before the King and Queen. Polonius reads, âTo the celestial and my soulâs idol, the most beautified Ophelia.â Then he interrupts: âThatâs an ill phrase, a vile phrase, âbeautifiedâ is a vile phrase.â And he goes on. He reads the poem Hamlet wroteâto us, a strangely conventional bit of rhyming, full of echoes of old styles, most notably those of the lovers in Loveâs Labourâs Lost. âDoubt thou the stars are fire . . .â He reads. But he also impersonates.
Polonius avows, âI will be faithful.â His is a protest about not political fidelity to court but textual fidelity to poem. He is faithfully reading what has been written, faithful to this script. Here is the courtier as...