Salient Features of Elizabethan Poetry

Salient Features of Elizabethan Poetry
The Elizabethan era, often hailed as a golden age for English literature, spanned
Queen Elizabeth’s long reign from 1558 to 1603. This period saw many poetic
luminaries rise to prominence, including Christopher Marlowe, Ben Jonson,
Edmund Spenser, Sir Philip Sidney, William Shakespeare and Elizabeth herself.
Elizabethan poetry is notable for many features, including the sonnet form, blank
verse, the use of classical material, and double entendres.
Sonnets
Perhaps the best-known innovation of Elizabethan poetry is the Elizabethan, or
English, sonnet. Thomas Wyatt, a court poet for Henry VIII, introduced the Italian
sonnet to England, but Henry Howard, Earl of Surrey, reworked it into its typical
English form. Elizabethan sonnets are written in iambic pentameter and consist of
14 lines, often divided into three quatrains and a couplet. The lines rhyme using a
scheme: abab cdcd efef gg. The first eight lines are called the “octet” and the final
six lines are the “sestet.” Elizabethan sonnets often feature a turn, or “volta,”
between the octet and sestet, where the material introduced in the octet is seen
from a different perspective in the sestet. In some sonnets, this turn comes in the
final couplet, such as in William Shakespeare’s Sonnet 130, “My Mistress’ Eyes
Are Nothing Like the Sun.” Elizabethan sonnets also appear in the drama of the
time, such as at the beginning of “Romeo and Juliet.”
Blank Verse
Although iambic pentameter had been used in English poetry since the Middle
Ages, the Earl of Surrey used it in a new way in his translation of Virgil’s “Aeneid”:
He left the lines unrhymed. This poetic form, called “blank verse,” has the
advantage of freeing poets from the burden of rephrasing thoughts so that they
rhyme and was held by some to be the purest approximation of natural human
speech. In the Elizabethan era proper, blank verse was Shakespeare’s and
Christopher Marlowe’s meter of choice for drama; it gave speech a serious,
elevated tone, while leaving prose to be used for those with lower social rankings
and for comedy. Blank verse persisted in popularity far past the Elizabethan era,
used by such notable works as John Milton’s “Paradise Lost” and William
Wordsworth’s “Prelude.”
Shaping the Present With the Past
Although the term “Renaissance” wasn’t used until the 19th century, it accurately
describes at least one feature of Elizabethan literature: It often perceived itself as
giving “rebirth” to classical matter to usher in a new era of literature in English.
This quality is perhaps most easily seen in its appropriation of the past. Sir Philip
Sidney employs the conventions of classical poetry in his sonnets, such as his
invocation to the muse in “Astrophil and Stella”: “Fool, said my Muse to me, looke
in thy heart, and write.” Similarly looking backwards, Edmund Spenser’s greatest
work, the epic “Faerie Queene,” is full of archaisms -- intentionally old-looking
spelling or syntax, such as “yclept” for “called.” He uses these to create the sense
of an earlier, less spoiled realm in which he can set his allegorical history of
England.
Double Entendres
This discussion wouldn’t be complete without a mention of Elizabethan poetry’s
great love of double entendres: words or phrases that have a benign literal
meaning but also have a second connotation -- usually a sexual one. In Act 3,
Scene 1 of “Hamlet,” for instance, Hamlet directs a polemical diatribe at Ophelia,
and tells her, “Get thee to a nunnery: why wouldst thou be a / breeder of
sinners?” On a literal level, playgoers could interpret this line kindly: Hamlet is
worried about Ophelia and wants to shelter her from the world and from men.
But in Elizabethan slang, “nunnery” meant “brothel.” So Hamlet simultaneously
insults Ophelia. This ambiguity is in keeping with Hamlet’s madness -- whether
feigned or not.

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