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AN INVESTIGATION OF THE EPISTOLARY N...

MCKERNAN, JOHN JOSEPH.

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AN INVESTIGATION OF THE EPISTOLARY NATURE OF SHAKESPEARE'S SONNETS 1-126.

Record Type:	Electronic resources : Monograph/item
Title/Author:	AN INVESTIGATION OF THE EPISTOLARY NATURE OF SHAKESPEARE'S SONNETS 1-126./
Author:	MCKERNAN, JOHN JOSEPH.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 1980,
Description:	183 p.
Notes:	Source: Dissertation Abstracts International, Volume: 41-05, Section: A, page: 2125.
Contained By:	Dissertation Abstracts International41-05A.
Subject:	British & Irish literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8024205

AN INVESTIGATION OF THE EPISTOLARY NATURE OF SHAKESPEARE'S SONNETS 1-126.
MCKERNAN, JOHN JOSEPH.

AN INVESTIGATION OF THE EPISTOLARY NATURE OF SHAKESPEARE'S SONNETS 1-126. - Ann Arbor : ProQuest Dissertations & Theses, 1980 - 183 p.

Source: Dissertation Abstracts International, Volume: 41-05, Section: A, page: 2125.

Thesis (Ph.D.)--Boston University Graduate School, 1980.

A lengthy tradition of Shakespeare sonnet criticism, reaching from Malone's edition (1790) to quite recent scholarship--Tucker Brooke's edition (1936) and John Crowe Ransom's comments (1960), has seen the entire collection or individual poems within The Sonnets as epistolary in one way or another. Such criticism has been mostly speculative and appellative. Often biographical, it has paid little attention to the problems of epistolary terminology and verification. It has paid scant attention to the modes of epistolary verse created during the Renaissance. Within the broad category of the epistle at that time, one may detect four distinct modes of the epistolary poem. First, the Ovidian-inspired heroical epistle may be found in Michael Drayton's England's Heroical Epistles (1619). A second form, The Horatian-inspired verse epistle is exemplified by the epistles of Thomas Lodge found in A Fig for Momus (1595). A third variant, The Horatian-inspired moral or ethical epistle is exemplified by the lengthy encomiastic and philosophical epistles to be found in the work of John Donne and Ben Jonson. A fourth form would be The Ovidian-inspired, sonnet-length verse letter, such as one finds in John Donne's Verse Letters to Severall Personages (1633), that bears the closest resemblance to certain Shakespearean sonnets. During the Renaissance, poetic epistolary practice was widespread and included every vernacular in addition to Latin. At the center of this tradition stood Erasmus whose many short verse letters and whose prodigious labors of letter writing (more than 1600 extant letters still survive!) made him adept in both theory and practice. His influential, epistolary textbook, De Conscribendis Epistolis (1522), formed a part of the formal schooling in Renaissance England. A single chapter of this work exemplifying the rhetoric of the letter of persuasion, was translated by Thomas Wilson and included in his The Arte of Rhetorique (1553) bearing the title, "An Epistle to Persuade a Young Gentleman to Marriage." This prose epistle of 9000 words was used by Shakespeare to supply methods of argumentation and applied imagery when Shakespeare, for some reason, chose to write a series of sonnets, 1-20, urging a misogamic and misanthropic young man to marry and raise a family. In addition to Erasmus, a second significant influence leading to the creation of a Renaissance epistolary tradition was the poetical letter writing of Ovid: the fictional Heroides and the literal and even naturalistic collections written in exile from Rome, Tristia and Epistulae Ex Ponto. Threads and patterns of Ovidian influence can be seen when one makes an analytic comparison between Ovid's Pontic epistles and The Sonnets, especially in the epistolary topoi of absence and distance which recur throughout the sequence 1-126. It seems likely that Shakespeare knew and used certain of the Ovidian Pontic epistles in composing the Sonnets 1-126. In addition to the certain Erasmian epistolary influence, via Wilson, and the probable, Ovidian influence, Shakespeare's sonnets 1-126 resemble in many ways other indisputable sonnet-length, epistolary poems written before and during the Renaissance, most notably letters in verse by Dante, Michelangelo, Erasmus, and Donne. Although there is only a minimal theory of the verse letter as a definite genre, a study of Shakespeare's sonnets 1-126 against the background of theory and practice of Renaissance epistolary verse gives new meaning and credibility to the long critical tradition which has seen The Sonnets, or many of them, as epistolary creations.Subjects--Topical Terms:

3284317
British & Irish literature.

AN INVESTIGATION OF THE EPISTOLARY NATURE OF SHAKESPEARE'S SONNETS 1-126.
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520 $a A lengthy tradition of Shakespeare sonnet criticism, reaching from Malone's edition (1790) to quite recent scholarship--Tucker Brooke's edition (1936) and John Crowe Ransom's comments (1960), has seen the entire collection or individual poems within The Sonnets as epistolary in one way or another. Such criticism has been mostly speculative and appellative. Often biographical, it has paid little attention to the problems of epistolary terminology and verification. It has paid scant attention to the modes of epistolary verse created during the Renaissance. Within the broad category of the epistle at that time, one may detect four distinct modes of the epistolary poem. First, the Ovidian-inspired heroical epistle may be found in Michael Drayton's England's Heroical Epistles (1619). A second form, The Horatian-inspired verse epistle is exemplified by the epistles of Thomas Lodge found in A Fig for Momus (1595). A third variant, The Horatian-inspired moral or ethical epistle is exemplified by the lengthy encomiastic and philosophical epistles to be found in the work of John Donne and Ben Jonson. A fourth form would be The Ovidian-inspired, sonnet-length verse letter, such as one finds in John Donne's Verse Letters to Severall Personages (1633), that bears the closest resemblance to certain Shakespearean sonnets. During the Renaissance, poetic epistolary practice was widespread and included every vernacular in addition to Latin. At the center of this tradition stood Erasmus whose many short verse letters and whose prodigious labors of letter writing (more than 1600 extant letters still survive!) made him adept in both theory and practice. His influential, epistolary textbook, De Conscribendis Epistolis (1522), formed a part of the formal schooling in Renaissance England. A single chapter of this work exemplifying the rhetoric of the letter of persuasion, was translated by Thomas Wilson and included in his The Arte of Rhetorique (1553) bearing the title, "An Epistle to Persuade a Young Gentleman to Marriage." This prose epistle of 9000 words was used by Shakespeare to supply methods of argumentation and applied imagery when Shakespeare, for some reason, chose to write a series of sonnets, 1-20, urging a misogamic and misanthropic young man to marry and raise a family. In addition to Erasmus, a second significant influence leading to the creation of a Renaissance epistolary tradition was the poetical letter writing of Ovid: the fictional Heroides and the literal and even naturalistic collections written in exile from Rome, Tristia and Epistulae Ex Ponto. Threads and patterns of Ovidian influence can be seen when one makes an analytic comparison between Ovid's Pontic epistles and The Sonnets, especially in the epistolary topoi of absence and distance which recur throughout the sequence 1-126. It seems likely that Shakespeare knew and used certain of the Ovidian Pontic epistles in composing the Sonnets 1-126. In addition to the certain Erasmian epistolary influence, via Wilson, and the probable, Ovidian influence, Shakespeare's sonnets 1-126 resemble in many ways other indisputable sonnet-length, epistolary poems written before and during the Renaissance, most notably letters in verse by Dante, Michelangelo, Erasmus, and Donne. Although there is only a minimal theory of the verse letter as a definite genre, a study of Shakespeare's sonnets 1-126 against the background of theory and practice of Renaissance epistolary verse gives new meaning and credibility to the long critical tradition which has seen The Sonnets, or many of them, as epistolary creations.
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