Pick two poets who seem to have nothing to do with each other — a Gothic American and a pastoral Englishman, say — and see where the catalogue actually joins them: overlapping years, shared ground, distinctive themes, and the poems that secretly rhyme.
Richard Allison, born about 1570 and believed to have died about 1615, occupies a modest but revealing place in the cultural history of late Elizabethan and early Jacobean England. He was principally a composer, singer, and player of stringed instruments, yet his surviving publications also make him important to the history of English devotional verse, religious controversy, and domestic music-making. Allison did not…
In the twilight years of the English Renaissance, as the golden age of the madrigal began to fade and the court of King James I embraced new continental fashions, a composer emerged whose delicate art would capture the essence of a transforming musical landscape. John Attey, though his name may not resonate with the same authority as his contemporaries John Dowland or Thomas Campion, created a body of work that stand…
Richard Allison:
late elizabethan, early jacobean, countess of warwick, sir john scudamore, the psalmes of david in meter, a plaine confutation of a treatise of brownisme, protestant devotional culture, musical training.
John Attey:
english renaissance, king james i, west country, somerset, the first booke of ayres, sweet was the song the virgin sang, on a time the amorous silvy, come, follow me, my wandering mind.
Poems that secretly rhyme
The closest poem-to-poem matches in critique space — the sort of kinship a listener hears before the catalogue admits it.