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.
In the golden twilight of Elizabeth I's reign, when England's cultural confidence soared as high as her naval ambitions, there emerged a composer whose melodies would capture the very essence of Renaissance joy and melancholy. Thomas Morley, born around 1557 in the bustling city of Norwich, would become the architect of England's madrigal tradition and one of the most influential musicians of his generation. His life…
Richard Barnefield, baptized on 29 June 1574 and buried in 1627, occupies a small but remarkably provocative place in the history of English Renaissance poetry. He was not among the most prolific writers of the Elizabethan age, nor did he sustain a public literary career over decades as Edmund Spenser, Ben Jonson, or William Shakespeare did. Yet the poems he published during a brief period in the 1590s have continued…
They overlapped for 29 years (1574–1602).
When Richard Barnefield was born, Thomas Morley was about 17.
Richard Barnefield was about 28 when Thomas Morley died.
Thomas Morley:
norwich, william byrd, canzonets to three voices, madrigals to four voices, april is in my mistress' face, balletts to five voices, now is the month of maying, st. paul's cathedral.
Richard Barnefield:
staffordshire, norbury, the affectionate shepherd, cynthia, the legend of cassandra, oxford, brasnose college, male beauty.
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.