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 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 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…
“This protestation (I hope) will satisfie th' indifferent: and as for them that are maliciously enuious, as I cannot, so I care not to please.”
They overlapped for 30 years (1598–1627).
When John Attey was born, Richard Barnefield was about 24.
John Attey was about 29 when Richard Barnefield died.
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.
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.