1 Poems by Richard Barnefield

Richard Barnefield, an Elizabethan poet whose life and work have intrigued scholars for centuries, was born in 1574 in Norbury, Staffordshire. Despite his relatively short literary career and the limited corpus of his work, Barnefield's contributions to English Renaissance poetry have secured him a place of fascination in the annals of literary history.

Barnefield's early life was one of privilege, born into a well-to-do family of country gentry. His father, Richard Barnefield Sr., was a prominent landowner, which afforded young Richard the opportunity for a formal education. At the age of fifteen, he matriculated at Brasenose College, Oxford, in 1589. It was during his time at Oxford that Barnefield's poetic talents began to flourish, and he found himself immersed in a vibrant literary culture that would shape his future works.

After completing his studies in 1592, Barnefield moved to London, where he became part of the flourishing literary scene of the 1590s. This period was marked by an explosion of poetic creativity, with figures like William Shakespeare, Christopher Marlowe, and Sir Philip Sidney dominating the landscape. Barnefield's entry into this world was marked by the publication of his first work, "The Affectionate Shepherd," in 1594.

"The Affectionate Shepherd" was a bold debut, consisting of a series of pastoral poems that openly explored homoerotic themes. The work was heavily influenced by Virgil's second eclogue and Theocritus's works, demonstrating Barnefield's classical education and his willingness to engage with controversial subject matter. The central narrative revolves around the unrequited love of Daphnis for Ganymede, a theme that would recur in Barnefield's later works and become a subject of much scholarly discussion in subsequent centuries.

Following the success of his first publication, Barnefield quickly produced two more works: "Cynthia, with Certaine Sonnets, and the Legend of Cassandra" in 1595, and "The Encomion of Lady Pecunia" in 1598. "Cynthia" is particularly noteworthy for its inclusion of a sequence of sonnets, some of which were addressed to a young man. These sonnets, along with those of Shakespeare, have been the subject of extensive analysis regarding the representation of same-sex desire in Elizabethan poetry.

Barnefield's poetic style was characterized by its musicality, vivid imagery, and emotional depth. He experimented with various forms, including the pastoral, the sonnet, and the epyllion (a short epic poem). His work often blended classical allusions with contemporary concerns, creating a unique voice that stood out even in the crowded field of Elizabethan poetry.

One of the most intriguing aspects of Barnefield's career is his connection to William Shakespeare. In 1599, William Jaggard published "The Passionate Pilgrim," a collection of poems attributed to Shakespeare. However, five of these poems were actually written by Barnefield, including the famous lines "If music and sweet poetry agree." This misattribution has led to centuries of scholarly debate about the relationship between Barnefield and Shakespeare, as well as the nature of authorship and publication practices in Elizabethan England.

Despite his early success and the quality of his work, Barnefield's poetic career was surprisingly brief. After the publication of "The Encomion of Lady Pecunia" in 1598, he seems to have ceased writing altogether. The reasons for this abrupt end to his literary pursuits remain a mystery, fueling speculation among literary historians. Some have suggested that he may have returned to his family estate in Staffordshire to manage his inheritance, while others have posited that the increasingly conservative social climate of the late Elizabethan era may have discouraged him from continuing to publish works with homoerotic themes.

The latter part of Barnefield's life is shrouded in obscurity. Records indicate that he married and had children, living the life of a country gentleman. He died in 1627 in Staffordshire, leaving behind a small but significant body of work that continues to intrigue and challenge readers and scholars alike.

In recent decades, there has been a resurgence of interest in Barnefield's poetry, particularly in light of queer theory and new historicist approaches to Renaissance literature. His open exploration of same-sex desire, his skillful use of classical forms, and his mysterious relationship with Shakespeare have made him a compelling figure for modern scholars.

Barnefield's legacy is one of paradox: a poet of undeniable talent who chose to abandon his craft at the height of his powers; a writer who openly explored homoerotic themes in an era of increasing sexual conservatism; and an artist whose work was, for a time, conflated with that of the greatest playwright in the English language. These contradictions, combined with the quality and innovation of his verse, ensure that Richard Barnefield remains a subject of enduring fascination for students of Elizabethan literature and poetry enthusiasts alike.