Sonnet 17

Richard Barnefield's Sonnet 17

Introduction

Richard Barnfield's "Sonnet 17" stands as a testament to the enduring power of Elizabethan poetry, weaving together classical allusions, vivid imagery, and complex themes of desire and beauty. This sonnet, part of Barnfield's larger work "Cynthia," published in 1595, exemplifies the poet's mastery of form and his unique voice within the English Renaissance. Through a meticulous examination of its structure, language, and thematic elements, we can uncover the layers of meaning embedded within this captivating piece of literature.

Historical Context and Literary Tradition

To fully appreciate Barnfield's "Sonnet 17," one must situate it within the broader context of Elizabethan sonneteering and the classical traditions from which it draws inspiration. The late 16th century witnessed a proliferation of sonnet sequences, with poets like Sir Philip Sidney, Edmund Spenser, and William Shakespeare contributing to the genre's popularity. Barnfield's work, however, stands out for its explicit homoerotic themes, a daring choice in an era of strict moral and social conventions.

The sonnet's opening line, "Cherry-lipt Adonis in his snowie shape," immediately invokes the classical myth of Adonis, the young man of extraordinary beauty loved by Venus. This allusion not only sets the tone for the poem's exploration of male beauty but also places Barnfield's work in dialogue with contemporaneous treatments of the Adonis myth, such as Shakespeare's narrative poem "Venus and Adonis" (1593).

Structure and Form

Barnfield employs the English sonnet form, also known as the Shakespearean sonnet, consisting of three quatrains and a concluding couplet. This structure allows for a progressive development of ideas, culminating in a powerful resolution or twist. The rhyme scheme (ABAB CDCD EFEF GG) provides a musical quality to the verse, enhancing its sensory appeal.

The poet's skill is evident in his manipulation of meter. While predominantly adhering to iambic pentameter, Barnfield occasionally varies the rhythm to emphasize particular words or phrases. For instance, the spondaic stress in "Cherry-lipt" at the sonnet's opening immediately draws attention to the sensual imagery that follows.

Imagery and Sensory Appeal

One of the most striking features of "Sonnet 17" is its rich tapestry of sensory imagery. Barnfield employs a palette of colors and textures to paint a vivid portrait of the beloved's beauty. The "snowie shape" and "pure ivorie white" evoke a sense of purity and perfection, while the "roseate red" and "crimson grape" suggest passion and sensuality.

The poet's use of natural imagery is particularly effective in conveying the subject's allure. Comparisons to lilies, carnations, strawberries, and honey create a lush, almost edible quality to the description. This technique not only appeals to the reader's visual sense but also engages the olfactory and gustatory faculties, creating a synaesthetic experience that heightens the poem's sensual impact.

Classical Allusions and Mythological References

Barnfield's erudition is on full display in his deft incorporation of classical allusions. Beyond the opening reference to Adonis, the poem invokes Apollo, the god of poetry and music, whose brightness is supposedly dimmed by the beauty of the subject. This comparison serves to elevate the beloved to a near-divine status.

The mention of Muses making their "mansion" in the subject's mouth further reinforces the connection between beauty and artistic inspiration. By likening the beloved's mouth to a hive and his tongue to a honeycomb, Barnfield creates a complex metaphor that suggests both sweetness and productivity—the beloved is not only beautiful but also a source of poetic creation.

The Petrarchan Tradition and its Subversion

Barnfield's sonnet operates within the Petrarchan tradition of unrequited love poetry, but with a significant twist. The conventional blazon, a poetic device that catalogues the features of the beloved, is employed here to describe male rather than female beauty. This subversion of gender norms is a hallmark of Barnfield's work and contributes to the poem's enduring intrigue.

The poet's approach to the Petrarchan ideal is both reverential and innovative. While he adheres to many of the conventional tropes—comparing features to precious materials and natural wonders—Barnfield infuses his verse with a palpable eroticism that pushes the boundaries of traditional love poetry.

The Sonnet's Turn and Resolution

The volta, or turn, in the final couplet introduces a note of frustration and complexity that complicates the poem's seemingly straightforward praise. The question posed—"Oh how can such a body sinne-procuring, / Be slow to love, and quicke to hate, enduring?"—reveals the speaker's inner conflict. The beauty so lavishly described throughout the sonnet is now characterized as "sinne-procuring," suggesting a moral dimension to the speaker's desire.

This sudden shift from adoration to frustration adds psychological depth to the poem. It raises questions about the nature of beauty, desire, and moral judgment, inviting readers to contemplate the complexities of human attraction and the potential consequences of overwhelming physical allure.

Language and Poetic Devices

Barnfield's mastery of language is evident in his use of alliteration, assonance, and consonance throughout the sonnet. Phrases like "Cherry-lipt" and "pure pearle" create a musical quality that enhances the poem's sensory appeal. The repetition of soft consonants, particularly "l" and "s" sounds, contributes to an overall sense of languor and sensuality.

The poet's choice of words is equally significant. Terms like "love-enticing," "delicate," and "soft" contribute to an atmosphere of gentle seduction, while "intrap" and "sinne-procuring" introduce a note of danger or moral transgression. This careful balance of language reflects the complex emotions at play within the sonnet.

Themes and Interpretations

At its core, "Sonnet 17" explores the theme of beauty and its power to inspire, entice, and potentially corrupt. The poem raises questions about the relationship between physical attractiveness and moral character, suggesting that extreme beauty can be a source of both pleasure and pain.

The homoerotic undertones of the sonnet, revolutionary for its time, invite modern readers to consider issues of gender, sexuality, and desire. Barnfield's bold exploration of male beauty challenges conventional notions of masculinity and femininity, offering a perspective that resonates with contemporary discussions of gender fluidity and the spectrum of human sexuality.

Furthermore, the poem touches on the theme of art and inspiration. By likening the beloved's features to various artistic media—a poet's pen, a painter's dyes—Barnfield suggests that beauty itself is a form of art, capable of inspiring creative expression.

Conclusion

Richard Barnfield's "Sonnet 17" stands as a remarkable achievement in English Renaissance poetry. Its skillful blending of classical allusion, sensory imagery, and complex emotion creates a work that continues to captivate readers centuries after its composition. The sonnet's exploration of beauty, desire, and moral ambiguity speaks to universal human experiences, while its subversive approach to gender and sexuality gives it a strikingly modern sensibility.

As we continue to grapple with questions of identity, desire, and the power of physical beauty in our own era, Barnfield's poem offers a rich historical perspective on these enduring themes. Its intricate craftsmanship and emotional depth ensure that "Sonnet 17" remains not just a significant work of Elizabethan literature, but a poem that continues to resonate with contemporary readers, inviting new interpretations and sparking ongoing critical discourse.