ERIC EJ1150070: "The Italianate Englishman": The Italian Influence in Elizabethan Literature

2011·0.36 MB·English

by  ERIC

International Research and Review: Journal of Phi Beta Delta Volume 1, Issue 1 Fall 2011
Honor Society of International Scholars ISSN: pending
URL: http://www.phibetadelta.org/index.php/publications/online-
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―The Italianate Englishman:‖ The Italian Influence
in Elizabethan Literature

Maureen Fox, B.A.
California State University, Fullerton

Whether it was thought of positively or negatively, Italy is a popular topic of discussion in
Elizabethan literature. Some Elizabethan writers mimic Italian writers and incorporate Italian
ideas into their own works, while other writers alter Italian literary conventions and openly
attack Italian morals. This range of positive and negative sentiments towards Italy ultimately
reveals the existence of a love-hate relationship between England and the Italian Renaissance
that became a foundation of Elizabethan literature. My paper illustrates how various Elizabethan
writers, including Sir Thomas Wyatt, Edmund Spenser, and William Shakespeare, demonstrate
their awe for the Italian Renaissance by imitating Italy‘s greatest poets and integrating Italian
ideas into their texts, reveal their feelings of inferiority and jealously towards Italy‘s literary and
social progress through their efforts to improve upon Italian literature, and show a genuine fear
of Italy‘s negative influence on English morals and values by using their works to warn against
Italians‘ immoral natures.

Keywords: Italy, England, Elizabethan Literature, Love-hate relationship

Whether it is described as ―'the influenced Elizabethan literature. A closer
Apothecary-shop of poison for all Nations'‖ look at Elizabethan literature shows that
(Thomas Nashe, Pierce Penilesse, His Italian culture influenced England society by
Supplication to the Divell, 1592, as cited in serving as an inspiration for creativity and as
Jones 251) or ―'the fairest Lady, yea the an outlet for criticism. Elizabethan writers
richest Paragon and Queene of treat Italian culture in three main ways: they
Christendome‖' (Thomas Coryat, In Praise demonstrate their awe for the Italian
of Venice, 1611, as cited in Bate 160), Italy Renaissance by imitating Italy‘s greatest
is a popular topic of discussion in poets and integrating Italian ideas into their
Elizabethan literature. Some Elizabethan texts; they reveal their feelings of inferiority
writers mimic Italian writers and incorporate and jealously towards
Italian ideas into their own works, while Italy‘s literary and social progress through
other writers alter Italian literary their efforts to improve upon Italian
conventions and openly attack Italian literature; and they show a genuine fear of
morals. The range of positive and negative Italy‘s negative influence on English morals
sentiments towards Italy ultimately reveals and values by using their works to warn
the existence of a love-hate relationship against Italians‘ immoral natures.
between England and the Italian When England was first exposed to
Renaissance, a relationship that greatly the Italian Renaissance, the country was
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The Italianate Englishman Fox

impressed and inspired by Italian literature, Renaissance, which was the main medium
and Elizabethan writers show their support of poetic dialogue in countries as far away
for Italian culture by mimicking Italian from Italy as Portugal and the Czech
literary structure and promoting Italian Republic‖ (Finucci, 2005, p. 457). Writers
ideals, particularly those of love, in their throughout Europe were inspired by
texts. One such Elizabethan writer is Sir Petrarch‘s work and popularized his style by
Thomas Wyatt, who is recognized for using his metaphors in their own love
introducing Italian conventions into English poetry. By translating Petrarch‘s poetry,
literature. Wyatt greatly impacted Wyatt introduced the Italian sonnet to
Elizabethan literature by becoming the first England and started a trend of exalting the
major English writer to translate Italian Italian idea of love through imitation. Wyatt
poetry into English. Wyatt‘s translations himself honors Italian love conventions by
introduced England to Italy‘s understanding imitating Petrarch; He helped popularize
and conventions of love, and these Petrarchan conventions and imagery in
revolutionary ideas enlightened English Elizabethan poetry by using them in his own
writers. Jonathan Bate confirms this idea by poems. In his sonnet ―Farewell, Love,‖
arguing that Italy provided illumination for Wyatt incorporates Petrarchan love imagery,
the English: such as references to Cupid‘s arrows, and
echoes Petrarch‘s view that being in love is
The Italian mirror was a strong, painful: ―Farewell Love, and all thy laws
sometimes a distorting one, but forever, / Thy baited hooks shall tangle me
what it reflected back to the no more‖ (as cited in Greenblatt and Abrams,
Elizabethans were some of the 2006, p. 596.1-2). Wyatt began a movement
supremely influential images of by inspiring numerous English poets to
their age […] The English honor Italy by imitating Petrarchan sonnets.
Renaissance began when sir One of the numerous English poets
Thomas Wyatt and the Earl of influenced by Petrarch was Sir Philip
Surrey discovered, translated and Sidney. Sidney styles his great sonnet
imitated the poetry of Petrarch. sequence Astrophil and Stella on Petrarchan
(p. 71) sonnets; he not only copies Italian sonnet
structure but also endorses the Italian
Bate credits Wyatt with initiating the concept of Neoplatonism, a religious
English Renaissance because he exposed philosophy based on the teachings of Plato.
England to Italian society by translating One aspect of Neoplatonism is the concept
Francesco Petrarch, who was and still is that the search for love is a quest towards
considered one of Italy‘s greatest poets. spiritual enlightenment: ―the final revelation
Petrarch is famous for a number of different in the Greater Mysteries of Love—the vision
works, but one of his most influential pieces of the Beautiful itself—will be disclosed
was Rime sparse, a collection of 366 lyric only to those who follow a particular path of
poems revering a woman named Laura. eroticism‖ (Ferrari, 1992, p. 256).
Petrarch idolized Laura through specific Neoplatonism is illustrated in ―Sonnet 5‖
love metaphors and turned her into a symbol from Astrophil and Stella:
for the ideal woman, which became the
conventional norm when his lyrical poetry True, that true beauty virtue is indeed,
was popularized. His poetic style ultimately Whereof this beauty can be but a shade,
―gave rise to Petrarchism in the

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The Italianate Englishman Fox

Which elements with mortal mixture As Italy‘s influence grew in England,
breed; many Englishmen became jealous of its
True that on earth we are but pilgrims impact. The Italian Renaissance put Italy
made, years ahead of England in many fields, and
And should in soul up to our country the English began to suffer from what was
move. (As cited in Greenblatt and essentially an inferiority complex, as they
Abrams, 2006, p. 976.9-13) were concerned that English literature was
viewed as poor in comparison with that of
In this sonnet, Sidney discusses the concept Italy by the rest of the world. This led to a
of the three levels of Platonic love, which is new trend in Elizabethan literature where
the idea that love is a journey from the English writers built upon and directly
senses (the body) to reason (the mind) and challenged Italian poetic conventions,
from reason to the highest level of particularly those established by Petrarch, in
understanding (the soul). By incorporating an effort to improve upon Italian literature
the Italian concept of Platonic love into his and establish the greatness of their own
poetry, Sidney shows a respect for Italian country‘s work.
ideals. Like Wyatt, Sidney helped to praise The inclination to improve upon
and spread Italian culture to England Petrarchan poetic conventions is found in
through his work. Sidney‘s Astrophil and Stella. Sidney‘s
Support for Italian culture and ideas imitation of Petrarch did honor Italian
also made its way into Elizabethan prose. concepts of love, but he also deviated from
The most famous example is Sir Thomas Petrarchan structure in order to break away
Hoby‘s translation of Castiglione‘s Italian from Italy‘s control on poetry. The Norton
masterpiece The Courtier into English, Anthology‘s (Greenblatt and Abrams, 2006)
which introduced the concept of Platonic introduction to Astrophil and Stella
love and proper courtly behavior to elaborates on this idea:
Elizabethan society. In Hoby‘s time, the
British admired Italy as ―the birthplace of Petrarch had deployed a series of
new learning and the rediscovery of classical ingenious metaphors […] but by
civilization‖ (Partridge, 2007, p. 772), and Sidney‘s time the metaphors – love as
the English elite hoped to achieve the same a freezing fire, the beloved‘s glance
level of Italian sophistication by mimicking as an arrow striking the lover‘s heart,
Italy‘s courts. Hoby translated The Courtier and so forth – had through endless
because he believed it ―offered an excitingly repetition become familiar and
expansive vision of what a Renaissance predictable, less a revelation than a
courtier could, and should, be‖ (Partridge). role. Sidney, in the role of Astrophil,
The Courtier‘s influence on the English protests that he uses no standard
court is best exemplified by Sidney himself, conventional phrases that his verse is
as he was considered the ideal English original and comes from his heart (p.
courtier by how he demonstrated the desired 975).
courtly traits found in Castiglione‘s work.
Thus in both poetry and prose, Elizabethan Sidney uses Petrarch as a starting point, but
writers exhibit their admiration for Italian he makes a conscious effort to be unique by
literature by imitating Italy‘s celebrated breaking away from Petrarchan conventions,
authors and assimilating Italian philosophy which were considered overdone during his
into their texts. lifetime. Sidney was able to reduce the hold

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The Italianate Englishman Fox

that Italy had over Elizabethan literature by literary influence and highlighted England‘s
using new ideas – English ideas – in his creativity.
work. By working to transform Italian Perhaps the most famous example of
conventions, Sidney created his own original anti-Petrarchan poetry is William
conventions that succeeded in highlighting Shakespeare‘s sonnets. Throughout his
and encouraging Elizabethan creativity. collection of 154 sonnets, Shakespeare
Another example of the movement to repeatedly breaks away from the literary
break away from Italy‘s and Petrarch‘s precedent established by Italian poets and
influence in order to showcase English both creates his own metaphors for love and
creativity is illustrated in the poetry of twists typical love conventions popularized
Edmund Spenser. Spenser strived to become by Petrarch. A prime example of how
England‘s greatest epic poet, and like Shakespeare blatantly contradicts Petrarchan
Sidney, he was inspired by Italian poetry but love conventions is Sonnet 130, in which the
altered Italian conventions to create works narrator cross-examines his lover‘s
more unique to England. In his sonnet description to Petrarch‘s portrayal of the
sequence, Amoretti, Spenser borrowed ideal woman and ―mocks the standard
Petrarch‘s conventional love lament but vocabulary of praise‖ (Edmondson and
transformed it by giving the sonnet sequence Wells, 2004, p. 15):
a happy ending in which the lovers unite. In
―Sonnet 74,‖ Spenser writes about three My mistress‘ eyes are nothing like the
revered women in his life but shows that he sun,
treasures his lover the most: Coral is far more red than her lips red,
If snow be white, why then her breasts
The third my love, my lives last are dun,
ornament, If hairs be wires, black wires grow on
By whom my spirit out of dust was her head.
raysed: I have seen roses damasked, red and
To speake her prayse and glory white,
excellent, But no such roses see I in her cheeks,
Of all alive most worthy to be And in some perfumes is there more
praysed. delight
Ye three Elizabeths for ever live, Than in the breath that from my
That three such graces did unto me mistress reeks.
give (As cited in Greenblatt and I love to hear her speak, yet well I
Abrams, 2006, p. 906.9-14). know
That music hath a far more pleasing
The speaker says that his lover, Elizabeth, is sound.
a gift from the graces, suggesting that she is I grant I never saw a goddess go:
a gift he actually possesses. This implies that My mistress when she walks treads on
he and his lover are united in bliss rather the ground.
than separated in misery as typically And yet, by heaven, I think my love as
portrayed in Petrarchan love poetry. ―Sonnet rare
75‖ upholds this idea, as the speaker As any she belied with false compare.
promises to immortalize his lover in his (As cited in Greenblatt and Abrams,
work. By altering Petrarchan conventions in 2006, p. 305.1-14).
his poetry, Spenser challenged Italy‘s

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The Italianate Englishman Fox

Shakespeare uses this sonnet to directly Spenser, and Shakespeare, express a desire
attack Petrarchan conventions. Shakespeare to rise above the Italian influence and
reverses the Petrarchan image of the establish the English Renaissance as a
idealized and unattainable blond, blue-eyed worthy period in literature.
goddess (conventions established through Over time, a general envy of Italy
Petrarch‘s description of Laura) and evolved into open condemnation and a
describes his mistress as being the opposite genuine fear of Italy‘s negative influence.
of Petrarchan imagery; she has dark-colored England grew to fear Italy‘s corrupting
hair, skin tone, and eyes; her voice is not influence (particularly Italy‘s support for
musical; her step is not light; her breath is violent revenge and Catholicism) on English
not sweet. At first reading, it appears as morals and values, and Elizabethan writers
though the speaker is insulting his mistress, began using their works to caution England
as he repeatedly concludes that she falls against Italy‘s immoral nature.
short of the Petrarchan ideal; but by An example of how Englishmen are
comparing his mistress to ―the litany of cautioned against the vices of Italy is Roger
Petrarchan metaphors, the poet declares his Ascham‘s The Schoolmaster. Ascham
love as beautiful as any woman ever devotes a section of The Schoolmaster to
described with such hyperbole” (Callaghan, explain in detail the negative consequences
2007, p. 145). The speaker makes it clear of Italy‘s influence on a typical Englishman:
that his mistress is better than Petrarch‘s
superhuman lover because his mistress is He that by living and traveling in Italy
real and not an unrealistic fantasy. The poet bringeth home into England out of
suggests that Petrarch‘s perfect woman Italy the religion, the learning, the
doesn‘t exist; therefore, his love is greater policy, the experience, the manners of
and more extraordinary because he loves his Italy. That is to say, for religion,
mistress for exactly who she is, flaws papistry or worse; for learning, less,
included. commonly, than they carried out with
Shakespeare also directly opposes them; for policy, a factious heart, a
Petrarchan poetic conventions by dedicating discoursing head, a mind to meddle in
a majority of his sonnets to the adoration of all men‘s matters; for experience,
a fair young man rather than a fair young plenty of new mischiefs never known
lady as typically idolized in Italian love in England before; for manners,
poetry. Petrarch‘s poetry is known for its variety of vanities and change of filthy
adoration of women, but in Shakespeare‘s living (As cited in Greenblatt and
first 126 sonnets, ―the Petrarchan poet-lover Abrams, 2006, p. 644).
is ostensibly in love with a member of ‗the
opposite sex‘‖ (Hedley, 1994, p. 2), thereby Ascham openly criticizes Italy for being a
contradicting a major Petrarchan blasphemous, ignorant, conflicting,
construction. Shakespeare defied mischievous, and vain society that hides
Petrarchism by ignoring or directly opposing behind an enchanting façade and bewitching
Italian love constructs in his work, and the words. Ascham voices England‘s concern
popularity of his poetry helped establish that Italy attracts good Englishmen with the
both himself and England as literary greats. intent to destroy their values; he hoped to
By altering and building upon Italian literary expose Protestant students to Italy‘s vices
conventions, Petrarchan conventions in and power of corruption so that they ―might
particular, Elizabethan writers, like Sidney, defend themselves against the Devil‘s and

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The Italianate Englishman Fox

Rome‘s rhetoric before the world ends, for young offspring and whose vomit consists of
the sake of their own salvation as well as books and papers. She is a direct symbol for
England‘s‖ (Stark, 2008, p. 518). Ascham‘s the evil monster that is Catholicism and how
essay serves as a warning to prevent Catholicism breeds and supports a multitude
Englishmen from becoming Inglese of wicked followers with its poisonous
italianato è un diavolo incarnato (as cited in message of false faith. Error‘s vomit is also
Greenblatt and Abrams, 2006, p. 643) and a metaphor for the literal propaganda that
going astray. Catholicism creates to share its wicked
One English author who was message; like actual vomit, the Catholic
particularly outspoken against Italy‘s word is disgusting and spreads like a
negative influence was Spenser. In his great sickness. Spenser further reiterates Error as
epic The Faerie Queene, Spenser reshaped a symbol for false religion through his
the Italian canto format to create his own account of how the offspring feast on their
unique English poetic structure. Spenser‘s mother‘s corpse until they burst:
The Faerie Queene was partially inspired by
Italian works, as he was ―the first English To see th‘ unkindly Impes of heaven
poet to divide his poem by the canto, like accurst,
the Italians, and to use that term‖ (Giamatti, Devoure their dam; on whom while so
1975, p. 33); yet like his contemporaries, he gazd,
Spenser altered traditional Italian poetry in Having all satisfide their bloudy thurst,
an effort to demonstrate England‘s literary Their bellies swolne he saw with
prowess. Spenser took the octave format fulnesse burst (as cited in Greenblatt
found in Italian chivalric romance and and Abrams, 2006, Bk. I.i. p. 726.227-
fashioned his own stanza format that 30).
included a ninth line, known as an
Alexandrine line. By altering Italian poetic Once again, the offspring represent Catholic
structure, Spenser reflected England‘s followers who feed on false faith, but
negative mentality towards Italian literature Spenser also suggests that Catholics are so
and made an effort to overpower Italian dependent on false doctrine that they will
poetic authority by replacing it with his own. continue to feast on Catholicism until it kills
Spenser also revealed a negative them, without ever satisfying their thirst for
disposition towards Italy by turning Book I holiness and redemption. By repeatedly
of The Faerie Queene into anti-Catholic referencing false faith and Catholic imagery
propaganda. One of the allegories for in his description of Error and its offspring,
Redcrosse‘s journey ―from faith to unfaith Spenser uses Error to represent Italian
and back again” (Evans, 1970, p. 109) in Catholicism as a dangerous false religion
Book I is of England‘s real-life conflict that will cause significant harm to England.
between Protestantism and Catholicism, and Spenser uses negative religious imagery
Spenser reveals an almost hateful in other character descriptions to reveal and
denunciation of the Catholic faith through reject Catholicism‘s wickedness as well. He
his treatment of Catholic and biblical associates the villain Archimago with
imagery. One example is Spenser‘s Catholic priests through Archimago‘s use of
description of the beast Error, who functions Ave Maria prayers and sermons, and he uses
as a direct metaphor for Catholicism‘s own Archimago‘s deception of Redcrosse as a
evil propaganda. Error is a foul beast – half parable to criticize how Catholic priests trick
serpent, half woman – who feeds a thousand followers into believing in a false faith, a

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The Italianate Englishman Fox

faith that takes them further away from the English from traveling there. Like Ascham,
true holiness of ―godly Protestantism‖ Lyly contributes to the widespread fear of
(Heale, 1987, p. 4). Spenser also compares Italy‘s influence by vilifying Italy in his
the evil Duessa to the Whore of Babylon work. Motivated by a fear of Italy‘s
from the Book of Revelations in the bible, powerful and corruptive control over
which was interpreted by Protestants as the England, Elizabethan writers, including
Catholic Church (Heale), to make her a Ascham, Spenser, and Lyly, use their works
metaphor for how Catholicism sells itself in as cautionary tales against Italy‘s wicked
an attempt to entice followers and defeat society.
Protestantism. He also uses Duessa‘s Through the poetry and prose of
downfall to foreshadow the ultimate defeat Elizabethan writers, Italy and Italian culture
of Catholicism at the hand of Protestantism. are treated both positively and negatively in
Spenser‘s negative spin on Catholic imagery Elizabethan works, revealing England‘s
in his character descriptions in The Faerie love-hate relationship with the Italian
Queene makes Book I anti-Catholic Renaissance. English writers were inspired
propaganda that exposes Catholicism‘s and by Italy and its progressive thoughts,
Italy‘s evil nature and potential negative particularly the country‘s ideas and
impact on Protestant English society. treatment of love; but Englishmen were also
Another text that portrays Italy in a jealous and fearful of Italy‘s growth and
negative light is John Lyly‘s Euphues: The impact on the world, and thus made efforts
Anatomy of Wit. Lyly describes the Italian to improve upon Italian literature and
city of Naples as ―(a place of more pleasure denounce Italian religion and culture in
than profit, and yet of more profit than order to promote and demonstrate England‘s
piety), the very walls and windows whereof prowess in the world. Regardless of whether
shewed it rather to be the Tabernacle of it was thought of positively or negatively,
Venus than the Temple of Vesta‖ (as cited in the Italian Renaissance had a powerful and
Greenblatt and Abrams, 2006, p. 945). By lasting effect on Elizabethan England that
associating Naples with Venus‘ passion and became a foundation of Elizabethan
sexuality and not Vesta‘s chastity, Lyly literature.
portrays Naples as a lustful, immoral, and
impious city and in turn discourages the

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Author Bio:
Maureen Fox received Bachelor of Arts
degrees in English and communications-
journalism from California State University,
Fullerton (CSUF) in spring 2010 and is
currently a graduate student in English at
CSUF, specializing in Renaissance
Literature. Along with her academic work,
Maureen is a freelance writer for various
organizations and works in both university
administration and as a writing center tutor
at Santa Ana College. She ultimately plans
to earn her doctorate degree in English to
pursue careers in publishing and teaching.

International Research and Review: 48
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International Scholars