Abstract:

The title of Michael Drayton’s Ideas Mirrour (1594) has often been seen as encapsulating a Petrarchan and Neoplatonic poetics adopted by most Elizabethan sonneteers and countered or subverted by the most canonical poets. This essay suggests that such an interpretation misrepresents the complexity of Elizabethan sonnet sequences in general and of Drayton’s in particular, reassessing Drayton’s Petrarchism and alleged Neo-platonism as well as revising Thomas P. Roche Jr.’s notion of a widely shared Augustinianism among English sonneteers. I turn away from a vision of Drayton as a belated Spenserian or nostalgic Elizabethan to focus on his early career in the 1590s. More specifically, I insist on the connections between Drayton’s three “Ideas”: Idea: The Shepheards Garland (1593), Ideas Mirrour (1594), and Endimion and Phoebe: Ideas Latmus (1595) to identify a career pattern in the progression from one to the next. In drawing these connections, I argue for a revaluation of the role of the Sidney family as a social and poetic ideal for Drayton in the 1590s.

摘要：

迈克尔·德雷顿（Michael Drayton）的《思想观念》（Ideas Mirrour，1594年）的标题通常被认为是封装了大多数伊丽莎白女王十四行诗所采用的，最经典的诗人所反对或颠覆的彼得拉伦和新柏拉图式的诗学。本文认为，这种解释错误地代表了伊丽莎白女王十四行诗序列的复杂性，尤其是德雷顿的十四行诗的复杂性，重新评估了德雷顿的Petrarchism和所谓的新柏拉图主义，并修改了Thomas P. Roche Jr.关于英语中广泛使用的奥古斯丁主义的概念。十四行诗。我拒绝将德雷顿（Drayton）视为迟来的Spenserian或怀旧的伊丽莎白女王（Elizabethan），而专注于他在1590年代的早期职业。更具体地说，我坚持将德雷顿的三个“观念”联系起来：理念：Shepheards Garland（1593），Ideas Mirrour（1594）以及Endimion和Phoebe：Ideas Latmus（1595）在从一个到另一个的发展过程中确定了一种职业模式。在绘制这些联系时，我主张对西德尼家族在1590年代作为德雷顿的社会和诗意理想的作用进行重新评估。