Sir Thomas Wyatt's 'Whoso List to Hunt'

Sir Thomas Wyatt (1503-1542)

When does English Poetry begin?

You could argue Caedmon’s Hymn, the earliest datable poem in Old English. But listen to it on the Poetry Voice: Caedmon’s Hymn isn’t written in English.

You could argue for Chaucer, who is readable with patience by any literate modern English speaker.

Or you could go straight to Wyatt. Who is perhaps the first English poet to sound like a modern poet.

He has been the subject of two superb but very different, and therefore complimentary, biographies recently. And there is or was a fine Penguin collected, which may not do him a great service since wading through the lot will remind you of how utterly conventional so much of the poetry produced at the court was.

The fifteenth century is a dead one for English poetry. So you could argue that poetry that is recognisable to a modern reader, both in form and language, begins after Wyatt and Surrey found their models or excellence in Italy. Wyatt Englished Petrarch. You can see the process by comparing this poem with Petrach’s Sonnet 190 which Wyatt is ‘versioning’, it’s part translation, part adaptation, all new poem. You can compare translations: http://www.siue.edu/~ejoy/eng208PetrarchSonnet190.htm

But when you’ve got over the sense of an individual voice speaking directly to you and the striking images, you might want to consider the implications of the metaphor of the hunt as romantic pursuit. Think about what the hunters and their dogs do when they have finally trapped their prey. Welcome to the Renaissance.

Sir Thomas Wyatt's 'They Flee From Me'

Sir Thomas Wyatt 1503-1542

The First great English poet? The first writer of great English lyric poems?

If you look behind Wyatt, it’s hard to find much that is worth reading between him and Chaucer. Since most modern readers don’t share Chaucer’s assumptions about poetry, Wyatt’s poems do feel like a new start. They are amongst the first English poems that can be read, as poems, by any literate reader for the pleasure they offer.

No matter how conventional or artificial the voice is, reading Wyatt is an encounter with a voice. Reading Wyatt’s collected is a depressing wade through forests of Tudor Pine, but there are gems and this is one of them. The idea that the woman in the second verse is Anne Boleyn is probably a critic’s fantasy.

Recently Wyatt was the subject of two excellent biographies, which complement each other. Nicola Shulman’s ‘Graven with Diamonds’ (2011) is very good on the poems and their place in the Court. Susan Brigden’s ‘Thomas Wyatt, the Heart’s Forest’ (2012) is a fine, detailed scholarly biography.

There will be more Wyatt on The Poetry Voice.