The 16th century was a time of immense change in English history, particularly in the realm of literature. During this period, British poets were breaking away from the medieval traditions and experimenting with new forms and ideas. One of the poets who emerged in this era was Henry Constable, born in 1562. His work occupies a unique position in the late Tudor poetic tradition, bridging the gap between the earlier generation of poets like Sir Thomas Wyatt and the later figures such as Edmund Spenser and William Shakespeare. This article will explore the life, works, and contributions of Constable to British poetry, examining his place within the larger context of 16th-century British poets.
Early Life and Background
Henry Constable’s exact birth date is not firmly established, but records indicate that he was born in 1562 in England. He was the son of a Catholic gentleman, and his background was steeped in both academic and religious traditions. His education likely included studies at prestigious institutions, and he was closely involved in the religious and political currents of the time. The late 16th century was a period marked by religious strife in England, particularly the tension between Catholicism and Protestantism. Constable’s work, though not overtly political, reflects some of the cultural and religious upheaval of the time.
Despite the tumultuous political landscape, Constable received an education that was typical for members of his social standing. He was most likely familiar with Latin, Greek, and the classical texts that formed the basis of education in the Renaissance period. It is believed that he spent a good portion of his life traveling throughout Europe, which would have exposed him to a variety of cultural influences, especially those from the European Renaissance. His experience abroad and the time he spent in Catholic countries likely influenced his worldview and shaped the themes of his poetry.
Constable’s Contribution to British Poetry
Henry Constable is perhaps best known for his sonnet sequences, a poetic form that gained significant popularity in the 16th century. His sequence, Diana, published in 1592, is one of the most prominent works in this genre. The sonnet cycle, dedicated to an idealized lady named Diana, follows the conventions of Petrarchan love poetry, which was extremely popular among 16th-century British poets. This sequence, however, also stands out for its spiritual and religious undercurrents, as Constable’s verses often explore the conflict between earthly love and divine love.
In Diana, Constable creates a lyrical space where the poet’s love for his lady is portrayed as a form of worship. His adoration of Diana is not just romantic; it’s also spiritual, and this duality between sacred and secular love is a recurring theme in his poetry. In contrast to the purely sensual or courtly love poetry of the time, Constable’s verses often give a deeper, almost theological perspective on love. His ability to marry the physical with the spiritual marks him as a poet who was acutely aware of the intellectual currents of his time. The tension between these two loves creates a dynamic energy in Constable’s work, positioning him as a key figure in the development of 16th-century British poetry.
Constable and the Literary Context of the 16th Century
The 16th century was a period of great literary innovation, and Constable’s work is best understood in the context of the broader trends in British poetry. One of the key influences on 16th-century British poets was the Renaissance, which brought about a revival of interest in classical literature and ideals. Poets like Sir Thomas Wyatt and Henry Howard, Earl of Surrey, had already introduced the sonnet form to English poetry, adapting it from the Italian model. Constable’s sonnets, like those of Wyatt and Surrey, were heavily influenced by the Italian Petrarchan tradition, characterized by the emotional intensity and idealization of the lover.
However, unlike some of his contemporaries, Constable’s work often ventures into a more spiritual or religious realm, blending the sensual with the divine. This is particularly evident in his Diana, where his love for the idealized woman becomes a symbol for divine love. This blending of romantic love and spirituality was not unique to Constable, but it was less common than the purely secular approach taken by many other 16th-century British poets.
To further understand Constable’s place in the literary landscape, it’s useful to consider the major poets of the time. Edmund Spenser, for instance, also employed the sonnet form but did so in a more elaborate and fantastical manner. Spenser’s The Faerie Queene is one of the most important poetic works of the 16th century and features a blend of allegory, romance, and mythology. Unlike Constable, Spenser often delved into nationalistic themes, celebrating the virtues of England and its rulers. Constable, on the other hand, focused on personal and spiritual themes, rather than broader national or political concerns.
William Shakespeare, perhaps the most famous British poet of the era, also utilized the sonnet form, but his works were more focused on the nature of love, beauty, and time. Shakespeare’s sonnets, unlike Constable’s, often explore the fleeting nature of life and the tension between the physical world and the passage of time. Constable’s poems, while similar in their attention to love, are more concerned with the inner conflict between earthly desires and divine aspirations.
Henry Constable’s Style and Themes
In his poetry, Constable often employs the typical conventions of the Petrarchan sonnet, including the use of metaphors, similes, and a particular structure that consists of 14 lines. He also frequently uses rhetorical questions, a device that gives his poetry a contemplative, sometimes melancholy, tone. While many 16th-century British poets were experimenting with the sonnet form, Constable’s use of it stands out because of his focus on the religious and spiritual dimensions of love.
One of the most prominent themes in Constable’s poetry is the tension between earthly and divine love. In Diana, the poet presents his love for his lady not merely as a physical attraction but as a higher, almost worshipful devotion. The poet views his beloved as a figure who transcends the earthly realm, embodying qualities that align with divine purity and grace. This spiritual dimension sets Constable apart from other poets of his time, who were more likely to focus solely on physical or romantic love.
Furthermore, Constable’s work often explores the idea of unrequited love, a common motif in 16th-century British poetry. This theme is intertwined with the poet’s spiritual journey, where the unattainable love of the woman becomes a symbol for the longing for a closer connection with God. This dual-layered approach to love—both romantic and divine—makes Constable’s poetry complex and multi-faceted.
Constable’s Influence on Later Poets
Although Henry Constable did not have the widespread fame of poets like Spenser or Shakespeare, his influence can be seen in the work of later poets. His blending of the secular and spiritual in the sonnet form was a technique that would be picked up and expanded upon by poets in the 17th century. John Donne, for example, in his holy sonnets, would explore the tension between the physical and spiritual realms in a way that echoes Constable’s themes.
Moreover, Constable’s influence can also be seen in the way later poets would approach the idea of love. While many 16th-century British poets treated love as a somewhat idealized or unattainable goal, Constable’s work delves into the more complex emotions that arise from love’s spiritual dimension. His focus on the inner turmoil of love would resonate with poets like Donne, who sought to depict love not just as an ideal, but as a source of personal conflict and growth.
Conclusion
Henry Constable, though not as famous as some of his contemporaries, made significant contributions to the development of 16th-century British poetry. His sonnet sequence Diana reflects his deep engagement with the poetic forms and traditions of his time, particularly the influence of Petrarchan love poetry. Yet, what sets Constable apart from other British poets of the period is his unique approach to love, one that blends the earthly and the divine in a way that adds spiritual depth to his work. In comparison to poets like Spenser and Shakespeare, Constable’s focus on religious and emotional complexity provides a different perspective on the themes of love and devotion. His work stands as an important bridge between the early Tudor poets and the more overtly religious poets of the 17th century.
