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Thomas Campion

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Breanna Myers

on 23 October 2014

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Transcript of Thomas Campion

Thomas Campion was born on February 12, 1567. Both his parents, John and Lucy Searle Campion, died when he was young so he was raised by his step father Augustine Steward.Thomas Campion attended Cambridge University but did not earn a degree. While he was there he studied classical literature which would later influence his writing. He was involved in a military mission to Normandy, during that same year he published some of his writings. Campion was primarily writing for a musical benefactor. Later on Campion started to write poetry and songs for court occasions such as marriages (David 1).
My Sweetest Lesbia
My sweetest Lesbia, let us live and love,
And though the sager sort our deeds reprove,
Let us not weigh them. Heaven’s great lamps do dive
Into their west, and straight again revive,
But soon as once set is our little light,
Then must we sleep one ever-during night.

If all would lead their lives in love like me,
Then bloody swords and armor should not be;
No drum nor trumpet peaceful sleeps should move,
Unless alarm came from the camp of love.
But fools do live, and waste their little light,
And seek with pain their ever-during night.

When timely death my life and fortune ends,
Let not my hearse be vexed with mourning friends,
But let all lovers, rich in triumph, come
And with sweet pastimes grace my happy tomb;
And Lesbia, close up thou my little light,
And crown with love my ever-during night.
I care not for these ladies
Thomas Campion
Never love unless you
Musical Influence
A name for a great person, a woman who is sweet but also headstrong. A good friend that will always have your back. Most trustworthy person you will ever know.
More Musical Influence
Never love unless you can
Bear with all the faults of man:
Men sometimes will jealous be
Though but little cause they see;
And hang the head, as discontent,
And speak what straight they will repent.

Men that but one saint adore
Make a show of love to more.
Beauty must be scorned in none,
Though but truly served in one:
For what is courtship but disguise?
True hearts may have dissembling eyes.

Men, when their affairs require,
Must awhile themselves retire;
Sometimes hunt, and sometimes hawk,
And not ever sit and talk.
If these and such-like you can bear,
Then like, and love, and never fear!
He wants Amaryllis for two reasons: one she is both easy to love and take as his woman, two she doesn't demand so much wealth. Some women require "golden showers"(14) and "must have pillows,/ And beds by strangers wrought"(21-22). Amarylils doesn't require expensive gifts. The man loves the woman because she is simple yet beautiful, "Her beauty is her own" (6). Campion sounds as if he is fed up with other women trying to take the place of Amaryllis. Women see how he treats her, with a lot of love, so they want to have that love from him. Amaryllis gets jealous because women are all over him. "She cries 'Forsooth, let go!'"(8), she is jealous and hurt but once they are away from everyone alone then "She never will say no"(10).

I care not for these ladies,
That must be wooed and prayed:
Give me kind Amaryllis,
The wanton country maid.
Nature art disdaineth,
Her beauty is her own.
Her when we court and kiss,
She cries, “Forsooth, let go!”
But when we come where comfort is,
She never will say no.

If I love Amaryllis,
She gives me fruit and flowers:
But if we love these ladies,
We must give golden showers.
Give them gold, that sell love,
Give me the nut-brown lass,
Who, when we court and kiss,
She cries, “Forsooth, let go!”
But when we come where comfort is,
She never will say no.

These ladies must have pillows,
And beds by strangers wrought;
Give me a bower of willows,
Of moss and leaves unbought,
And fresh Amaryllis,
With milk and honey fed;
Who, when we court and kiss,
She cries, “Forsooth, let go!”
But when we come where comfort is,
She never will say no.
Tips on how to approach the work
Influence on other Writers
Significance Then

Significance Now
Halfway through the sixteenth century and towards the end of the seventeenth century is when verse was used as speech, and singing was a way of speech. In this time music became very popular in Italy and spread to England. Champion's use of combining poetry and song represented perfect craftsmanship in the two arts (David 10). What made an impression of his art during his time was his lyric poetry.
Notice in one of the poems "I care not for these ladies" Campion uses the term Amaryllis, which is a flower, in its original meaning but also in a different way which will later be explained.
The poems are also lute songs.
Page 1017 in NAEL Volume B

In the beginning of this poem he uses the quote "But soon as once set is our little light,/ Then must we sleep one ever-during night"(5-6). The little light of human beings is much smaller, and weaker compared to "heav'n's great lamps"(3). This reminds me of a theory from the book
Like Water for Chocolate
. The theory was that everyone has a box of matches inside them and they must find what ignites their own matches, a person must do this in order to nourish their soul, but If a person does not find out what ignites their matches then the soul leaves the body to search for something to nourish the soul. One of the warnings is make sure all the matches don't ignite at once or you will die. In this poem he is encouraging people to use their light to love rather than to fight in war. People waste their light/soul "And seek with pain their ever-during night"(12). Love is powerful, even when face to face with death, by being able to experience love it makes life worth living.

Page 1018 in NAEL Volume B
Thomas Campion's
Observations in the Art of English Poesie
does more than offer an astute analysis of English prosody and suggest a variety of vernacular quantitative meters. It also responds to what Campion saw as the unfortunate conditions under which learned, serious poets had to labor (Green 11).
Thomas Campion's importance for nondramatic literature of the English Renaissance lies in the exceptional intimacy of the musical-poetic connection in his work. While other poets and musicians talked about the union of the two arts, only Campion produced complete songs wholly of his own composition, and only he wrote lyric poetry ("Thomas Campion").
Annotated Bibliography

David, Lindley. "The Poetry."
Thomas Campion.
Leiden, The Netherlands: E. J. Brill, 1986.
1-61. Rpt. in
Poetry Criticism
. Vol. 87. Detroit: Gale, 2008.
Poetry Criticism Online
. Web. 21
Sept. 2014.
(This article is about how Thomas Campion used different art forms to achieve “grand”
and “Plain” music and poetry. Between words and music his ideal is meeting in the
middle in which two arts complement each other rather than compete with one another,
this is an example of the metaphor he uses to describe marriage.)

Green, Barclay. “Quantitative Verse, Bookselling, and Thomas Campion's ‘Observations in the
Art of English Poesie."
Rocky Mountain Review of Language and Literature
, Vol. 61, No. 1
(Spring, 2007), pp. 11-34. JSTOR Journals. Web. 7 Oct. 2014.
(This talks about the importance of Thomas Campion's writings, mainly how important his
book Observations was and how scholars continue to critique his views today)

Irwin, John T. "Thomas Campion and the Musical Emblem."
Studies in English Literature
1500-1900 1970: 121.
JSTOR Journals.
Web. 21 Sept. 2014.
(He is a poet of auditory imagination, he writes ayres not poems that must be judged as
songwriter. The most important music form of Campion contain symbols. He likes to
create images in the audiences mind such as power of song or personal harmony. Music
is the knowledge of love affairs concerning harmony and rhythm.)

Richardson, David A. “The Golden Mean in Campion’s Airs.”
Comparative Literature,
Vol. 30
No. 2. pp. 108-132 (Spring, 1978).
JSTOR Journals
. Web. 21 Sep. 2014.
(This article talks about Thomas Campions background and musical influences. Critics
praise how both forms, music and poetry, cooperate with one another in Campion’s songs.
The words and music match by using structure, tone, sound and tempo. Thomas also tries
to illuminate the sexual experiences of both females and males in his poems/songs.)

"Thomas Campion." Poetry Foundation. Poetry Foundation, n.d. Web. 10 Oct. 2014.
(Thomas Campion studied classical literature which would later influence his writing. Campion
was primarily writing for a musical benefactor. Later on Campion started to write poetry and
songs for court occasions such as marriages.)

Campion wanted his music to not be too sophisticated nor be too dull, he wanted there to be a middle ground so that the poem and the power of the music would complement one another instead of it being a competition. Thomas Campion used the musical device word painting which means the imitation of meaning, mood, or connotations, in his work so that there was an emphasis on certain areas he wanted the listener to pay attention to (Richardson 110). Each time he uses the musical device, word painting, it is to show emphasis on the emotions about love, loss, objects, or actions considered to be dark, and many more.
Campion is more than just a writer, he is also a musician. When he combines both his talents, writing poetry and playing an instrument, he is considered a musical poet since most of the poems he writes are to be sung by one voice or to have a lute accompany a singer. He did not write poems, he wrote 'ayres'. Campion is a poet who focuses on auditory rather than visual imagination. We experience emotion through the structure of the sound, implications of the words, and the tone of voice (Irwin 121).
Pages 1019-1020
This poem is advice to a girl. It is basically about the reality of falling in love. Women look for the 'perfect man' or at least someone who they think they can change. Women should except the faults men have. Women have to accept how men are and shouldn't pretend to love them if they don't. A huge part of love is accepting another person for who they are not who you want them to be. "Men sometimes will jealous be"(3). One of the flaws men have is that they can be jealous. Men also tend to check out other women, "Beauty must be scorned in none,/ Though but truly served in one; For what is courtship but disguise?/ True hearts may have dissembling eyes"(9-12). Men may also say things they don't mean and in the end they will apologize for what they said, "And hang the head, as discontent,/ And speak at straight they will repent"(5-6). So if a woman can accept the faults of man then it is considered to be true love.
There is a garden in her face
Page 1020 in NAEL Volume B
There is a garden in her face
Where roses and white lilies grow;
A heav'nly paradise is that place
Wherein all pleasant fruits do flow.
There cherries grow which none may buy,
Till "Cherry ripe" themselves do cry.

Those cherries fairly do enclose
Of orient pearl a double row,
Which when her lovely laughter shows,
They look like rose-buds fill'd with snow;
Yet them nor peer nor prince can buy,
Till "Cherry ripe" themselves do cry.

Her eyes like angels watch them still,
Her brows like bended bows do stand,
Threat'ning with piercing frowns to kill
All that attempt with eye or hand
Those sacred cherries to come nigh,
Till "Cherry ripe" themselves do cry.
Lute songs are performed by a singer and a separate lutenist.
Campion's entry into the field came in 1601 with the publication of Philip Rosseter's Book of Ayres. By 1604 Rosseter was the king's lutenist and remained active in court entertainment throughout most of King James's reign. He was Campion's best friend and the sole inheritor named in Campion's will. It is fair to say, however, that little would be known of Rosseter today had he not collaborated with Campion in this collection ("Thomas Campion").

In this poem the speaker compares a woman's face to the beauty of a garden. He compares her cheeks to roses and her complexion to lilies, "Where roses and white lilies grow"(2). In There is a Garden in Her Face, the subject of the speaker's affection places the woman on a pedestal. He compares her to the most beautiful objects.The white of the pearl, the lilies, and the snow signify that the woman was pure and divine. The lady is not easily attained. When someone she doesn't like tries to court or kiss her she gives them a dirty look, "Threatening with piercing frowns to kill"(15). He compares her teeth to pearls, "Of orient pearl a double row"(8). Perhaps one of the reasons the word "pearl" was chosen could be that the woman was rich. The way she would determine what man was allowed to court her is much different because of her status. The lady has many suitors, but how would she know who to choose?
In the poem "There is a garden in her face" the phrase Cherry Ripe in the footnotes says a familiar cry of London vendors but in the poem the term means she is allowing a man to court and kiss her.
Alternate meaning for Amaryllis
Lesbia was the literary pseudonym used by the great love of Roman poet Gaius Valerius Catullus to refer to his lover.
Is there a significance by using the word “buy” in the poem. If the process of selling fruit is compared to how the women sells herself for marriage would this change the meaning of the poem?
Musical Era
Renaissance music era started around 1400 and ended around 1600, then came the Baroque era. Renaissance music drifted away from medieval constraints, in range, rhythm, harmony, form, and notation. This era created freedom in music which influenced the type of music Thomas Campion played. Secular music became more popular during this time but used the influence of sacred music and combined them together. Many of the instruments used during this time include the violin, guitar, lute and keyboard instruments. This is why Thomas Campion decides to use a lute for his songs, because it was a popular instrument. During the Baroque period music transitioned, the modern orchestra was created, along with opera. Some of the popular instruments during this time included violin, viola, cello, and harpsichord. Since Thomas Campion was mostly known for lute songs the Renaissance era is most likely when his works were created.
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