FACULTAD DE FILOLOGÍA
GRADO EN ESTUDIOS INGLESES
TRABAJO DE FIN DE GRADO
CURSO 2015/2016
TÍTULO:
F om Manusc ip o P in Cul u e: a S udy o Thomas Wya 's Sonne s
AUTOR/A:
Ma a Jiménez Bea o
Fecha: Vº Bº del Tu o :
Fi ma: Fi mado:
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INDEX
1. In oduc ion .................................................................................................................. 3
2. The Sonne om I aly o England ................................................................................ 6
3. Wya ’s Sonne s om Manusc ip o P in ................................................................. 10
3.1. Changes o Upda e he Language ........................................................................ 10
3.2. Me ical Changes o Regula ise he Ve se ........................................................... 13
3.3. Li e a y Simpli ica ion ......................................................................................... 16
4. Conclusions ................................................................................................................ 24
Wo ks Ci ed .................................................................................................................... 25
Appendix 1 ..................................................................................................................... 28
Appendix 2 ..................................................................................................................... 29
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3
1. In oduc ion
This disse a ion ocuses on he p ocess o ansmission o Tudo poe y om
manusc ip o p in cul u e, analysing one pa icula case: he changes made o Thomas
Wya ’s sonne s in he amous miscellany published by Richa d To el in 1557 as
Songes and Sone es, W i en by he Righ Hono able Lo de Hen y Hawa d La e Ea le
o Su ey, and O he (which will be hence o h e e ed o as To el’s Miscellany).
These changes we e p esumably ca ied ou by he edi o o his book, Richa d To el,
who e ised and al e ed some elemen s om Wya ’s sonne s when he ansla ed he
poems om manusc ip o p in .
The poe y o Thomas Wya (c.1503–1542) su i es in se e al manusc ip
collec ions. Pe e Beal’s online Ca alogue o English Li e a y Manusc ip s, 1450-1700
(CELM) lis s i e majo compila ions: he Ege on MS (BL MS Ege on 2711), he
De onshi e MS (BL MS Add. 17492), he Blage MS (T ini y College, Dublin, MS
160), he A undel Ha ing on MS (A undel Cas le, Ha ing on MS Temp. Eliz) and
ano he Ha ing on MS (BL MS Add. 36529). O hese i e, he mos impo an is
undoub edly he Ege on MS, a olio olume o 120 lea es which con ains almos
exclusi ely Wya ’s wo k (Beal e al). The collec ion was p obably s a ed abou 1526
o la e , al hough some o he poems could ha e been w i en be o e ha yea (Ha ie
4–5). I is copied in se e al hands, including Wya ’s, and he e a e au ho ial co ec ions
h oughou he manusc ip (Beal). Ha ie concludes ha his manusc ip is wi hou
ques ion Wya ’s own, and ha his e isions wi hin his olume a e clea ly iden i iable
om la e amendmen s (13).
To el’s Miscellany is a collec ion which consis ed o 271 poems ne e p in ed
be o e. Fo y o hese we e by Hen y Howa d, Ea l o Su ey, nine y-se en by Wya ,
o y by Nicholas G imald, and nine y- i e poems by unknown au ho s. The pu pose o
his miscellany was o popula ize cou ly poe y, which up un il ha momen had
ci cula ed exclusi ely in Hen y VIII’s cou . This aim can be app ecia ed in he
p ologue ha he edi o w o e o he eade s. As i was a gued by May in his essay
“Popula izing Cou ly Poe y: To el’s Miscellany and I s P ogeny” (2009), in his
p ologue “To el does cong a ula e pu chase s o he Miscellany o acqui ing wo k
denied hem by ‘ he ungen le ho de s up o such easu e’” (419–20).
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Ma o i explains ha “To el depic ed himsel simul aneously as a connoisseu , a
pa io , and an educa o , as someone doing a public se ice o his clien èle a he han
as a me can ile exploi e o ex s belonging o a social and in ellec ual éli e” (1991: 3).
To el’s aim was o make poe y mo e eadily a ailable o common people in he hopes
ha hey would bene i and lea n om i . In o de o each his new eade ship, he used
a public igu e o ad e ise his book, he Ea l o Su ey, hus un eiling he edi o ’s
belie in social and poli ical p eeminence as a be e ad e isemen o p in ed wo ks
han li e a y epu a ion (Ma o i 1995: 215–16). Ano he eason behind he p in ing o
he miscellany, which May discusses in his a icle, could be simply a sense o
pa io ism, wi h To el alleging ha p in ed e sions o ly ical poems in La in and
I alian al eady exis ed and ha his book would p o e ha “ou ong is able in ha kynde
o do as p aisewo hely as he es ” (420).
I he poems included in his collec ion had, up o ha poin , ci cula ed
exclusi ely among cou ly ci cles, he ques ion a ises as o how To el acqui ed his
copies. Since only he A undel Ha ing on MS and he o he Ha ing on amily an hology
(BL MS Add, 36529) combine a signi ican numbe o pieces by bo h Wya and
Su ey, se e al schola s ha e specula ed ha Si John Ha ing on (c. 1517-1582) migh
ha e been he pe son who ga e he poems o To el and he e is some consensus ha he
A undel MS was his main sou ce (May 420). Howe e , an al e na i e heo y has
ecen ly been pu o h by Jason Powell who, on he basis o a se ies o le e s add essed
o he widow o Wya ’s son asking o copies o he poe ’s wo ks, claims ha To el
may ha e had access o he Ege on MS o a ansc ip ion o i (Wa ne 12).
C i ical opinion is no unanimous ei he on he issue o who was esponsible o
he edi ing o To el’s Miscellany. Some schola s a gue ha i could ha e been Nicholas
G imald who e ised he ex o he poems (Ma quis 2000: 148), whe eas o he s
conside To el himsel o be he edi o . To he la e g oup belongs May, who o e s
some easons o subs an ia e his claim. I is ue ha To el was known o his p in ing
o law books; howe e se e al o he o he wo ks he p in ed in 1557 we e in e se, such
as he i s edi ion o Thomas Tusse ’s Hund ed Poin s o Good Husband y o Su ey’s
Aeneid (May 425). May also explains ha he miscellany “was no he i s book o
poe y o issue om To el’s p ess wi h i s me ics signi ican ly egula ized” (425).
The e is also p oo ha To el admi ed o ha ing co ec ed and augmen ed a ep in ed
e sion o ano he book o poe y he b ough ou in 1554: Lydga e’s The Fall o P inces

5
(426). Mo eo e , To el e ised his Songes and Sone es immedia ely a e publica ion: a
i s edi ion (Q1) was issued on 5 June 1557 and a second e sion ollowed in less han
wo mon hs, on 31 July (Q2). As Paul Ma quis has no ed, Q2 is mo e ho oughly edi ed
han Q1:
Hund eds o subs an i e changes in dic ion and p osody a e included in he eigh
weeks sepa a ing he wo e sions [...] and an en i ely new a angemen gi en o
he ly ics in Q2 as a whole. [...] Tha To el would edesign Q1 is
unde s andable, gi en he imp ession le by ha e sion and his penchan o
p oducing cohe en ex s e idenced in his o he publica ions. He would ha e
unde s ood ha a mo e ca e ully imp essed ex , o de ed and a anged in a
signi ican manne , would in luence he success o Q2. (2013: 14).
Fo hese easons, To el will be conside ed he edi o o he miscellany in his essay.
Apa om edi ing he ex o he poems, To el also c ea ed i les o each o
hem, which p o ided he eade s wi h he necessa y con ex o help in e p e a ion.
Those poems pa icipa ed in he social wo ld in which hey we e p oduced and hus hey
po ayed imp essions o ha exclusi e en i onmen which we e no accessible o
To el’s eade (O’Callaghan 83). Ma o i u he explains his poin :
When he poems hemsel es we e cu o om he con ex s o hei p oduc ion
and ini ial ecep ion, a econ ex ualizing p ocess began in which he wo ks los
hei i id pa icula i y o meaning and began o speak a language whose
gene al and abs ac e ms we e a hyb id o poe ic con en ionali y and cul u e
speci ic code wo ds. […] I was no un il ly ics we e commi ed o p in ha
i les o in oduc o y commen s we e necessa y o allow eade s o pe cei e he
poems’ connec ion ei he o an ac ual social wo ld o o he adi ional ic ional
wo ld o lo e expe ience. (1995: 218)
Howe e , his e-con ex ualizing p ocess was no always e y accu a e in
ec ea ing he con ex o he poem. In his a icle “Thomas Wya 's Poe y: The Poli ics
o Lo e” (1978), Kamhol z a gues ha “ he i les ha To el's edi o assigned he ly ics
i ually c ea ed he pe sona o ‘ he lo e ’ h ough whose complaining lips we hea an
eno mous numbe o he an hologized ly ics” (351). He no es ha some o To el’s i les
o e simpli y he a gumen o he ex and impose “some dis o ion on he cou ly ly ics”
6
(351), because hese poems we e o en based on poli ical issues which would no be
cu en knowledge o his new eade ship; hus, he easies way o e-in e p e hem was
o ea hem all as lo e poe y. Such is he case in sonne 98. In he edi ion o Wya ’s
poems, Foxwell commen s on he backg ound o his poem explaining ha i was
composed in May 1538, when Wya was in he mids o di icul diploma ic se ices.
She also adds ha May had been an e en ul mon h o he au ho ; he had been
imp isoned on wo occasions in his pa icula mon h, in he yea s 1534 and 1536 (51–
52). All o his happened nine een yea s be o e he miscellany was p in ed and To el’s
eade s we e no likely o know; hence, he decided o e-con ex ualize he sonne , using
a i le ha associa ed i wi h a ic ional lo e s o y: “The loue nhappy bidde h happy
loue s eioise in Maie, while he waile h ha mon h o him mos nlucky.”
In o de o analyse he ans o ma ions unde gone by Wya ’s poems as hey
we e edi ed o he p in ing p ess, his essay will compa e a selec ion o sonne s in hei
o iginal o m, as p ese ed in he Ege on MS, wi h he e sions gi en by To el. The
ansc ip ion o he Ege on MS used o his essay is ha a ailable in Richa d Ha ie ’s
The Canon o Si Thomas Wya ’s Poe y (1975). In he case o he miscellany, he
second edi ion, p in ed on July 31 1557 (Q2), is he one chosen o his p ojec , as no
copies o he i s edi ion a e accessible h ough EEBO and, in any case, Q2 p esen s a
ex ha was ho oughly e ised by To el.
2. The Sonne om I aly o England
The sonne was in en ed abou he yea AD 1230 in sou he n I aly, a he cou
o he Holy Roman Empe o F ede ick II. The e a e some simila i ies as o he place in
which he sonne was c ea ed and he i s ime i en e ed England. F ede ick II was an
enligh ened, cul u ed and also u hless despo , much like Hen y VIII. This poe ic
composi ion was c ea ed by Giacomo Da Len ini, a cou ie academically ained o
diploma ic se ice, w i ing o and in a g oup o cou ie s (co e ies). The same hing
happened in he case o England, whe e Wya , a cou ie academically ained o oyal
se ice, in oduced he new sonne o m (Spille 84).
I was F ancis Pe a ch’s sonne s uc u e he one which was in oduced in
England by Wya , a he beginning o he six een h cen u y. Said s uc u e consis ed o
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ou een lines wi h ele en o en syllables each, di ided in o an oc a e and a ses e .
These las wo we e also di ided in o wo qua ains and wo e ce s, espec i ely
(Spille 3). Wya migh ha e become acquain ed wi h I alian sonne s when he isi ed
he F ench cou in 1526. Howe e , i was no un il 1527 ha he s a ed w i ing sonne s.
The sonne Wya w o e could no ha e been modelled a e he same ashion as
hose om I aly. Wang and Niu gi e wo easons as o why i is complica ed o use an
I alian pa e n while w i ing in English. On he one hand, he ac ha “ he main ins inc
in English poe y is o iambic o occasionally anapes ic mo emen and [...] poe y
seems o shape i sel in lines o mode a e leng h” (41). On he o he hand, English has
mo e owel sounds han I alian, which educe he numbe o wo ds o each sound,
making i ha de o ind hyming wo ds in English han in I alian (41). Fo hese
easons, Wya expe imen ed wi h sonne pa e ns un il he eached one ha se ed his
needs. Wya ’s sonne s di e om Pe a ch’s in he di ision o he ou een lines; hey
changed om wo qua ains and wo e ce s o h ee qua ains and a hyming couple .
This new sonne pa e n could be de i ed om a mix u e o wo poe ic o ms
ha Wya was exposed o: one o hem was he I alian sonne , he o he he s ambo o.
Spille goes on o explain ha he s ambo o, o iginally a popula song, was a “sho ,
wi y, pseudological poem ha concluded wi h a couple ” (85). The poe migh ha e
changed he o iginal Pe a chan pa e n o inco po a e a couple because he was inspi ed
by his poe ic o m.
F om his poin onwa ds, Wya ’s wo k was con inued by he Ea l o Su ey
who, acco ding o Wang and Niu, “de eloped and imp o ed he o m, and he ea e he
sonne was widely used and won inc easing popula i y” (42). By imp o ing Wya ’s
sonne pa e n, he Ea l o Su ey gained he epu a ion o being he c ea o o he
English sonne , and many people―no only his con empo a ies―p e e ed him o e
Wya . Mason u he discusses his issue in his a icle “Edi ing Wya ”:
Wha had sunk Wya below Su ey was he inabili y o eade s o ind any
ag eeable scansion in so many o his poems. This ‘ oughness’ was pu down o
his being a pionee , slow o lea n his ade, e en i ha ade we e he simple
ma e o coun ing syllables co ec ly up o en. (676)
8
The “ oughness” Mason men ions is he main law ha To el ied o co ec when he
ansla ed he poems om he manusc ip medium in o p in .
The manusc ip adi ion was ca ied ou by li e a y communi ies o cou ie s,
also known as co e ies, in he cou o Hen y VIII. These co e ies anged om amily
ci cles o pa onage ne wo ks o o he kinds o ins i u ionally de e mined g oupings
(Pe y 108). In o de o en e one o hese exclusi e co e ies, one had o be conside ed a
cou ie , a posi ion highly alued in six een h cen u y England. Acco ding o
Cas iglione in Book o The Cou ie , a “cou ie was o be equipped no only wi h he
al eady o midably wide in ellec ual a ibu es o Cice o’s o a o , bu also wi h he
social g aces and physical skills o he la e medie al knigh ” (S a key 233). Wya was
one o hese cou ie s, bu also a schola and a gen leman. His a he , Hen y Wya , had
been appoin ed a membe o he P i y Council o Hen y VII and he would, la e on, be
made Knigh o he Ba h by Hen y VIII (Baldi 7).
The ac ha co e ies we e small g oups o people allowed o he ci cula ion o
“poli ically cha ged o libelous w i ings ha would ha e been oo dange ous o he
mo e public mechanisms o p in publica ion” (Pe y 109). Because o Wya ’s ole in
he cou o Hen y VIII, i was expec ed ha some o his poems could ha e poli ical
conno a ions, bu hey we e sa e as long as hey we e kep inside hese exclusi e ci cles.
The ex s ha ci cula ed in he co e ies o “sc ibal communi ies” (Lo e 146)
we e o en modi ied. Sc ibes usually “ ansc ibed, e ised, supplemen ed, and answe ed
hem, no pa icula ly wo ied abou changing an au ho ial ‘o iginal’” (Ma o i 1993:
160). I was no only au ho s like Wya himsel who e ised hei own wo k, bu he
sc ibes who copied hem in o he ci cula ing manusc ip s. An example o his can be
seen in sonne 28 (“My galley…”), whe e he o iginal sonne was copied om he
Ege on MS in o he A undel Ha ing on MS, and some changes we e in oduced
a e wa ds in he la e by a di e en hand. This example will be mo e ho oughly
analysed u he on in he essay (see below, p.11).
In The Cul u e and Comme ce o Tex s, Lo e di e en ia es h ee modes o
sc ibal publica ion: au ho publica ion, con aining ex s w i en by he au ho himsel ;
en ep eneu ial publica ion, which we e copies o manusc ip s sold by people o he han
he au ho ; and use publica ion, mean o be only o he owne ’s use. This las mode o
sc ibal publica ion de i ed ul ima ely in pe sonal miscellanies o olumes o collec ions
15
Ano he example o dele ion o syllables in o de o s aigh en he me e can be
ound in sonne 31:
E: Bu dái | ly yé | he íll | doe h cháunge | in o | he wóu s
T: And dáy | ly do h | mine ýll | chánge o | he wó se (31.10)
Al hough he hy hmic pa e n o he o iginal line has mo e iambs han To el’s e sion,
i is he numbe o ee which disquali ies i as he expec ed pen ame e : i has six ee .
In he p in ed e sion, on he o he hand, he dele ion o “doe h” and he sho ening o
in o allow he line o i be e in he sonne pa e n despi e ha ing ewe iambs, because
his e sion has i e ee .
Howe e , in his a emp o egula ise he me e, To el some imes p oduces lines
ha do no scan as pe ec iambic pen ame e s ei he . The e is an ins ance o his in
sonne 10.
E: F o in | é e y | cás o | képe s ill | oon gýse
T: Fo in | eche cáse | o képe | s íll | one guíse (10.4)
The manusc ip e sion has i e ee , bu he hy hm is clea ly no iambic as h ee o he
ee a e ochees. In his case, To el dele ed one syllable by changing “e e y” o “eche,”
lea ing he line wi h only nine syllables. The esul is a mo e homogeneous hy hmic
pa e n han he one in he o iginal e sion, ha ing h ee iambs.
In sonne 30, he case is e e sed. The line aken om he Ege on MS has, as in
he p e ious example, en syllables; howe e , hey me ically coun as nine since he
poe uses eminine hyme and he las syllable is uns essed:
E: Alás | he snów | shalbé | bláck & | scálding
T: Alás | he snów | blácke shall | i bée | and scálding (30.5)
Wha seems mo e p oblema ic is he e b “shalbe,” which could ha e ei he i s i s o
second hal accen ua ed. Whe he one chooses he i s o second hal , he esul is he
same; wo s ong syllables ollowing each o he . In o de o sol e his p oblem, To el
ea anged he wo ds and added a new one; i . Thus, he edi o c ea ed one mo e iamb
ha did no exis in he o iginal line.

16
To el’s a emp s o s anda dize also ex end occasionally o hyming schemes.
As i has been explained in his essay, he English sonne was in oduced by Wya , who
changed he s uc u e o he Pe a chan sonne om an oc a e and a ses e , o h ee
qua ains and a hyming couple , a pa e n de eloped by he poe himsel abou 1525
(Spille 3). Howe e , in sonne 26 he inal couple in he Ege on ex seems de ec i e,
as he hyme is a bes app oxima e:
E: Likewise displease h me boe h ly & de h
And my deli e is cause o his s y (26.13-14)
In he edi ion o Wya ’s poems Foxwell dismisses “ly & de h” as a sc ibal e o and
emends he ex adop ing he eading in he De onshi e MS: “de h and ly ” (24).
Ha ie does no emend, bu he duly eco ds he De onshi e a ian as well (124). As i
has al eady been discussed, i is highly unlikely ha To el had access o he De onshi e
MS and i is impossible o know i he copy he used inco po a ed he same co ec ion.
In he A undel Ha ing on MS he ex o his sonne has no been p ese ed, as i was
appa en ly copied in one o wo olios (6162) which ha e been los (Hughey 1:
2223). Wha e e he case, To el’s e sion in e s he o de o he wo ds in he
colloca ion “li e and dea h” o no malise he hyming pa e n:
T: Lo, hus displease h me bo h dea h and li e,
And my deligh is cause o his s i e (26.13-14)
3.3. Li e a y Simpli ica ion
One o he goals o p in ing his miscellany was o “ e ine he un e ined,” as
To el pu i in his p ologue o he eade s. Righ om he beginning o he elabo a ion
o he book, he edi o knows i s in ended eade s, ha is, common people who migh
no ha e had access o cou ly poe y be o e, and mo e pa icula ly, o Pe a chan
poe y. This s yle o poe y has some common cha ac e is ics ha someone who has no
been exposed o i migh ind di icul o unde s and. Fo example, me apho s: hose
d awn om he lady’s eyes, hose desc ibing he lo e ’s su e ing, e c. To el also
suspec ed ha his new eade ship migh no be accus omed o lea ned wo ds wi h La in
17
o Romance e ymology, al hough his ype o simpli ica ion is no he mos common
one.
The s a ing poin o illus a e he simpli ica ion o li e a y de ices will be he
analysis o sonne 32. To el ga e his sonne an explana o y i le ha eads “The loue
p aye h his o ed ha o be eceaued.” The opening lines display signi ican di e ences
be ween he manusc ip and he p in ed e sion:
E: How o ha e I my de e & c uell oo
Wi h hose you Iyes o o ge peace & uyse
P o e d you myn he
T: How o ha e I, my dea e and c uell o:
Wi h my g ea paine o ge some peace o uce,
Geuen you my ha : (32.1-3)
In line 2 he ex s di e . The manusc ip e sion eads “Wi h hose you iyes,”
whils he p in ed e sion is “Wi h my g ea paine.” To el’s modi ica ion simpli ies he
o iginal ex elimina ing one image ha an audience un amilia wi h he con en ions o
Pe a chanism ―o o La in ama o y poe y― migh ha e di icul y in e p e ing. One o
hese con en ions was he concei o he wa o lo e: he poe p esen s himsel as
engaged in a deadly wa agains a c uel oe ( he lady) and ying o ob ain a uce om
he eyes. Pe a chanism makes use o he La in opos o Cupid shoo ing his da s om
he lady’s eyes, which se e as he epi ome o he beau y. He looks a e a sou ce o lo e
(i.e. kindling lo e wi h he looks), bu since he belo ed in Pe a chan poe y is
cha ac e is ically disdain ul, hese lo e-kindling looks ine i ably in lic me apho ical
pain, i.e. he lo e ’s su e ing.
In To el’s e sion o his line, he emphasis on he lo e ’s pain has been
subs i u ed o i s cause ― he lady’s eyes― which comple ely e adica es he o iginal
image. The lo e ’s “g ea paine” is ob iously a side e ec o he un equi ed lo e which
is he subjec o he sonne . In he p in ed e sion, howe e , he eade is in i ed o
assume ha his pain de i es om he lady’s ejec ion, wi hou being poin ed o i s
sou ce h ough an image ha equi es amilia i y wi h he poe ic con en ion o decode
i . The cou ly co e ie among which hese poems o iginally ci cula ed would ha e no
di icul y in e p e ing hem. Howe e , he new eade ship which he miscellany was
18
in ended o did no ha e access o he es ic ed cul u al milieu o he cou , and would
no be amilia , hence, wi h he con en ions o Pe a chanism.
The opening lines o his sonne also display ano he o m o simpli ica ion in
line 3, his ime in ocabula y. While e ising he manusc ip e sion, To el
encoun e ed a wo d―“p o e d”―which is a bo owing om F ench (OED p o e .).
One o he de ini ions o his e b is “ o o e , p esen ,” which could be easily eplaced
by o gi e (OED p o e . 1b). The e b o gi e, on he o he hand, comes om Old
English (OED gi e .), which makes i a pe ec subs i u e o he F ench bo owing.
E: P o e d you myn he
T: Geuen you my ha (32.3)
Ano he ac o suppo his claim ha To el p e e ed he na i e wo d is he
me ical analysis. Bo h “géuen” and “p ó e d” ha e hei s ong syllable in he same
posi ion, and in addi ion o ha , hey a e also wo-syllable long. One could a i e a he
conclusion ha To el changed he e b, no o al e he hy hmic pa e n o leng h o he
line, bu o use a mo e amilia wo d.
As indica ed in he i s qua ain, sonne 32 na a es he s o y o a lo e ha has
o e ed his hea o his belo ed. Howe e , as we lea n in he second qua ain, she
e uses i and, as a consequence o ha , he poe himsel sco ns i . This holds ue o
bo h e sions:
E: Y any o h e loke o i as ye owe
The e ayn weke hope doe h g ea ely heim abuse
And hus I disdain ha ha ye e use
I was ones mine i can no mo e be so
T: I any o he loke o i , as you ow,
Thei aine weake hope do h g ea ly hem abuse.
And ha hus I disdaine ha you e use,
I was once mine i can no mo e be so. (32.5-8)
Howe e , as he a gumen mo es owa ds a esolu ion, he ses e un olds
di e en ly. The Ege on e sion is mo e complex and builds on wo ac ions: he poe ’s
19
d i ing ou his ejec ed hea (OED chase .1 8) and he lady’s e usal o gi e i shel e .
This is explained h ough lines 9 o 11 o he sonne .
E: Y I hen i chase no i in you can ynde
In his exile no manne o com o
No ly e alone no whe e he is called eso
He may wande om his na u all kind (32.9-12)
Spille discusses his change in his book The De elopmen o The Sonne : An
In oduc ion, explaining ha
The poin is ha i he lo e ejec s his own hea , which canno any longe be
his, since i has been o mally p o e ed, hen he hea is exiled; i he lady now
also ejec s i , i canno as an exile ind sanc ua y anywhe e else, and canno li e
alone (since a hea needs a body). (101)
Howe e , in To el’s e sion, he ocus is exclusi ely on he lady’s disdain, making he
a gumen o he poem simple ; as Spille no es: “ he whole bi e ness o exile […] is
los i he ses e does no s a wi h ‘I I…’” (101), which also emphasizes he poin ha
he lo e will no ake his hea back. In he p in ed e sion, he e is only one pe son
e using he hea , and ha is he lady:
T: I you i chase, ha i in you can inde,
In his exile, no mane o com o :
No liue alone, no whe e he is calde, eso
He may wande om his na u all kinde (32.9-12)
Sonne 81 (“Uns able d eam…”) p o ides ano he example o simpli ica ion in
he a gumen , which in his case in ol es also a modi ica ion o he hyming scheme. In
his poem, he lo e has d eamed ha he enjoyed his lady, and add esses his d eam
complaining ha i was oo b ie and ha i is, ob iously, no ue. The o iginal
a gumen compa es he speake ’s mind wi h a “ ossing mew” which “ he uns able
d eam” (“ hou” in he ex ) illed wi h images o his belo ed:
E: By goode espec in such a daunge ous case
Thou b ough es no he in o his ossing mew
20
Bu mades my sp i e ly e my ca e o enew
My body in empes he succou o enb ace (81.5-8)
Wi h his me apho , he mind is desc ibed as a place o con inemen o a cage (OED
mew n.2 1b) which is agi a ed o dis u bed by shi ing eelings o ci cums ances (OED
oss . 4b). This me apho i s pe ec ly in he Pe a chan adi ion, whe e he lo e is
always agi a ed by he p esence o he lady, no only in eali y bu in d eams oo, hus
making him eel a p isone e en in his own head.
To el, howe e , decided o omi his me apho and o ea ange he whole poem.
Again, one his mo i es migh ha e been o make i easie o he new, un ained
eade ship o unde s and he sonne . Ano he eason could ha e been ha he wo d mew
was slowly dying ou , bu he ac ha he did no subs i u e an upda ed e m o he
obsole e wo d (as he did in some o he ins ances), sugges s ha he changed i o
simpli y he a gumen . To el migh ha e seen ha “ ossing” could mo e na u ally be
said o wa es o he sea in gene al (OED oss . 1a), which p o ided him wi h a
con enien subs i u e o mew.
T: By good espec in such a dange ous case
Thou b ough es no he in o hese ossing seas.
Bu mades my sp i e o liue my ca e enc ease,
My body in empes he deligh imb ace (81.5-8)
Ne e heless, changing he las wo d in line 6 (i.e. mews o seas) had i s consequences;
he hyming scheme was no longe alid o a sonne . Hence, he had o change he las
wo d o he ollowing line, “ enc ease” ins ead o “ o enew.” The hyming scheme
changed om a pe ec pa e n abba abba cddc ee in he manusc ip , o abba acca deed
in he p in ed e sion. I has been deba ed whe he i was he edi o o he miscellany
who changed he wo d mew, and Pa ke adds o his ha “i is ce ainly concei able ha
i he wo d mew could wo y To el, i migh also ha e wo ied Wya , and ha he
al e a ion was made by him” (670). Howe e his canno be p o ed, because he change
was no inco po a ed in any o he manusc ip s, only in he miscellany (Foxwell 38;
Ha ie 180; Hughey 1: 156; Rollins 162).
To el’s subs i u ion o seas also had he ad an age o acili a ing
comp ehension, as i is seman ically cohesi e wi h he image o he empes in oduced

21
in line 8: “My body in empes he succou o emb ace.” A e d eaming abou his lady,
i is no only he lo e ’s mind ha is agi a ed because o hese images, bu his body oo.
This agi a ion o mind and body could ha e sexual conno a ions i one links i wi h he
ollowing line: “The body dead, he sp i e had his desi e” (E 81.9). His body is asleep
(i.e. “dede”), bu his mind o “sp y ” is d eaming abou he . In o de o sa ia e his
desi e bu also o calm he empes , he seeks his lady’s body, which would also ac as a
shel e (OED succou n. 4) om he empes ha is his mind. Howe e , his image o
he shel e o he s o m has been e ased by he edi o o he miscellany, who ende s
line 8 as “My body in empes he deligh imb ace” (T 81.8). He migh ha e conside ed
he me apho di icul o unde s and, and hus he subs i u ed deligh o succou . The
esul ing line me ely emphasizes he pleasu e de i ed om he lady in he lo e ’s
d eam.
Ano he example o simpli ica ion o li e a y de ices can be disce ned in sonne
47. In his poem, as To el’s i le explains, “The loue desc ibe h his being s iken wi h
sigh o his loue.” The poe ocuses once again on he lady’s eyes and claims ha hei
b igh ness is such ha hey hu him:
E: The ly ely spe kes ha issue om hose Iyes
Agains he which ne aile h no de ence
Ha e p es myn he (47.1-3)
Fu he on in he sonne , he poe emphasizes his complain compa ing he way he eyes
a ec him wi h a bol o ligh ning:
E: Dased ame I muche like n o he gyse
O one I s icken wi h dyn o ligh <e>ning
Blynded wi h he s oke / e yng he e & he e
So call I o helpe I no when ne whe e
The pain o my al<s> pa ien ly be ing. (47.8-12)
The manusc ip and he p in ed e sion do no di e signi ican ly up o his
poin , bu hey do in he inal couple . The las wo lines in he composi ion de elop he
image o he s o m in oducing wha ollows he ligh ning, ha is, hunde . In he
manusc ip e sion, Wya in eg a es his image in he p esen a ion o he lo e ’s
22
esponse: he oice when she e uses he poe ’s lo e (OED nay n. 3a) is equa ed wi h a
blas o hunde :
E: Fo a e he blase / as is no wounde
O dedly nay he e I he e e ull hounde (47.13-14)
Thunde can be ea ul, and he lady’s e usal in Pe a chan poe y is usually he cause
o he lo e ’s ex eme pain, hence “dedly nay.”
The edi o o he miscellany, howe e , subs i u ed he wo d noyse o nay:
T: Fo s eigh a e he blase (as is no wonde )
O deadly noyse hea e I he ea ull hunde (47.13-14)
By changing he o iginal wo d o noyse, To el omi ed he las me apho , which
emphasized he impac o he lady’s e usal associa ing i wi h hunde . This, once
again, simpli ied he a gumen o he sonne .
Sonne 28 (“My galley cha ged wi h o ge ulness”) is a ansla ion om
Pe a ch’s poem CLXXXIX o “Passa la na e mia colma d'oblio,” and i p o ides he
las example o changes ha simpli y he images used in he ex s. In his case, howe e ,
he modi ica ion is mo e likely o be he esul o misin e p e a ion, owing o he lack o
knowledge o he o iginal I alian sonne , a he han a change o acili a e
comp ehension. As To el ap ly summa ises he a gumen in his i le, “The loue
compa e h his s a e o a shippe in pe ilous s o me ossed on he sea.” A he beginning
o he second qua ain, he poe emphasizes he ex emi y o his su e ing sugges ing
ha dea h would be p e e able:
E: And e e y ow e a hough in edines
As ho ha de h we e ligh in suche a case (28.5-6)
In he manusc ip e sion, i is clea ha Wya ’s in en ion was o use oa , as i is
consis en wi h he image o he boa and i is he wo d ha appea s in Pe a ch’s sonne
(i.e. “ emo”). Fo someone who was no acquain ed wi h he o iginal poem, he spelling
o he wo d in he Ege on ex could ha e been misleading because, acco ding o he
OED, in he six een h cen u y he e m oa could be spelled as owe o ow e (OED oa
n.), which was e y simila o some o he spellings a es ed o hou also in ha pe iod:
23
how e/howe o owa e (OED hou n.); in ac , since he <h> in hou was mu e, i was
o en d opped in w i ing. When he sonne was copied in o he A undel Ha ing on Ms
and, e en ually in o To el’s collec ion, he o m “ow e” was ein e p e ed as “hou ”:
T: And e e y hou e, a hough in eadinesse
As hough ha dea h we e ligh in such a case (28.5-6)
Mo eo e , as Hun e obse es, he p in ing p ess “encou aged s anda disa ion in
spelling” (31), and ow e was no he mos usual spelling o oa . Hun e discusses he
changes in spelling ha ook place wi h he con e sion o ex s om manusc ip o
p in , such as he ca ego iza ion o ‘ ’ as a consonan and ‘u’ as a owel (3031).
O iginally, he le e s ‘ ’ and ‘u’ ep esen ed he same sound (/ /) and we e used
sepa a ely in ini ial and medial posi ion, espec i ely. I was he I alian p in e s who
i s in oduced he dis inc ion o he wo g aphical symbols in he ea ly six een h
cen u y, which can be ound “in English books om he la e 1570s onwa ds, becoming
inc easingly widesp ead so ha by abou 1630 i was uni e sal” (Hun e 3031). I his
p ocess was al eady beginning when To el edi ed his miscellany, he ans o ma ions
ha ow e would ha e su e ed when ansla ed om manusc ip o p in would ha e
made i change om ow e o ouu e/ou e, aking in o accoun ha he le e ‘w’ was
made o wo ‘ ’. This change would ha e d awn e en close he simila i ies be ween he
spellings o oa and hou in he mid-six een h cen u y.
The e is no p oo as o who chose o w i e oa as ow e ins ead o oa e―which
was also used in he six een h cen u y―, whe he i was Wya himsel o he pe son
who copied he poem in he Ege on MS; howe e , wha is impo an is ha he sc ibes
who copied he sonne om he Ege on MS in o he A undel Ha ing on MS
misin e p e ed he wo d and hey chose hou because hey we e no acquain ed wi h
Pe a ch’s o iginal composi ion. The line made pe ec sense o To el, who was no
amilia wi h he I alian o iginal ei he , and hus his change made i s way om he
A undel Ha ing on MS o To el’s Miscellany.
24
4. Conclusions
In sum, his analysis has se ed o p o e ha To el e ised Thomas Wya ’s
sonne s o li e a y and ma ke ing pu poses. He helped o smoo h ou hose sonne s
which did no comply wi h he no m, he upda ed old- ashioned wo ds and ph ases, and
he simpli ied some o he li e a y de ices used in he sonne s so hey could be mo e
easily unde s ood no only by cou ly co e ies, bu by he gene al eade . The e a e
ins ances in his essay ha indica e ha some o he changes in he language and some
o he simpli ica ions we e also ca ied ou in he p ocess o manusc ip ansmission,
al hough hey we e clea ly inc eased in he p in ed e sion o he sonne s: when aced
wi h complex a gumen a ion o use o image y, To el’s e sion ypically chooses he
mo e di ec ende ing a he expense o concep ual di icul y. Mo eo e , he e a e
changes which a e exclusi e o To el’s edi ion and a e aimed a acili a ing
comp ehension, such as he i les o summa ies ha p eceded he poems.
31
O he eioyse ha se he ye b igh
and wene o play in i as hey do p e end
and ynde he con a y o i ha hey in end
Alas o ha so I may be by igh
o o wi hs ond he loke I ame no able
and ye can I no hide me in no da ke place
ememb aunce so olowe h me o ha ace
so ha wi h e y yen swolne & ns able
my des yne o behold he doe h me lede
ye do I knowe I un in o he glede.
O he eioyce, o se he i e so b igh ,
and wene o play in i , as hey p e ende:
bu inde con a y o i , ha hey en ende.
Alas, o ha so may I be by igh .
Fo o wi hs and he loke I am no able:
ye can I no hide me in no da ke place:
so olowe h me ememb ance o ha ace:
ha wi h my ea y eyen, swolne, and uns able,
my des eny o beholde he do h me leade:
and ye I know I unne in o he gleade.
26.
Desc ip ion o he con a ious passions in a
loue .
I ynde no peace and all my wa is done
I e e & hope I bu n & eise like yse
I ley abo e he wynde ye can I no a ise
and nough I ha e & all he wo old I seson
Tha lose h no locke h holde h me in p ison
and holde h me no ye can I scape no wise
no le e h me ly e no dye a my de ise
and ye o de h i gy e h me occasion
Wi hou e Iyen I se & wi hou e ong I plain
Idesi e o pe isshe and ye I aske hel he
I lo e an o h e and hus I ha e my sel
I ede me in so owe & laugh in all my pain
likewise displease h me boe h ly & de h
and my deli e is cause o his s y .
I inde no peace, and all my wa e is done:
I ea e and hope: I bu ne, and ese like yse:
I lye alo , ye can I no a ise:
and nough I haue, and all he wo lde I season
ha lockes no lose h, holde h me in p ison.
And holdes me no , ye can I scape no wise:
no le es me liue, no dye, a my deuise,
and ye o dea h i geue h me occasion.
Wi hou eye I se, wi hou ong I playne:
I wish o pe ish, ye I aske o hel h:
I loue ano he , and I ha e my sel e.
I ede me in so ow, and laugh in all my paine,
Lo, hus displease h me bo h dea h and li e,
and my deligh is cause o his s i e.
28.
The loue compa e h his s a e o a shippe in
pe ilous s o me ossed on he sea.
My galy cha ged wi h o ge ulnes
ho ough sha pe sees in wyn e nygh es doe h
My galley cha ged wi h o ge ulnesse,
h ough sha p seas, in win e nigh es do h passe,

32
[pas
wene Rock and Rock & eke myn ennemy Alas
ha is my lo de s e i h wi h c uelnes
And e e y ow e a hough in edines
as ho ha de h we e ligh in suche a case
an endles wynd doe h e e he sayll a pase
o o ced sigh es and us y e e ulnes
A ayn o e is a clowde o de k disdain
ha h done he we ed co des g ea hinde aunce
w e <c>hed w h e ou & eke wi h igno ance
The s a es be hid ha led me o his pain
d owned is eason ha should me com o
and I emain dispe ing o he po .
wene ocke, and ocke: and eke my o (alas)
ha is my lo d, s e e h wi h c uelnesse:
and e e y hou e, a hough in eadinesse,
as hough ha dea h we e ligh in such a case.
An endelesse winde do h ea e he sayle apace
o o ced sighes and us y ea e ulnesse,
a ayne o ea es, a clowde o da ke disdaine
haue done he we ied coa des g ea hinde ance.
W e hed wi h e ou and wi h igno ance,
he s a es be hidde, ha leade me o his paine,
d ownde is eason ha should be my com o :
and I eamaine, dispai ing o he po .
30.
How npossible i is o inde quie in loue.
E e myn happ is slack & slo in comyng
desi enc esing myn hope nce ain
ha le e i o way i doe h me like pain
and Tig e like swi i is in pe ing
Alas he snow shalbe black & scalding
he See wa e les isshe in he moyn ain
he Tamys shall e o n back in o his on ain
and whe e he ose he sonne shall ake lodging
E e ha I in his ynde peace o quye enes
o< >n ha lo e o my lady igh wisely
le e o conspi e again me w ong ully
And i ha I ha e a e suche bi e nes
any hing swe e my mou h is ow e o as
ha all my us & a aill is bu was .
E e my hap is slacke and slow in commyng
Desi e enc easing ay my hope unce aine:
wi h doub ull loue ha bu enc ease h paine
o Tig e like so swi i is in pa ing.
Alas he snow blacke shall i bee and scalding,
he sea wa e lesse and ishe upon he moun aine:
The Temmes shall backe e ou ne in o his
[ oun aine
And whe e he ose he sunne shall ake his
[lodging.
E e I in his inde peace o quie nesse,
O ha loue o my ladie igh wisely
Leaue o conspi e agains me w ong ully.
And i I haue a e such bi e nesse,
One d op o swe e, my mou h is ou o as e:
ha al my us and aueil is bu was e.
33
31.
O loue, o une, and he loue s mynde.
Lo e and o une and my mynde ememb e
o ha ha is now wi h ha ha ha h ben
do o men me so ha I e y o en
en y heim beyonde all mesu e
Lo e slei h myn he o une is dep i e
o all my com o he olisshe mynde hen
bu ne h & plaine h as one ha sildam
ly e h & es s ill in displeasu e
My plaisaun dayes hey le e away & passe
bu daily ye he ill doe h chaunge in o he wou s
and mo e hen he hal is un o my cou s
Alas no o s eill bu o b ickell glasse
I see ha om myn hand alle h my us
and all my hough es a e dasshed in o dus .
Loue, o une, & my mind which do emembe
eke ha is now, & ha , ha once ha h bene:
o men my ha so so e ha e y o en
I ha e and enuy hem beyonde al measu e.
Loue slee h my ha while Fo une his dep iue
o all my com o : he olishe minde han:
bu ne h and plain h, as one ha e y seldain
liue h in es . So s ill in displeasu e
my pleasan dayes hey le e away and passe:
and dayly do h mine yll change o he wo se:
whyle mo e hen hal e is unne now o my cou se.
Alas no o s eele, bo o b i le glasse,
I se ha om my hand alle h my us :
and all my hough es a e dashed in o dus .
32.
The loue p aye h his o ed ha o be
eceaued.
How o ha e I my de e & c uell oo
wi h hose you Iyes o o ge peace & uyse
p o e d you myn he bu you do no se
emong so high hinges o cas you mynde so
[lowe
Y any o h e loke o i as ye owe
he e ayn weke hope doe h g ea ely heim abuse
and hus I disdain ha ha ye e use
i was ones mine i can no mo e be so
Y I hen i chase no i in you can ynde
in his exile no manne o com o
no ly e allone no whe e he is called eso
He may wande om his na u all kynd
so shall i be g ea hu n o s wayn
and you he losse and myn he dedly pain.
How o haue I, my dea e and c uell o:
wi h my g ea paine o ge some peace o uce,
geuen you my ha : bu you do no use,
In so hie hinges, o cas you minde so low.
I any o he loke o i , as you ow,
hei aine weake hope do h g ea ly hem abuse.
And ha hus I disdaine ha you e use,
i was once mine i can no mo e be so,
i you i chase, ha i in you can inde,
in his exile, no mane o com o :
no liue alone, no whe e he is calde, eso ,
he may wande om his na u all kinde.
So shall i be g ea hu un o us wayne,
and you s he losse, and mine he deadly payne.
34
47.
The loue desc ibe h his being s iken wi h
sigh o his loue.
The ly ely spe kes ha issue om hose Iyes
agains he which ne aile h no de ence
ha e p es myn he and done i non o ence
wi h qwaking pleasu e mo e hen ons o wise
Was ne e man could any hing de ise
he sonne bemes o o n w h so g ea ehemence
o dase mans sigh as by hei b igh p esence
dased ame I muche like n o he gyse
O one I s icken wi h dyn o ligh <e>ning
blynded wi h he s oke / e yng he e & he e
so call I o helpe I no when ne whe e
The pain o my al<s> pa ien ly be ing
o a e he blase / as is no wounde
o dedly nay he e I he e e ull hounde .
The liuely spa kes, ha issue om hose eyes,
agains he which he e aile h no de ence,
haue pe s my ha and done i none o ence,
wi h quaking pleasu e, mo e hen once o wise.
Was neue man could any hing deuise,
sunne beames o u ne wi h so g ea ehemence
o dase mans sigh , as by hei b igh p esence
dased am I, much like un o he gise
o one s iken wi h din o ligh ening,
blinde wi h he s oke, and c ying he e and he e,
so call I o helpe, I no when, no whe e,
he pain, o my all pacien ly bea ing.
Fo s eigh a e he blase (as is no wonde )
o deadly noyse hea e I he ea ull hunde .
81.
The loue hauing d eamed enioying o his
loue, complaine h ha he d eame is no ei he
longe o ue .
Vns able d eme acco ding o he place
be s ed as ons o els a leis be ue
by as ed swe enes / make me no o ew
he sudden losse o hy als ayned g ace
By goode espec in such a daunge ous case
hou b ough es no he in o his ossing mew
bu mades my sp i e ly e my ca e o enew
my body in empes he succou o enb ace
The body dede he sp y had his desi e
paynles was hone ho h e in deligh
Why hen Alas did i no kepe i igh
e o ning o lepe in o he i e
And whe e i was a wysshe i could no emain
Vns able d eame acco ding o he place,
be s ed as ones, o els a leas be ue.
By as ed swe enesse, make me no o ew
he sodeyn losse o hy alse ayned g ace.
By good espec in such a dange ous case
hou b ough es no he in o hese ossing seas.
Bu mades my sp i e o liue my ca e enc ease,
my body in empes he deligh imb ace,
he body dead, he sp i e had his desi e.
Painlesse was hone, he o he in deligh .
Why hen alas did i no kepe i igh ,
bu hus e u ne o leape in o he ie :
and whe e i was a wish, could no emaine:
35
such mockes o d emes hey o ne o dedly pain.
such mockes o d eames do u ne o deadle paine.
98.
The loue nhappy bidde h happy loue s
eioise in Maie, while he waile h ha mon h o
him mos nlucky.
You ha in lo e inde lucke and habundance
and li e in lus and Ioy ul Ioli ie
a ise o shame do away you slugga die
a ise I say do may some obse unce
Le me in bed lye d eming in mischaunce
le me ememb e he happs mos nhappy
ha me be ide in may mos comonly
as oon whome lo e lis li il o a aunce
Sephame saide ue ha my na iui ie
mischaunced was w he ule o he may
he ges I p o e o ha he e i ie
In may my wel h and eke my li I say
ha e s onde so o in such pe plexi ie
eioyse le me d eme o you elici ie.
Ye ha in loue inde luck and swe e abundance
and liue in lus o ioy ull loli ie,
a ise o shame, do way you slugga dy:
a ise I say, do May some obse uaunce.
Le me in bed lye, d eamyng o mischance.
Le me emembe my mishappes unhappy,
ha me be yde in May mos commonly
as one whom loue lis li le o aduance.
S ephan saide ue, ha my na iui ie
mischanced was wi h he ule o May.
He ges (I p oue) o ha he e i ie.
In May my wel h, and eke my wi es, I say,
haue s and so o in such pe plexi ie.
Ioy: le me d eame o you elici ie.