Themes and Meanings (Masterplots II: Poetry, Revised Edition)
Any attempt to understand “L’Allegro” and “Il Penseroso” as a pair does not exhaust the readings that “Il Penseroso” is able to generate in itself. This is largely attributable to the thematic complexity surrounding the idea of melancholy, a complexity not found in discussing mirth. Renaissance literature was profoundly interested in the subject: The Anatomy of Melancholy (1621) by Robert Burton had recently been published; William Shakespeare’s Hamlet (1602) and Timon of Athens (c. 1607-1608) are both dramatic studies in the subject, as were many Jacobean plays. The melancholic person was seen ambiguously as a killjoy (in comedy), a depressive, and a scholar, and as having a source of wisdom denied to others. The interest in melancholy was partly an extension of medieval psychology and physiology, based on the notion of the humors, but it partly arose from a cultural mood of confusion and insecurity.
Modern readers are tempted to read into the poem the Romantic delineation of melancholy, expressed by such poets as Samuel Taylor Coleridge, Keats, and Alfred, Lord Tennyson. Keats’s version seems the closest to that of “Il Penseroso,” with its depiction of moonlit night, woods, streams, cloud, shade, and visions of the sublime. Thus, the poem could be read (somewhat anachronistically) as a Romantic mood poem: searching for intensity of experience, reaching beyond normative states of consciousness into ecstasy...
(The entire section is 535 words.)
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