Thomas Campion's artistry, deeply rooted in the Elizabethan era, is marked by his affinity for classical mythological themes, courtly love, and the intricate intertwining of music with poetry. His oeuvre, though often considered lighter in substance compared to the likes of Shakespeare or Donne, shines through its musicality, which captivates the ear with its melodic cadence. This unique auditory quality elevates Campion above many of his contemporaries, establishing him as a notable miniaturist in both verse and song.

Poetic Miniaturism and Musicality

Campion excelled in crafting short poems, particularly in the form of airs, which remain some of the finest art songs in English literature. His long-form masques, though less compelling in narrative depth, succeed due to their modular structure comprised of enchanting songs and speeches, creating the pageantry essential to the masque without relying heavily on plot. Despite his ventures into longer verse forms, Campion's talent distinctly lies in brief, impactful compositions, a testament to his skill in miniature artistry.

Exploration of Quantitative Meter

Campion's engagement with quantitative meter, honed through Latin poetry, brought forth two volumes of Latin verse. These works predominantly consist of epigrams and occasional poems, often laced with humor or critical reflection on figures like Barnabe Barnes or Francis Drake. While his longer Latin compositions, like the Ovidian-inspired Umbra, lack the vigor of his shorter works, they demonstrate Campion's dedication to exploring poetic form across languages, albeit with varying degrees of success.

The Masque: A Theatrical Canvas

The debate between Ben Jonson and Inigo Jones on the essence of masques—whether plot or spectacle reigns supreme—could have easily included Campion as a key figure. His masques, though not notable for elaborate stagecraft or dramatic complexity, are memorable for their musical richness. Campion's collaborations with Jones yielded masques that, while narratively sparse, succeeded through their ability to create a vibrant spectacle through music and song, emphasizing pageantry over dramatic storytelling.

Key Masques and Their Allegories

Lord Hay’s Masque (1607) stands as a politically resonant piece, celebrating the union of James Hay and Honora Denney amidst the backdrop of a newly unified Scotland and England. Through allegory, the masque touches on themes of reconciliation and unity, with music playing a central role in conveying its celebratory tone.

The Lord’s Masque (1613), presented at Princess Elizabeth's wedding, contrasts its predecessor with a more direct allegory involving Orpheus and Entheus, highlighting the liberating power of music. Meanwhile, The Caversham Entertainment offers a lighter, plotless interlude centered on rural themes and the value of companionship.

The Somerset Masque inadvertently mirrors the turbulent backdrop of its time, celebrated amidst the scandal of Frances Howard and Robert Carr's marriage, marked by the murder of Sir Thomas Overbury. The masque's allegorical figures prefigure the chaos and confusion that marred the couple's union, signaling an end to Campion's involvement with the Jacobean court.

The Art of Airs

Campion's five books of airs, though somewhat misleadingly numbered, encapsulate his lyrical prowess. Encompassing both secular and sacred themes, these collections reveal a progression towards more explicit, earthy verse, particularly in later works. Campion's delicate balance of sound and meaning in his airs is exemplified by his mastery of word painting, where the music mirrors the narrative's emotional undercurrents.

His technique, while at times bordering on theatricality, is often subtle and nuanced. Songs like "Fire, fire, fire" and "When to her Lute Corinna Sings" illustrate Campion's skillful integration of music and poetry, with melodic lines that enhance the textual imagery. In "There is a Garden in Her Face," the musical repetition of "Till cherry ripe" echoes the street cries of London, infusing the poem with a commercial irony that enriches its interpretation.

Perhaps the most subtle example of his word painting is "Never weather-beaten sail," where the serene melody contrasts with the theme of worldly weariness, offering a dual perspective of earthly struggles viewed through a divine lens. This sophisticated interplay between text and music underscores Campion's legacy as a poet whose work transcends mere words, drawing the listener into a harmonious world of sound and meaning.