Book contents
- Frontmatter
- Contents
- Lyric Address: By Way of an Introduction
- 1 Staying in Tune with Love: Hadewijch, ‘Song 31’ (thirteenth century)
- 2 O Brittle Infirm Creature: Anonymous (Gruuthuse MS), ‘Song’ (c. 1400)
- 3 Lyric Address in Sixteenth-Century Song: Aegied Maes (?), ‘Come hear my sad complaint’ (before 1544)
- 4 An Early Modern Address to the Author: Pieter Corneliszoon Hooft, ‘My love, my love, my love’ (1610)
- 5 Parrhesia and Apostrophe: Joost van den Vondel, ‘Salutation to the Most Illustrious and Noble Prince Frederick Henry’ (1626)
- 6 Lyrical Correspondence: Maria Tesselschade Roemers Visscher, ‘To My Lord Hooft on the death of Lady Van Zuilichem’ (1637)
- 7 The Apostrophic Interpellation of a Son: Jan Six van Chandelier, ‘My Father’s corpse addressing me’ (1657)
- 8 Guilty Pleasure: Hubert Korneliszoon Poot, ‘Thwarted attempt of the Poet’ (1716)
- 9 Same-Sex Intimacy in Eighteenth-Century Occasional Poetry: Elizabeth Wolff-Bekker, ‘To Miss Agatha Deken’ (1777)
- 10 Nature, Poetry and the Address of Friends: Jacobus Bellamy, ‘To my Friends’ (1785)
- Epilogue: Lyrical and Theatrical Apostrophe, from Performing Actor to Textual Self
- List of Poems (Sources)
- Index of Names
4 - An Early Modern Address to the Author: Pieter Corneliszoon Hooft, ‘My love, my love, my love’ (1610)
Published online by Cambridge University Press: 11 December 2020
- Frontmatter
- Contents
- Lyric Address: By Way of an Introduction
- 1 Staying in Tune with Love: Hadewijch, ‘Song 31’ (thirteenth century)
- 2 O Brittle Infirm Creature: Anonymous (Gruuthuse MS), ‘Song’ (c. 1400)
- 3 Lyric Address in Sixteenth-Century Song: Aegied Maes (?), ‘Come hear my sad complaint’ (before 1544)
- 4 An Early Modern Address to the Author: Pieter Corneliszoon Hooft, ‘My love, my love, my love’ (1610)
- 5 Parrhesia and Apostrophe: Joost van den Vondel, ‘Salutation to the Most Illustrious and Noble Prince Frederick Henry’ (1626)
- 6 Lyrical Correspondence: Maria Tesselschade Roemers Visscher, ‘To My Lord Hooft on the death of Lady Van Zuilichem’ (1637)
- 7 The Apostrophic Interpellation of a Son: Jan Six van Chandelier, ‘My Father’s corpse addressing me’ (1657)
- 8 Guilty Pleasure: Hubert Korneliszoon Poot, ‘Thwarted attempt of the Poet’ (1716)
- 9 Same-Sex Intimacy in Eighteenth-Century Occasional Poetry: Elizabeth Wolff-Bekker, ‘To Miss Agatha Deken’ (1777)
- 10 Nature, Poetry and the Address of Friends: Jacobus Bellamy, ‘To my Friends’ (1785)
- Epilogue: Lyrical and Theatrical Apostrophe, from Performing Actor to Textual Self
- List of Poems (Sources)
- Index of Names
Summary
The goal is to be on both sides of the poem / Shuttling between the you and I
Ben LernerIt is a famous case in Dutch literary studies. Of the many sonnets Hooft wrote, this sonnet in which the blissful intimacy between the speaker and his beloved sadly turns out to be a dream, seems to be the one that is most often discussed. The sonnet has been interpreted in different ways and it even led to a polemic about the right way to read seventeenth-century poems. Despite their differences, all these interpretations make use of the author as a unifying principle. The poem is understood as something that sheds light on the author – either on his life (Hooft wrote this sonnet four months before he married Christina van Erp, to whom he [pseudonymously] addressed his manuscript version of the poem), or on his authorship. In the latter case, the sonnet is regarded as a proof of Hooft's inventiveness and originality. The time has come, I believe, to see the sonnet in a different light – not from the perspective of the author Hooft, but rather the other way around. In this contribution, I want to suggest that the poem demonstrates how the author as a unifying and meaning-giving principle came into being.
But in what way is this sonnet about a thwarted lover's dream, actually a sonnet in which an author constitutes himself as the one who has created the truth of the sonnet? In order to answer that question, I will first look at Foucault's notion of the author function, and then turn to Jonathan Culler's apostrophe and Joel Fineman's conception of the sixteenth- and seventeenth-century sonnet (see Foucault, 1969; Culler, 1981; and Fineman, 1986). Foucault, first of all, because he pleaded several times – both implicitly and explicitly – to adopt the perspective on the author I am suggesting here. In ‘Qu’est-ce qu’un auteur?’ (1969), for example, he explicitly proposed to see the author not as a phenomenon ‘outside and anteceding’ the text; rather, he encouraged others and himself to ask why, since the beginnings of modernity, we tend to see the author in that way (Foucault, 1984, p. 101).
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- Information
- Lyric Address in Dutch Literature, 1250–1800 , pp. 75 - 88Publisher: Amsterdam University PressPrint publication year: 2018