Henry Lawes was the preeminent songwriter among the musicians associated with the court of Charles I. He was especially valued and praised by contemporary poets because the style of early baroque mono...
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In the following essay, Evans points out that Lawes set a version of Shakespeare's Sonnet 116 to music, which she says establishes that the composer was the only contemporary who collaborated w...
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In the following excerpt, Evans shows that Lawes set to music a version of Charles Cotton's poem “The Picture.”
Hearty, cheerful Mr. Cotton and pious Izaak Walton shared enthus...
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In the following essay, Freedman provides evidence to show that Lawes may have been responsible for Miton's poem “On Shakespeare” appearing as a preface to the playwright's...
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In the following essay, Shawcross discusses the music Lawes composed for Milton's masque Comus, arguing that the text may have been altered after the composition of the music.
In a former ar...
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In the following excerpt, Davidson speculates on the relationship between Milton and Lawes through a reading of Milton's sonnet of praise to the composer.
Milton's encomiastic sonnet ...
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In the following essay, Carpenter offers an interpretation of Milton's sonnet in praise of Lawes, arguing that the poem likens Lawes to Casella and the poet himself to Dante.
Several of Milt...
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In the following essay, Baruch argues that in his masque Comus Milton characterizes Lawes, who plays the role of the Attendant Spirit, as the teacher and dramatic guide for the Egerton children.
Mu...
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In the following excerpt, an expanded version of a lecture delivered in 1991, Hamessley considers whether, in setting Katherine Philip's poetry to music, Lawes projected, masked, or suppressed ...
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