William Basse
William Basse was an English poet, believed to have been born around 1583 in Moreton, Oxfordshire. Emerging as a literary figure in the early 17th century, Basse's works reflect the influences of the late Elizabethan era, particularly the style of Edmund Spenser. His first published work, "Sword and Buckler: Or, A Serving-Man's Defence," appeared in 1602 and advocates for the dignity of the serving class, highlighting the loyalty of servants despite their often harsh treatment. Basse's relationship with Lady Wenman, an educated woman of literary interest, may have played a significant role in his life and work, as he served in various capacities in her household.
His poetry often revolves around themes of love and rural life, as seen in his "Three Pastoral Elegies," which exhibit Spenserian conventions. Notable among his contributions is "Elegy on Shakespeare," a tribute written between 1616 and 1623 that garnered appreciation from his contemporaries. Additionally, Basse's narrative poem "Urania: The Woman in the Moone," dedicated to Prince Henry, showcases his wit and playful satire. Overall, Basse’s poetry embodies a blend of restraint and artistic sensibility, illustrating the diverse influences and styles of early 17th-century English literature.
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William Basse
Poet
- Born: c. 1583
- Birthplace: Probably Moreton, near Thame, Oxfordshire, England
- Died: 1653
Biography
Although biographical information on the author is very sketchy, William Basse appears to have been born in Moreton, near Thame, in Oxfordshire, England, in about 1583. Scholars have obtained much of their information on Basse’s life from the contents, dedications, and titles of his poems.
Sword and Buckler: Or, A Serving-Mans Defence, thought to be Basse’s first publication, appeared in 1602. The poem, an argument on behalf of the serving class, emphasizes the positive qualities and loyalty of most servants, despite frequent abuse at the hands of their employers. Basse’s purpose was not to incite insurrection, but rather to debate the issue.
It is probable that Lady Wenman, daughter of Sir George Fermor of Easton Neston in Northhamptonshire, and an educated woman of some literary achievement, was drawn to Basse, a gifted young student at the Northampton Free Grammar School. It is also believed that that upon her marriage to Sir Robert Wenman, most likely after he was knighted in 1596, the young Basse accompanied her to Thame Park as a page. It is likely that Basse was a native of Northampton who worked and lived nearly his entire life in Oxfordshire at Thame Park in service to Lord Wenman not only as a page but later as the family poet.
Three Pastoral Elegies of Anander, Anetor, and Muridella, published in 1602, show that Edmund Spenser was the strongest single influence on Basse’s writing. In these works, the author uses the conventions of love poetry popular at the end of the Elizabethan era. Otherwise unremarkable, the elegies describe country life in vivid detail. He is thought to have been under eighteen years of age when he published the elegies. The date of Basse’s marriage to his wife, Helinor, is uncertain.
The first poem after 1602 to have a specific date of composition is the long narrative poem “Urania: The Woman in the Moone,” which, since it is dedicated to prince Henry, must have been written before the Prince’s death in 1612. Basse’s most original work and possibly his best achievement, the piece is a light and playful satire about women; the work is reminiscent of Ovid’s Metamorphoses.
Basse’s best-known poem, “Elegy on Shakespeare,” written between 1616 and 1623, was well received by Basse’s contemporaries. “The Pastorals, and Other Workes of W. B.,” which was prepared for publication in 1653 but was not printed, is a collection containing Basse’s most mature work. Although inspired by Spenser’s eclogues, Basse, rather than creating public affairs or crises that trouble Spenser’s characters, focuses on a much more visual landscape.
Basse was a powerful storyteller; his poetry, however, is marked more by restraint and artistic sensibility than by innovation. His work serves as an example of the variety of Spenserian imitation current in the seventeenth century and the innovations that his humanist poetics could produce.