Aurelian Townshend
Aurelian Townshend was an English poet and librettist born around 1583 in West Dereham, Norfolk. He initially gained attention when Sir Robert Cecil sent him abroad for education, although his time in Paris and Venice was marred by financial difficulties. After returning to England, Townshend reestablished connections with the Cecils and eventually married Anne Wythies, with whom he had five children. His literary career peaked around 1631 when he succeeded Ben Jonson as the librettist for the royal masques performed at the court of King Charles I. Notable works from this period include "Albions Triumph," which portrays the king as a Roman emperor, and "Tempe Restord," dedicated to the queen. Townshend's poetry, influenced by metaphysical themes, includes love lyrics and praises for significant figures of his time. His elegy for Charles I and a dialogue published in 1651 mark some of his last known works. While not extensively prolific, Townshend’s contributions to literature reflect the aesthetic values of the 17th century, earning him recognition from later critics such as T. S. Eliot. His work invites further exploration for those interested in the literary culture of his era.
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Aurelian Townshend
Poet
- Born: c. 1583
- Birthplace: West Dereham, Norfolk, England
- Died: c. 1651
Biography
The life of Aurelian Townshend can be difficult to trace. He was born around 1583 to John and Anne Catlin Townshend in West Dereham, Norfolk, England. In 1600, Sir Robert Cecil, who later became Earl of Salisbury, noticed the young Townshend, and believing he would make a good attendant for his son William, Cecil sent Townshend to be educated on the Continent. Townshend spent three years abroad, in both Paris and Venice. During this time, however, he had a number of financial difficulties, perhaps leading to an estrangement with the elder Cecil. He was called home in 1603, and had difficulty on the trip, first injuring an ankle, and then becoming seriously ill.
In 1608, William Cecil married Catherine Howard, Countess of Salisbury. Townshend wrote a poem dedicated to Howard called “Victorious Beauty.” Townshend seems to have resolved his problems with the Cecils by this time, and when the elder Cecil was dying, Townshend attended him. Sometime after 1612, Townshend married Anne Wythies of Yorkshire. The couple had five children. In addition, Townshend adopted his wife’s son by her previous marriage.
Most of Townshend’s literary success occurred around 1631. In that year, Inigo Jones, architect and designer of the court masques presented for King Charles, and Ben Jonson, poet and composer of the masques, had a serious argument, leading to Jonson’s dismissal from his post. Townshend apparently replaced Jonson as the librettist of the court masques. He composed a masque for the king, Albions Triumph: Personated in a Maske at Court, By the Kings Maiestie and His Lords, the Sunday after Twelfe Night, 1631, that was performed on January 8, 1632. In this masque, Charles is portrayed as a Roman emperor and his queen as the goddess Alba. Townshend next composed the queen’s masque, Tempe Restord: A Masque, Presented by the Queene, and Foureteene Ladies, to the Kings Maiestie at Whitehall on Shrove-Tuesday, 1631, performed on February 14, 1632.
During the same period, Townshend produced a series of about seventeen poems. Most were love lyrics or poems in praise of important people. As a metaphysical poet, Townshend’s poems at time reflect the influence of John Donne. In contrast to these verses, Townshend also composed a drinking song for a play in 1639.
Townshend also developed a close friendship during this time with the poet Thomas Carew. The last pieces of writing known to be Townshend’s were an elegy written in 1649 on the death of Charles I and the 1651 “A Dialogue: Amyntas, ho!,” which appeared in a book by Clement Barksdale. These are the last clues to Townshend’s life, and scholars have been unable to ascertain a definite date of death.
While Townshend’s body of work comprises just two court masques and a handful of poems, the quality of his work reveals important details of the aesthetic values of his day. Twentieth century poet and critic T. S. Eliot, scholar E. K. Chambers, and Hugh Kenner have all commented favorably on his work. In addition, because Townshend’s masques and poems were so well thought of in his own day, they invite serious study for scholars interested in seventeenth century literature and culture.