Lanyer Hero's Journey

In addition of praising the Countess and her daughter, Lanyer also covertly alludes to her own worth as a poet by making use of references to Greek mythology to show to the Countess, as well as potential patrons who might have read her poetry, that despite her low class, she is educated. Though Lanyer does not explicitly state this, by using such references she is suggesting her education is great though her status may not be. Lanyer makes reference to Phoebus-Apollo, the Greek god of light, in the lines:

Whose fair green leaves much like a comely veil,

Defended Phoebus when he would assail:

Whose pleasing boughs did yield a cool fresh air,

Joying his happiness when you were there. (Cookham 63-66)

The Columbia electronic Encyclopedia explains

that Phoebus is most associated with being the Greek god of light, specifically illuminating the earth and the souls of men. By referencing this Greek figure, Lanyer is expressing her knowledge of this figure and using it as a point of praise to the Countess. Lanyer also makes reference to another Greek figure, though minor. The first reference to Philomena is in the lines, “And Philomena with her sundry lays, / Both you and that delightful place did praise” (Cookham 31-32), as well as further on in the poem in an unhappy tone, “Fair Philomena leave her mournful ditty, / Drowned in deep sleep, yet can procure no pity” (Cookham 189-190). Here the Columbia electronic encyclopedia clarifies that Philomela was raped by her sister’s husband who then cut out her tongue, and as revenge her sister Procne killed their child, and the Gods transformed them all into birds. Philomela was transformed into a Nightingale, where the female birds are noted for their lack of song, while the males however, can sing. Like the references to Biblical figures, using Greek figures in praise of the Countess only further exemplifies the social differences between the Countess and Lanyer. Holmes mentions that, “Classical references gave Lanyer literature and culturally-sanctioned expressions of same-gendered desire in the same way that male writers could,” (Holmes 173), meaning that in addition to expressing to others her education, the references allowed her to express certain feelings that were previously only stated by male writers. It is interesting that Lanyer mention Philomela who was a victim of male abuse in reference to the Countess who had troubles in her marriage . Lanyer is attempting to bridge the social gap between herself and the Countess by suggesting that while she is not of a high-social class, her education is fitting.
Another technique, in addition to the mystical references Lanyer uses the Pathetic Fallacy to express her true feelings towards the Countess as well as to comment about her displeasure in the inability to become true friends with the Countess and her daughter due to social and economic class.

One example of Lanyer’s use of pathetic fallacy is in the lines, “The little birds in chirping notes did sing, / To entertain both you and that sweet spring” (Cookham 29-30), can be read literally as birds singing in praise to the Countess, however like the bird, Lanyer uses poetry to sing the praises of the Countess as well as to entertain her. Though the Countess may not have noticed the double meaning behind Lanyer’s words, Lanyer felt as if she could not express her true feelings about the Countess and her financial situation blatantly, and the use of the pathetic fallacy allows her to do this. Even though some of Lanyer’s lines are critical of the social class, Lanyer’s praises of the Countess and her daughter are not any less sincere. Lanyer had to remember that she must remain in her place as a woman of lower-class addressing the Countess, and Anne Baynes Coiro observes that, “A crucial parts of her social radicalism is that Lanyer is writing as a woman writer to aristocratic women” (Coiro 830), meaning that as a female writer Lanyer must always be aware of her word choice, and what topics are appropriate for her to openly discuss, while remaining appealing to potential

patrons.
As a final comment on her dissatisfaction and acknowledgement of her low social status, Lanyer makes reference to the limiting and restrictive nature of having to work under patronage. The ending lines of the country-house poem,
When I am dead thy name in this may live
Wherein I have performed her noble hest,
Whose virtues lodge in my unworthy breast,
And ever shall, so long as life remain,
Tying my heart to her by those rich chains, (Cookham 204-210)
Lanyer though offering praise once again to the Countess, also refers to her by mentioning chains, which are a restrictive object and carry a negative connotation.

Chains restrict movement, but also serve as a link between two object, or in this case, Lanyer and the Countess. Lanyer acknowledges her low statues yet again as she refers to herself as ‘unworthy’ in comparison to the Countess and her daughter. Vassiliki Markidou comments that, “Although Lanyer’s temporary stay at Cooke-ham might have offered her the prospect of securing a patron in the Countess . . . the aristocratic departure prompted the painful realization that her social situation was a deeply fragile one” (Markidou 15), which is evident as the poem draws to a close and Lanyer realizes that her affections for the Countess and her daughter were stronger than their feelings were for her. Though the Countess may not have carried the same affections for Lanyer, Lanyer reflects on feeling chained to her emotionally as well as realizing that as a woman seeking patronage, she must always operate under those of higher class. Coiro perceives that, “Lanyer shows the chains of obligation, need, love, and sometimes humiliation which bind her to the women above her” (Coiro 836), this is especially evident in the closing of the country-house poem as Lanyer laments the departure of the Countess and her daughter, and must face the fact that she cannot change her social

class.
While some scholars such as Holmes, who believe in the sincerity of Lanyer’s praises while other scholars such as Su Fang Ng think otherwise. Ng remarks on the works of Lanyer that, “Aemilia Lanyer published her poem on the Passion of Christ to solicit patronage, not to celebrate it” (Ng 434), suggesting that Lanyer’s poems are not honest in meaning. Ng goes on to suggest that Lanyer, “Conforms to prevalent poetic practices in soliciting patronage,” (Ng 434) signifying that Lanyer is no different than other poets seeking patronage. Another scholar, Barbara K. Lewalski views Lanyer as imaginative observing that Lanyer, and the Clifford women, “Rewrite the patronage in female terms, imagining for the poet Lanyer a family of maternal and sisterly patronesses who will honor and reward her celebrations of them” (Lewalski 241), while on the other hand Coiro warns that readers, “Should be moved by the sisterhood, but we should not be blind to the rich chains” (Coiro 836). These scholars offer both critical and favorable views on Lanyer and her place within the patronage system.
Within the male dominated world of patronage, and poetry, Lanyer is able to navigate the unreliable nature of writing as a means of income. Though Lanyer had to write in service and praise of others, she was able to establish real and genuine connections with her patrons. Lanyer’s praises of the Countess though solicited, were genuine, as she demonstrates in her various techniques to illustrate her devotion and admiration, and as Coiro poignantly notes, “Above all, Lanyer is a writer who write in service to those above her while acutely conscious of those below” (Coiro 833). Lanyer is able to write in commendation of other women, as well as critiquing the system in which she is inevitable chained to.