Майкъл Дрейтън (1563-1631) е английски поет. Неговите сонети се класират сред най-добрите творения на периода и са на второ място след тези на Шекспир.
Поредицата сонети "Идея" на Майкъл Дрейтън за първи път се появява в превод на български език. Елегантният, аристократичен жанр на сонета не присъства в българската поетична традиция (освен в най-ново време). Чрез нежните, остроумни, тъжни или по философски примирени строфи Дрейтън сякаш посяга към нас през вековете, за да можем да споделим частица от живота на поета, от неговата любов, болка, отчаяние или надежда. Изящни като бисери, сонетите на Дрейтън ще бъдат истинско удоволствие за почитателите на поезията в България.
I read these three books [Idea's Mirror, Idea and Nymphidia: The Court of Fairy] completely by accident; I read some excerpts in an anthology of seventeenth century verse I am reading (the oldest poet included), went online to find more information about him, and started reading them on my computer and kept going so that in about two or two-and-a-half hours I had read all three. Drayton is a bit earlier than my current reading project (which was at first intended to start with Blake, then with Dryden, then with Butler and I keep going farther and farther back rather than forward.) After reading them I went out to my garage/library to put away some newly acquired books and again purely by accident I stumbled on a short biography of Drayton, which I will probably read next week, since I doubt whether I will ever come back to Drayton in the future.
Born the year before Shakespeare, but living fifteen years longer, Drayton bridges the period between the Elizabethan era and the early seventeenth century. While somewhat of a minor figure, he is interesting. Idea's Mirror (1594) is a collection of about fifty sonnets supposedly written by a shepherd named Gorbo to his love, Idea. Idea (1619) is a revised version of the same work, although many of the earlier poems have dropped out and more have been added (the collection contains seventy-three poems); of the sonnets contained in both versions, most seemed to have been revised quite a bit. Although Drayton is considered a literary "conservative" continuing Elizabethan traditions into the new century, the differences do show a certain receptivity to seventeenth-century style.
Stay, speedy time! Behold, before thou pass From age to age, what thou hast sought to see, One in whom all the excellencies be, In whom heaven looks itself as in a glass. Time, look thou too in this translucent glass, And thy youth past in this pure mirror see! As the world’s beauty in his infancy, What it was then, and thou before it was. Pass on and to posterity tell this— Yet see thou tell but truly what hath been. Say to our nephews that thou once hast seen In perfect human shape all heavenly bliss; And bid them mourn, nay more, despair with thee, That she is gone, her like again to see.
How did I get here? Via Georgette Heyer, who quotes a line in Venetia, and the Poems on the Underground initiative in London some time in the 1990s. Up until then I hadn't realized love poems could be conceited, witty, funny, and gently pulling the legs of lyrical I and you...