into as the source of love’s problem, but it is appar-
ently covered with a piece of cloth so as to heighten the
effect of the revelation of truth. The mirror is itself a
very frequent image in Renaissance literature (see, for
example, The MIRROR FOR MAGISTRATES and WILLIAM
SHAKESPEARE’s Richard II). In each case, the mirror is a
teaching device whose usage reveals facts that could
not be revealed in any other way.
Holding the mirror, Ganymede “taking off the cover,
/ He straight perceav’d himselfe to be my Lover” (ll.
13–14). In this sonnet, Ganymede is not overtly dis-
dainful of Daphnis’s affection, but he seems to be
unaware of both its reality and its depth until he him-
self appears in the mirror. If we accept the notion that
mirrors to do not lie, then Ganymede has been brought
to truth in a direct way.
See also BARNFIELD, RICHARD; CYNTHIA, WITH CERTAIN
SONNETS (OVERVIEW).
Daniel F. PiggCynthia, with Certain Sonnets: Sonnet 13
(“Speak, Echo, tell; how may I call my love?”)
RICHARD BARNFIELD (1595) Sonnet 13, based on
the classical myth of Echo and Narcissus, shows the
growing futility that Daphnis experiences in his pur-
suit of Ganymede. In the myth, Echo desires to speak
her love to the beautiful Narcissus, who seems overly
self-important, but because Hera has placed a curse on
her, Echo can only repeat what has been said to her.
She wastes away on account of a broken heart. In
invoking this myth, Daphnis questions, “how may I
call my love? (l. 1). The stars fi nd their place of delight
in the heavens; gems are admired by those who receive
them. Like Echo, however, Daphnis is not able to fi nd
words to praise Ganymede’s hair. Even beauty itself
does not have a name or word to describe it. In a brief
allegory, the “Faire virgine-Rose” (l. 10) covers the
“milke-white Lilly” (l. 11), an image that speaks to the
intimacy of the two lovers. The image, however, seems
restrained by the description.
In the fi nal COUPLET, Daphnis says, “And blushing
oft for shame, when he hath kist thee, / He vades away,
and thou raing’st where it list thee” (ll. 13–14). The
reference here fuses the notions of Echo and Narcissus
and Daphnis and Ganymede, both represented in the
sonnets as failed lovers. Typical of the sonnet tradition,
RICHARD BARNFIELD uses language to show the limita-
tions of language in conveying meaning. The lack of
communication leads to futility and shame.
See also CLASSICAL TRADITION; CYNTHIA, WITH CERTAIN
SONNETS (OVERVIEW).
Daniel F. PiggCy nthia , with Ce r tain Sonnet s: Sonnet 14
(“Here, hold this glove—this milk-white che-
verel glove”) RICHARD BARNFIELD (1595) If Son-
net 13 is in some measure about the failure of language,
then Sonnet 14 is about the embedded playfulness of
language in revealing a truth of love. The SONNET picks
up on a traditional notion of a glove as a token of love
and honor, but it employs the image as a pretense for
conveying a stronger message: glove turns into love.
The poem itself provides instructions for wearing the
glove and an explanation of its meaning. Daphnis begins
the poem with “Here” (l. 1), obviously intended to have
the accompanying Ganymede pay particular attention to
this rare gift, not “quaintly over-wrought” (l. 2), nor
“deckt with golden spangs” (l. 3). In contrast, it is
described as “wholesome” (l. 4), a fi tting tribute to Gany-
mede, at least according to the giver’s understanding of
him. In the unfolding drama imagined in this sonnet,
Ganymede is apparently about to put the glove on his
hand when Daphnis says “Ah no” (l. 5), so that it can be
placed over Ganymede’s heart as a token of the joining of
hearts. Anticipating a less than favorable response from
Ganymede in wearing the glove, Daphnis tells him that
“If thou from glove do’st take away the g, / Then glove is
love: and so I send it thee” (ll. 13–14). The glove becomes
the tangible sign of love, a token of affection dating from
the medieval romance. For Daphnis, the glove becomes a
symbol of his love, and at the same time, it becomes a
representation of the true virtues of Ganymede because it
is not overly decorated, yet it is hardly plain. In a sense, it
is a kind of golden mean between the extremes of plain-
ness and gaudiness. It is a true token of love.
See also BARNFIELD, RICHARD; CYNTHIA, WITH CERTAIN
SONNETS (OVERVIEW).
Daniel F. Pigg136 CYNTHIA, WITH CERTAIN SONNETS: SONNET 13