CONTEXT:
The 67-line metaphysical elegy The Phoenix and The Turtle was published in a collection of poems titled Love's Martyr by Edward Blount in 1601. The collection takes its name from the principal poem by Robert Chester of the same name which is itself followed by an appendix beginning with four pseudonymous poems, then the poem attributed to Shakespeare, followed by works by George Chapman, Ben Jonson, and John Marston.
The poem is written in strict trochaic tetrameter . Thirteen verses are in an abba rhyme scheme followed by the threnos of five verses in an aaa rhyme scheme.
The poem tells the story of a variety of birds assembling to mourn the passing of the deceased Phoenix and Turtle (Turtle-Dove). The birds specifically identified are the:and the bird alluded to is the:
- Phoenix
- Turtle-Dove
- Eagle
- Swan
- Crow
The publication was more fully titled "Loues Martyr: Or Rosalins Complaint. Allegorically shadowing the truth of Loue, in the constant Fate of the Phoenix and Turtle. A Poeme ... by Robert Chester .... To these are added some new compositions of seuerall workes, vpon the first subiect: viz. the Phoenix and Turtle". As this elegy was published in a collection specifically described as an "allegory", analysis supports the suggestion that Shakespeare's poem is an allegory with the explicitly female Phoenix symbolising Elizabeth I, and the explicity male Turtle-Dove symbolising another character, perhaps Robert Devereux, Earl of Essex. Essex died on 25th February, 1601 at Tower Hill, London , the year of this publication, suggesting that his death prompted this poem as a lament for the succession of the English monarchy and the impending end of the Tudor dynasty. Implicitly, and perhaps explicitly in the poem, it is also a lament for the new succeeding Stuart dynasty in the form of James VI of Scotland becoming James I of England and Britain.
- Owl
THE PHOENIX AND THE TURTLE
Let the bird of loudest lay,
On the sole Arabian tree,
Herald sad and trumpet be,
To whose sound chaste wings obey.
But thou shrieking harbinger,
Foul precurrer of the fiend,
Augur of the fever's end,
To this troop come thou not near!
From this session interdict
Every fowl of tyrant wing,
Save the eagle, feathered king:
Keep the obsequy so strict.
Let the priest in surplice white,
That defunctive music can,
Be the death-divining swan,
Lest the requiem lack his right.
And thou treble-dated crow,
That thy sable gender mak'st
With the breath thou giv'st and tak'st,
'Mongst our mourners shalt thou go.
Here the anthem doth commence:
Love and constancy is dead,
Phoenix and the turtle fled
In a mutual flame from hence.
So they loved as love in twain
Had the essence but in one;
Two distincts, division none;
Number there in love was slain.
Hearts remote, yet not asunder;
Distance, and no space was seen
'Twixt this turtle and his queen;
But in them it were a wonder.
So between them love did shine
That the turtle saw his right
Flaming in the phoenix' sight;
Either was the other's mine.
Property was thus appalled,
That the self was not the same;
Single nature's double name
Neither two nor one was called.
Reason, in itself confounded,
Saw division grow together,
To themselves yet either neither;
Simple were so well compounded;
That it cried, "How true a twain
Seemeth this concordant one!
Love hath reason, reason none,
If what parts can so remain."
Whereupon it made this threne
To the phoenix and the dove,
Co-supremes and stars of love,
As chorus to their tragic scene.
Threnos
Beauty, truth, and rarity
Grace in all simplicity,
Here enclosed in cinders lie.
Death is now the phoenix' nest;
And the turtle's loyal breast
To eternity doth rest,
Leaving no posterity
'Twas not their infirmity,
It was married chastity.
Truth may seem, but cannot be;
Beauty brag, but 'tis not she:
Truth and Beauty buried be.
To this urn let those repair
That are either true or fair;
For these dead birds sigh a prayer.
A TRANSLITERATED VERSION OF THE POEM:Let the bird of loudest lay,
Allow the bird with the strongest singing voice,
On the sole Arabian tree,
Upon the unique acacia tree,
Herald sad and trumpet be,
Publicly announce and proclaim with sorrow,
To whose sound chaste wings obey.
To those virtuous birds who would respond to such a call.
But thou shrieking harbinger,
But you, the screeching owl,
Foul precurrer of the fiend,
The vulgar prophet of death,
Augur of the fever's end,
Foreteller of the passing of this affair,
To this troop come thou not near!
Stay away from this company of birds!
From this session interdict
From this assembly is forbidden
Every fowl of tyrant wing,
Every oppressive bird of prey,
Save the eagle, feathered king:
Except for the eagle, who is the king of birds:
Keep the obsequy so strict.
All must strictly maintain the giving of respect.
Let the priest in surplice white,
Allow the priest in his white religious garments,
That defunctive music can,
That understands mournful music,
Be the death-divining swan,
Be the swan that makes death a heavenly act,
Lest the requiem lack his right.
Should its singing of memorial music at the point of death not naturally give it that right.
And thou treble-dated crow,
And you, the crow that lives for over 100 years,
That thy sable gender mak'st
Who reproduces your dark-coloured kind
With the breath thou giv'st and tak'st,
From your bill simply via your breath,
'Mongst our mourners shalt thou go.
You are welcome amongst our company of grievers.
Here the anthem doth commence:
The hymn starts now:
Love and constancy is dead,
Love and Constancy is deceased,
Phoenix and the turtle fled
The Phoenix and the Turtle-Dove have left us
In a mutual flame from hence.
In the flames of the Phoenix ignited here in the acacia tree.
So they loved as love in twain
Therefore they loved inasmuch as the love in two beings
Had the essence but in one;
Had the substance and nature compounded into only one;
Two distincts, division none;
Two separate birds, but inseparable and indistinguishable;
Number there in love was slain.
Combined as one in love so extinguishing their separate selves.
Hearts remote, yet not asunder;
Their hearts were separate, but not divided;
Distance, and no space was seen
No range nor gap was there
'Twixt this turtle and his queen;
Between the hearts of the Dove and his Phoenix;
But in them it were a wonder.
However, their combination was a miracle.
So between them love did shine
Therefore, love radiated from them
That the turtle saw his right
That the Dove saw what was due to him
Flaming in the phoenix' sight;
Burning in the Phoenix's appearance;
Either was the other's mine.
Each was the other's, each belonged to the other.
Property was thus appalled,
Consequently, the principle of Personality was dismayed,
That the self was not the same;
That the ego had changed;
Single nature's double name
A being's singular character had been created from two names
Neither two nor one was called.
But there was no actual name to call them now they were combined and they were no longer referred to by their separate names.
Reason, in itself confounded,
The principle of Reason was fundamentally confused,
Saw division grow together,
By seeing what was separated, now develop as one,
To themselves yet either neither;
They joined together without remaining as two separate entities;
Simple were so well compounded;
Two straight-forward beings were made so much better by their bonding;
That it cried, "How true a twain
Reason exclaimed: "How perfectly a couple
Seemeth this concordant one!
Appears this harmonious one!
Love hath reason, reason none,
Love has motive, but no explanation,
If what parts can so remain."
If two separate elements can endure as one".
Whereupon it made this threne
At which point, Reason prepared this lament
To the phoenix and the dove,
To the two birds,
Co-supremes and stars of love,
Jointly the greatest ideals of and luminaries of love,
As chorus to their tragic scene.
As a refrain to their woeful setting.
Threnos
Lament
Beauty, truth, and rarity
Attractiveness, honesty and, uncommonly,
Grace in all simplicity,
Kindness, are all brought together in one uncomplicated form,
Here enclosed in cinders lie.
As the ashes inside this urn.
Death is now the phoenix' nest;
Mortality is now the place where the Phoenix resides;
And the turtle's loyal breast
And where the Turtle-Dove's faithful heart
To eternity doth rest,
Lies forever,
Leaving no posterity
They leave no offspring from their union
'Twas not their infirmity,
Not due to any malady though,
It was married chastity.
But because they were virtuous in their coupling.
Truth may seem, but cannot be;
Honesty may appear to be achievable but cannot exist;
Beauty brag, but 'tis not she:
Things may boast of being attractive, but they are not examples of real attractiveness:
Truth and Beauty buried be.
Because Honesty and Attractiveness are dead.
To this urn let those repair
To this urn of their ashes those birds should return
That are either true or fair;
Who are either faithful or beautiful;
For these dead birds sigh a prayer.
And softly say a benediction to these two dead birds.
Phoenix
The Phoenix is a mythical bird said to live for 500 years, although there are variations to its mythical lifespan. There can only be one Phoenix at any one time so it never has a partner, and is never destined to have one. After 500 years the fabulous bird consumes itself in flames ignited by the sun, is reborn from its own ashes, then lives for the next 500 years. The legend is symbolic of rebirth and resurrection and resembles the daily setting and rising of the sun that was thought to be a process of daily solar death and rebirth.
The characteristics of the Phoenix match Elizabeth I, as pictured in this portrait by Nicholas Hilliard from circa 1575, now in the National Portrait Gallery, London. There can only be one Queen of England at any one time, just as there can only be one fabulous Phoenix. Elizabeth never married nor bore children, just as the Phoenix never had a partner and was reborn via flames not offspring. Elizabeth reigned for 45 years and lived for 69 (during a time when the average lifespan was much less), just as the Phoenix lived for an exceptional number of years. But Elizabeth's linkage to the concept of the Phoenix is finally clinched by the fact that in this portrait by Hilliard, Elizabeth wears a Phoenix medallion in the middle of the portrait at her breast. And, on the obverse of the Phoenix Jewel (held at the British Museum, London), Elizabeth is overlaid with a Phoenix .
Turtle
The Turtle here is not the amphibian but the Turtle-Dove bird, often shortened to "turtle" as in The Taming of the Shrew: "O slow-winged turtle, shall a buzzard take thee" and A Winter's Tale: "I, an old turtle, Will wing me to some withered bough". The Turtle-Dove is a symbol of peace and faithful love and is paired with the eternal Phoenix to represent, by their joining, the everlasting constancy of love. That the Phoenix never has a partner and regenerates itself on its own, the pairing is ill-fated from the outset.
It has been suggested that the Turtle-Dove represents Robert Devereux, 2nd Earl of Essex who was a favourite and alleged lover of Elizabeth I. Essex later led a rebellion against Elizabeth I and was executed with others for his part in it, consistent with the ill-fated pairing of the Phoenix and the Turtle. The phonetic resemblance of Devereux and Dove may also be significant.
lay
Lay, in the sense of a ballad, song or melody. The bird with the loudest singing voice is needed to call all other birds to the funeral of the Phoenix and the Turtle-Dove.
On
The bird of loudest lay (who is not identified) has assumed the Phoenix's place in the "sole Arabian tree". This suggests that the bird, and so the Elizabethan character it represents, is an imposter or usurper. The bird has assumed its position without apparently being invited, is evidently incongruous and misplaced and is described as having a "loud" voice, which is not necessarily a pleasing one. This appears to be a disparaging reference to James I, Elizabeth I's successor to the throne.
sole
The sole, single Phoenix died on a sole, single Arabian tree. The "bird of loudest lay" takes position on that sole tree to call the other birds to the funeral.
Arabian tree
The Acacia tree in which the Phoenix nested near Heliopolis, Egypt (hence "Arabian") which was a sacred wood for the Hebrews (called shittim in the Bible) used for building the Ark of the Covenant and furniture of the Tabernacle: Exodus 25:10 "And they shall make an ark of shittim wood"; Exodus 26:15 "And thou shalt make boards for the tabernacle of shittim wood". The acacia was the tree in which the Phoenix built its nest after 500 years in which to engulf itself in flames and be reborn.
If the Phoenix is symbolic of Elizabeth I, then the acacia tree is symbolic of England, or the throne of England, and the birds being gathered to mourn are symbolic of the English people.
chaste
Virtuous. According to Plotinus, true virtue is "likeness to God as far as possible". Consequently the birds who are welcome at the funeral are likened to godliness.
shrieking harbinger
The screech-owl, whose doleful call was believed to warn of impending death or doom, who should stay away. The owl does not have any mythological claim to longevity and is conspicuously not one of the birds that are welcome. The owl is a natural enemy of the crow, that is welcome.
Possibly symbolic of an Elizabethan character, as per the other identified birds, if the Phoenix and Turtle-Dove are.
Foul
Possible pun on "fowl" with the subject matter of birds.
precurrer
Forerunner, predicter.
fiend
Death.
Augur
A seer who predicts events by signs and omens.
interdict
The exclusion of a person or persons from certain sacraments. All birds of prey ("tyrants") except for the eagle are forbidden to attend the funeral.
fowl
Possible pun on "foul" reversing the earlier potential pun.
eagle, feathered king
The eagle may be symbolic of the imminent new King James I of England, and Britain, James VI of Scotland, who would be expected to mourn the passing of the incumbent Queen. If so, this is a disparaging reference to him inferring that he is a tyrant and is only present at the funeral by virtue of his status. Like the owl, the eagle does not have any mythological claim to longevity or divinity so is distinct from the swan and crow, the only other birds explicitly identified at the funeral, that have some redeeming distinguishing feature.
surplice
The loose, wide-sleeved liturgical linen vestment reaching to the knees, worn over the cassock by clergymen and choristers.
death-divining
Swans were thought to break into beautiful song when they die. The swan turns the act of dying into a divine event by way of its song so has a favourable distinguishing feature like the crow so is the type of bird that is welcome.
According to Plotinus, the higher level of the Soul equates to divinity with the One. Consequently, the swan is associated with Plotinian doctrine.
right
Possible pun, as in "rite": the last rites adminstered at a person's death. I think in this instance it is unlikely though as it is unusual for Shakespeare to duplicate the meaning of a word and duplicate the exact same pun - it is too clumsy and unimaginative for him. Instead, I think the next instance of the word right in this poem is a genuine pun on "rite".
treble-dated
The crow can live for circa 40 years so is associated with long life. In an apparent exaggeration of the longevity of the crow it is here called "treble-dated". The crow shares long-life characteristics with the Phoenix so is welcome at the funeral. It is striking that the only birds that are explicitly welcome at the funeral are ones that have some mythological quality and/or longevity. It is indicative that the mourners are a chosen, select set of characters who share the traits of the dead Phoenix. Those that do not, are not welcome and are not identified, except for the eagle who is only present by virtue of him being regarded as King.
That thy sable gender mak'st
With the breath thou giv'st and tak'st
The crow was believed to procreate asexually via its breath, giving birth at its bill. Like the Phoenix regenerating itself without a sexual partner via flames, the crow procreated without a sexual partner by making another of itself via its breath.
Love and constancy is dead
The Turtle-Dove and the Phoenix are dead, so Love and Constancy, respectively represented by them, are dead. But not are dead, as if they are two separate entities - is dead, signifying that the two are unified in the Phoenix's flames and have died singularly together. This is the first line of the anthem and is a shocking one: there is no soft start to the sad message of the death of the two principals; the anthem declares the death immediately, and the death of a fabulous bird who was never supposed to ever die.
mutual flame
The two birds died together in the flames of the Phoenix, therefore the Phoenix caused the death, just as Elizabeth I caused the death of Essex. The burning passion of Love and Constancy ultimately destroyed them both.
one
These references to oneness refer to the doctrine of the originator of neoPlatonism, Plotinus (c. 204/5-270 AD). He speculatively theorised the concept of monism where Intelligence and the Soul combine into The One. Plotinus was probably from Egypt, as was the "Arabian tree".
Number there in love was slain
The two birds became one and married the qualities of Love and Constancy giving greater value to these qualities being brought together than they had being separate - the whole is greater than the sum of its parts. In becoming a pure one they removed their component parts and the potential of future division altogether. The Elizabethans regarded the number one as not a number atall as in Sonnet 136: "Among a number one is reckoned none". So, the bonding of the two birds created a single entity and by virtue of one not being a number created an indivisible and inseparable entity. This also reinforces the theme of unity in the poem: the single Phoenix, the "sole Arabian tree", the single representatives of each type of bird with no duplicates.
'Twixt this turtle and his queen
This line reinforces the female gender of the Phoenix and explicitly identifies her as his Queen, hence Elizabeth I. It also identifies the gender of the Turtle-Dove to be masculine. The male partner is not referred to as a King though, consistent with the Earl of Essex.
In Henry VIII, Shakespeare writes: "The bird of wonder dies the maiden phoenix Her ashes new create another heir" which identifies the Phoenix as female, a maiden (as per the Virgin Queen Elizabeth), and connects the Phoenix to the act of creating another heir, a source of concern to the Elizabethans with Elizabeth not bearing an heir. In fact, in this line from Henry VIII, who was of course Elizabeth I's father, Elizabeth I herself is being explicitly referred to as the maiden Phoenix.
And in Sonnet 19, Shakespeare writes: "And burn the long-lived phoenix in her blood" again identifying the Phoenix as female.
right
Possible pun, as in "rite": the last rites adminstered at a person's death
This line could be ambiguous in that the Turtle-Dove saw in the flames what was due to him, his right, the Phoenix, and/or he saw in the flames his last rites, his own death. The Turtle-Dove was compelled to his death by his attraction to the Phoenix, like a moth to the flame. Similarly, Essex was drawn to his death via his attraction to Elizabeth I, initially an amorous attraction then ultimately his desire to usurp her power. Like the Turtle-Dove, his attraction to her ended in his own death.
mine
Possible ambiguity in meaning:
"Either was the other's mine" could mean "Each belonged to and were possessive of each other so the Phoenix could call the Turtle-Dove 'mine'and the Turtle-Dove could equally call the Phoenix 'mine'"
but could also mean that each was a mine (as in goldmine) to each other meaning that they saw vast riches or advantages in each other.
Property
Personality, or personal quality. From the Latin proprietas.
Plotinus's three essences are: the One, the Intelligence, and the Soul. From the unity of these three emanates all existence. Plotinus's Soul is therefore represented here by Property, or personality, and given significance as the first word in this quatrain. Plotinus argued that the highest state of life was where one lost one's personality and was united with God (similar to the loss of one's ego being a principle of Bhuddism).
The idea of a trinity of essences combining into a single entity is represented in many cultures, perhaps most well-known in Christianity via the Holy Trinity of the Father, the Son and the Holy Ghost. The Father represents the One, the Son is the physical manifestation of the Soul in Jesus Christ in whom human and divine natures are united, and the Holy Ghost is the aphysical Intelligence. In modern culture the idea of a holy trinity and the concept of The One has been represented in the film The Matrix.
Reason
As above, Plotinus's three essences are: the One, the Intelligence, and the Soul. Plotinus's Intelligence is represented here by Reason and given significance as the first word in this quatrain.
threne / Threnos
A funeral song. From the Greek threnos meaning "lamentation".
Beauty...Truth...Grace...Loyal...True...fair
All these references are consistent with Poltinus' doctrine of the One: the source from which he reasoned all goodness, truth, and beauty flows. Shakespeare returns to this subject matter in Sonnet 105:
"To one, of one, still such, and ever so...
'Fair, kind, and true' is all my argument
'Fair, kind, and true' varying to other words...
Fair, kind, and true have often lived alone,
Which three till now never kept seat in one".
enclosed
That the cinders (or ashes) of the two birds are "enclosed" must mean that they are contained within a funeral urn.
posterity
Children or heirs. Elizabeth and Essex conjoined did not produce any offspring, just as the Phoenix and Turtle-Dove didn't.
chastity
Elizabeth I was called the Virgin Queen, believed to be chaste, or celibate.
Truth and Beauty buried be
Just as earlier in the poem "Love and Constancy is dead", here "Truth and Beauty buried be".
dead birds
All that is left is two dead birds and the loss of the unification into the One. This is either:It being a rejection of Plotinus's doctrine (having demonstrated competent knowledge of what it comprises) would appear to be very likely as it is striking that in Shakespeare's sonnets there are no references to angels, God, or salvation after death, such as in John Donne's Holy Sonnets, but just worms and darkness. At the end of the day, according to Shakespeare, despite all the wonderful notions of what might have come of the fabulous unification, all that is left is a fable and two dead birds.
- a reference to the paradise that could have been being lost, or,
- a rejection by Shakespeare of Plotinus's doctrine of achieving the One as being impossible and as mythological as the myth of the Phoenix, or,
- both.
References: Plotinus's Enneads
Critical text © NigelDavies.home@Virgin.net