page_title: Edward de Vere, 17th Earl of Oxford
section_title: Literary reputation
hierarchical_section_title: Edward de Vere, 17th Earl of Oxford / Literary reputation
caption_attribution_description: English: Title page of The Paradyse of daynty deuises (1576)
context_page_description: Edward de Vere, 17th Earl of Oxford was an English peer and courtier of the Elizabethan era. Oxford was heir to the second oldest earldom in the kingdom, a court favourite for a time, a sought-after patron of the arts, and noted by his contemporaries as a lyric poet and court playwright, but his volatile temperament precluded him from attaining any courtly or governmental responsibility and contributed to the dissipation of his estate. Since the 1920s, he has been among the most prominent alternative candidates proposed for the authorship of Shakespeare's works.
  Oxford was the only son of John de Vere, 16th Earl of Oxford, and Margery Golding. After the death of his father in 1562, he became a ward of Queen Elizabeth and was sent to live in the household of her principal advisor, Sir William Cecil. He married Cecil's daughter, Anne, with whom he had five children. Oxford was estranged from her for five years after he refused to acknowledge her first child as his.
  A champion jouster, Oxford travelled widely throughout France and the many states of Italy.
context_section_description: Oxford's manuscript verses circulated widely in courtly circles. Three of his poems, "When wert thou born desire", "My mind to me a kingdom is", and "Sitting alone upon my thought", are among the texts that repeatedly appear in the surviving 16th century manuscript miscellanies and poetical anthologies. His earliest published poem was "The labouring man that tills the fertile soil" in Thomas Bedingfield's translation of Cardano's Comforte (1573). Bedingfield's dedication to Oxford is dated 1 January 1572. In addition to his poem, Oxford also contributed a commendatory letter setting forth the reasons why Bedingfield should publish the work. In 1576 eight of his poems were published in the poetry miscellany The Paradise of Dainty Devises. According to the introduction, all the poems in the collection were meant to be sung, but Oxford's were almost the only genuine love songs in the collection. Oxford's "What cunning can express" was published in The Phoenix Nest (1593) and republished in England's Helicon (1600). "Who taught thee first to sigh alas my heart" appeared in The Teares of Fancie (1593). Brittons Bowre of Delight (1597) published "If women could be fair and yet not fond" under Oxford's name, but the attribution today is not considered certain.
  Contemporary critics praised Oxford as a poet and a playwright. William Webbe names him as "the most excellent" of Elizabeth's courtier poets. Puttenham's The Arte of English Poesie (1589), places him first on a list of courtier poets and includes an excerpt from "When wert thou born desire" as an example of "his excellance and wit". Puttenham also says that "highest praise" should be given to Oxford and Richard Edwardes for "Comedy and Enterlude". Francis Meres' Palladis Tamia (1598) names Oxford first of 17 playwrights listed by rank who are "the best for comedy amongst us", and he also appears first on a list of seven Elizabethan courtly poets "who honoured Poesie with their pens and practice" in Henry Peacham's 1622 The Compleat Gentleman.
  Steven W. May writes that the Earl of Oxford was Elizabeth's "first truly prestigious courtier poet ... [whose] precedent did at least confer genuine respectability upon the later efforts of such poets as Sidney, Greville, and Raleigh." He describes de Vere as a "competent, fairly experimental poet working in the established modes of mid-century lyric verse" and his poetry as "examples of the standard varieties of mid-Elizabethan amorous lyric". May says that Oxford's youthful love lyrics, which have been described as experimental and innovative, "create a dramatic break with everything known to have been written at the Elizabethan court up to that time" by virtue of being lighter in tone and metre and more imaginative and free from the moralizing tone of the courtier poetry of the "drab" age, which tended to be occasional and instructive. and describes one poem, in which the author cries out against "this loss of my good name", as a "defiant lyric without precedent in English Renaissance verse".
   May says that Oxford's poetry was "one man's contribution to the rhetorical mainstream of an evolving Elizabethan poetic" indistinguishable from "the output of his mediocre mid-century contemporaries". However, C. S. Lewis wrote that his poetry shows "a faint talent", but is "for the most part undistinguished and verbose." Nelson says that "contemporary observers such as Harvey, Webbe, Puttenham, and Meres clearly exaggerated de Vere's talent in deference to his rank. By any measure, his poems pale in comparison with those of Sidney, Lyly, Spenser, Shakespeare, Donne, and Jonson." He says that his known poems are "astonishingly uneven" in quality, ranging from the "fine" to the "execrable".
  Oxford was sought after for his literary and theatrical patronage; between 1564 and 1599, twenty-right works were dedicated to him by authors, including Arthur Golding, John Lyly, Robert Greene, and Anthony Munday. Of his 33 dedications, 13 appeared in original or translated works of literature, a higher percentage of literary works than other patrons o
caption: Eight poems by the Earl of Oxford were published in The Paradise of Dainty Devises (1576)
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