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The Elizabethan era . The Renaissance era . Political Facts. Sir Philip Sidney life :. Sir Philip Sidney was born on November 30 , 1554, at Penshurst. His study: Shrewsbury School Christ Church, Oxford (1568-1571 ) . His works :.
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Sir Philip Sidney life: • Sir Philip Sidney was born on November 30, 1554, at Penshurst • His study: • Shrewsbury School • Christ Church, Oxford (1568-1571)
His works : The Lady of May – This is one of Sidney's lesser-known works, a masque written and performed for Queen Elizabeth in 1578 or 1579. Astrophel and Stella – The first of the famous English sonnet sequences,Astrophel and Stella was probably composed in the early 1580s. The sonnets were well-circulated in manuscript before the first (apparently pirated) edition was printed in 1591; only in 1598 did an authorised edition reach the press. The sequence was a watershed in English Renaissance poetry. In it, Sidney partially nativised the key features of his Italian model, Petrarch: variation of emotion from poem to poem, with the attendant sense of an ongoing, but partly obscure,narrative; the philosophical trappings; the musings on the act of poetic creation itself. His experiments with rhyme scheme were no less notable; they served to free the English sonnet from the strict rhyming requirements of the Italian form.
The Countess of Pembroke's Arcadia – The Arcadia, by far Sidney's most ambitious work, was as significant in its own way as his sonnets. The work is a romance that combines pastoral elements with a mood derived from the Hellenistic model of Heliodors. In the work, that is, a highly idealized version of the shepherd's life adjoins (not always naturally) with stories of jousts, political treachery, kidnappings, battles, and rapes. As published in the sixteenth century, the narrative follows the Greek model.
An Apology for Poetry[6] (also known as A Defenses of Poesies and The Deface of Poetry) – Sidney wrote the Defenses before 1583. It is generally believed that he was at least partly motivated by Stephen Gossoon, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in1579,but Sidney primarily addresses more general objections to poetry. The work also offers important comments on Edmund Spenser and the Elizabethan stage • Sidney's most ambitious works, were written under the guiding spirit and often in the presence of Mary Sidney Herbert, his "dear Lady and sister, the Countess of Pembroke," herself a great patron of writers, to whom the two versions of the Arcadia are dedicated. Mary went on to serve as Sidney's literary executor after his death.
Likely composed in the 1580s, Philip Sidney's Astrophil and Stella is an English sonnet sequence containing 108 sonnets and 11 songs. The name derives from the two Greek words, 'aster' (star) and 'phil' (lover), and the Latin word 'stella' meaning star.
Sonnet 5: It Is Most True It is most true, that eyes are form'd to serve The inward light; and that the heavenly part Ought to be king, from whose rules who do swerve, Rebles to Nature, strive for their own smart. It is most true, what we call Cupid's dart, An image is, which for ourselves we carve: And, fools, adore in temple of hour heart, Till that good God make Church and churchman starve. True, that ture beauty virtue is indeed, Whereof this beauty can be but a shade, Which elements with mortal mixture breed: True, that on earth we are but pilgrims made, And should in soul up to our country move: True, and yet true that I must Stella love.
This poem is essentially a series of moral axioms upended in the end with a final strange conclusion. Sidney uses the term "true" frequently in the sonnet in order to play with the reader's mind and toy with the meaning of the term. All of the force he establishes with the idea of truth in the first thirteen lines is used in the last line to prove his final truth: that he must love Stella. The closing phrase is the first deeply personal note of the poem, and it gains its power from the contrast with the previous thirteen lines. A strophel agrees to become a "rebel to Nature" and a “ foole" to Cupid's power. Yet, he emphasizes that he does not have a choice in the decision; he "must" love Stella with an urgency that is beyond his control.
Love v.s reason Throughout the sequence, A strophel struggles between his love for Stella and his rationality. Because Stella is married, A strophel recognizes that he can never have a full relationship with her. Moreover, he recognizes that his infatuation with her is foolish and irrational. He isolates his friends and family, damages his reputation at court, and threatens his emotional and mental wellbeing through his obsession with Stella. Yet, even as his reason urges him to give up Stella for his own good
Astrophel cannot stop loving her. The sonnets are full of dialogues between Reason and Love in which Astrophel admits that Reason is correct, but he remains unable to give up his love. Even at the end of the sequence, Astrophel's love prevails over his reason; he is happier having loved her and lost her than never having loved her at all
Poetic Ability The entire sequence is an allegory that shows off Sidney's abilities. Sidney is represented by Astrophel; Penelope, by Stella. While the character Astrophel protests sometimes that he is not up to the poetic tasks, he does so with poetic power. He also writes his sonnets with disdain for poets who cannot be creative with the poetic tradition. Sidney goes so far as to be creative evenwith the sonnet's rhyme scheme.
The Structure • Structurally, the repeated words “It is most true” announce that the two quatrains of the octave are parallel statements of the same idea. • The sense of the first quatrain (in keeping with the general scheme I described in the previous post) is that the senses (“eyes”) are supposed to be the servants of Reason (the “inward light”) or the soul (the “heavenly part”) which Nature dictates should be in charge. Rebelling (“swerving”) against that rule means one courts his own harm.
the second quatrain admits that passionate infatuation (“what we call Cupid’s dart”) is but an illusion (“image”) or shadow, and the “image” takes on the second meaning of “idol,” which we first “carve” for ourselves and then worship (“adore”) in the false “temple” of our hearts But this false religion is so pervasive that the “good god” (Cupid, so-called with sarcasm) is putting God (“church and churchmen”) out of business
it is like the Shakespearean sonnet in the rhyming scheme but it is different in that instead of resolving the issue in last rhyming couplet it is resolved just in one line. • It is divided into three quatrains and a couplet. the rhyme scheme is ABAB BABA CDCD EE
عمل الطالبات : • نوير الشمري • موضي السهلي • عبير القحطاني • بشاير القحطاني • سارة الناصر • سحر الجبرين • ابرار العتيبي
