Echoes of Desire by Heather Dubrow

Author:Heather Dubrow
Language: eng
Format: epub
Publisher: CORNELL UNIVERSITY PRESS
Published: 2018-01-09T00:00:00+00:00

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1Hall is quoted from Arnold Davenport, ed., The Collected Poems of Joseph Hall (Liverpool: Liverpool University Press, 1949).

2All citations from Sidney are to William A. Ringler Jr., ed., The Poems of Sir Philip Sidney (Oxford: Clarendon, 1962).

3See, e.g., James J. Scanlon, “Sidney’s Astrophil and Stella: ‘See what it is to Love’ Sensually!” SEL, 16 (1976), 65–74; and Andrew D. Weiner, “Structure and ‘Fore Conceit’ in Astrophil and Stella,” TSLL, 16 (1974), 1–25.

4The most detailed presentation of this case appears in two studies by Thomas P. Roche Jr., “Astrophil and Stella: A Radical Reading,” in Sir Philip Sidney: An Anthology of Modem Criticism, ed. Dennis Kay (Oxford: Clarendon, 1987); and Petrarch and the English Sonnet Sequences (New York: AMS Press, 1989), chap. 4.

5See esp. Jacqueline T. Miller, “‘Love doth hold my hand’: Writing and Wooing in the Sonnets of Sidney and Spenser,” ELH, 46 (1979), 541–558; and Maureen Quilligan, “Sidney and His Queen,” in The Historical Renaissance: New Essays on Tudor and Stuart Literature and Culture, ed. Heather Dubrow and Richard Strier (Chicago: University of Chicago Press, 1988), esp. p. 189.

6Compare Marion Campbell’s assertion that the sequence as a whole creates yet frustrates our anticipation of closure (“Unending Desire: Sidney’s Reinvention of Petrarchan Form in Astrophil and Stella,” in Sir Philip Sidney and the Interpretation of Renaissance Culture: The Poet in His Time and in Ours, ed. Gary F. Waller and Michael D. Moore [London and Totowa, N.J.: Croom Helm and Barnes and Noble, 1984], p. 92).

7OED, s.v. “paint.”

8Patricia Fumerton argues from a different perspective that the poem undercuts its claim to present pure, unmediated feeling; she notes that the Muse speaks for Sidney in the final line (Cultural Aesthetics: Renaissance Literature and the Practice of Social Ornament [Chicago: University of Chicago Press, 1992], pp. 102–103).

9See, e.g., Ringler, Poems of Sir Philip Sidney, p. 459.

10Neil L. Rudenstine, Sidney’s Poetic Development (Cambridge: Harvard University Press, 1967), p. 200.

11On Sidney’s propensity for punning, see Alan Sinfield, “Sexual Puns in ‘Astrophil and Stella,’” EIC, 24 (1974), 341–355.

12On the controversial and vexed issue of the pronunciation of h, see Fausto Cercignani, Shakespeare’s Works and Elizabethan Pronunciation (Oxford: Clarendon, 1981), pp. 332–343.

13In The “Inward” Language: Sonnets of Wyatt, Sidney, Shakespeare, Donne (Chicago: University of Chicago Press, 1983), chap. 4, Anne Ferry discusses Sidney’s preoccupation with the heart from a different perspective, arguing that he and Shakespeare manifest a new preoccupation with the inability of language to express inner being.

14Compare Gary F. Waller’s argument that both Petrarchism and Protestantism involve decentered selves (“The Rewriting of Petrarch: Sidney and the Languages of Sixteenth-Century Poetry,” in Sidney and the Interpretation of Renaissance Culture, ed. Waller and Moore).

15On the echo of Wilson, see Russell M. Brown, “Sidney’s Astrophil and Stella, I,” Explicator, 32 (1973), item 21; and David Kalstone, Sidney’s Poetry: Contexts and Interpretations (Cambridge: Harvard University Press, 1965), pp. 127–128. On familial references throughout the sequence, see Cristina Malcolmson, “Politics and Psychoanalysis: Sidney’s Imagery of the Child,” unpublished paper delivered at the 1990 Modem Language Association convention, Chicago.

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