Philip Sidney: Wikis

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Sir Philip Sidney

Sir Philip Sidney (30 November 1554 – 17 October 1586) became one of the Elizabethan Age's most prominent figures. Famous in his day in England as a poet, courtier and soldier, he remains known as the author of Astrophel and Stella (1581, pub. 1591), The Defence of Poetry (or An Apology for Poetry, 1581, pub. 1595), and The Countess of Pembroke's Arcadia (1580, pub. 1590).

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Life and family

Born at Penshurst Place, Kent, he was the eldest son of Sir Henry Sidney and Lady Mary Dudley. His mother was the daughter of John Dudley, 1st Duke of Northumberland, and the sister of Robert Dudley, 1st Earl of Leicester. His younger sister, Mary Sidney, married Henry Herbert, 2nd Earl of Pembroke. Mary Sidney, who upon her marriage became the Countess of Pembroke, was a writer, translator and literary patron. Sidney dedicated his longest work, the Arcadia, to her. After her brother's death, Mary Sidney Herbert reworked the Arcadia, now known as The Countess of Pembroke's Arcadia.

Philip was educated at Shrewsbury School and Christ Church, Oxford. He was much travelled and highly learned. In 1572, he travelled to France as part of the embassy to negotiate a marriage between Elizabeth I and the Duc D'Alençon. He spent the next several years in mainland Europe, moving through Germany, Italy, Poland, and Austria. On these travels, he met a number of prominent European intellectuals and politicians.

Returning to England in 1575, Sidney met Penelope Devereux, the future Lady Rich; though much younger, she would inspire his famous sonnet sequence of the 1580s, Astrophel and Stella. Her father, the Earl of Essex, is said to have planned to marry his daughter to Sidney, but he died in 1576. In England, Sidney occupied himself with politics and art. He defended his father's administration of Ireland in a lengthy document. More seriously, he quarrelled with Edward de Vere, 17th Earl of Oxford, probably because of Sidney's opposition to the French marriage, which de Vere championed. In the aftermath of this episode, Sidney challenged de Vere to a duel, which Elizabeth forbade. He then wrote a lengthy letter to the Queen detailing the foolishness of the French marriage. Characteristically, Elizabeth bristled at his presumption, and Sidney prudently retired from court.

His artistic contacts were more peaceful and more significant for his lasting fame. During his absence from court, he wrote the first draft of The Arcadia and A Defense of Poetry. Somewhat earlier, he had met Edmund Spenser, who dedicated the Shepheardes Calendar to him. Other literary contacts included membership, along with his friends and fellow poets Fulke Greville, Edward Dyer, Edmund Spenser and Gabriel Harvey, of the (possibly fictitious) 'Areopagus', a humanist endeavour to classicize English verse.

Sidney had returned to court by the middle of 1581. That same year Penelope Devereux was married, apparently against her will, to Lord Rich. Sidney was knighted in 1583. An early arrangement to marry Anne Cecil, daughter of Sir William Cecil and eventual wife of de Vere, had fallen through in 1571. In 1583, he married Frances, teenage daughter of Sir Francis Walsingham. The next year, he met Giordano Bruno who subsequently dedicated two books to Sidney.

Both through his family heritage and his personal experience (he was in Walsingham's house in Paris during the St. Bartholomew's Day Massacre), Sidney was a keenly militant Protestant. In the 1570s, he had persuaded John Casimir to consider proposals for a united Protestant effort against the Roman Catholic Church and Spain. In the early 1580s, he argued unsuccessfully for an assault on Spain itself. In 1585, his enthusiasm for the Protestant struggle was given a free rein when he was appointed governor of Flushing in the Netherlands. In the Netherlands, he consistently urged boldness on his superior, his uncle the Earl of Leicester. He conducted a successful raid on Spanish forces near Axel in July, 1586.

Later that year, he joined Sir John Norris in the Battle of Zutphen. During the siege, he was shot in the thigh and died twenty-six days later. According to the story, while lying wounded he gave his water-bottle to another wounded soldier, saying, "Thy necessity is yet greater than mine".[1] This became possibly the most famous story about Sir Phillip, intended to illustrate his noble character.[1]

The funeral of Sir Philip Sidney, 1586

Sidney's body was returned to London and interred in St. Paul's Cathedral on 16 February 1587. Already during his own lifetime, but even more after his death, he had become for many English people the very epitome of a courtier: learned and politic, but at the same time generous, brave, and impulsive. Never more than a marginal figure in the politics of his time, he was memorialized as the flower of English manhood in Edmund Spenser's Astrophel, one of the greatest English Renaissance elegies.

An early biography of Sidney was written by his friend and schoolfellow, Fulke Greville.

The Rye House conspirator, Algernon Sydney, was Sir Philip's great-nephew.

In Zutphen, the Netherlands, a street has been named after Sir Philip. A statue for him can be found in the park at the Coehoornsingel, where the English soldiers who fell in the Battle of Zutphen were also temporarily buried. A memorial at the location where he was mortally wounded by the Spanish can be found at the entrance of a footpath at the Warnsveldseweg, southeast of the Catholic cemetery.

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 Heliodorus. 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: stories are nested within each other, and different story-lines are intertwined. The work enjoyed great popularity for more than a century after its publication. William Shakespeare borrowed from it for the Gloucester subplot of King Lear; parts of it were also dramatized by John Day and James Shirley. According to a widely-told story, King Charles I quoted lines from the book as he mounted the scaffold to be executed; Samuel Richardson named the heroine of his first novel after Sidney's Pamela. Arcadia exists in two significantly different versions. Sidney wrote an early version (The Old Arcadia) during a stay at Mary Herbert's house; this version is narrated in a straightforward, sequential manner. Later, Sidney began to revise the work on a more ambitious plan, with much more backstory about the princes, and a much more complicated story line, with many more characters. He completed most of the first three books, but the project was unfinished at the time of his death--the third book breaks off in the middle of a swordfight. There were several early editions of the book. Fulke Greville published the revised version alone, in 1590. The Countess of Pembroke, Sidney's sister, published a version in 1593, which pasted the last two books of the first version onto the first three books of the revision. In the 1621 version, Sir William Alexander provided a bridge to bring the two stories back into agreement.<Evans, 12-13> It was known in this cobbled-together fashion until the discovery, in the early twentieth century, of the earlier version.
  • An Apology for Poetry[2] (also known as A Defence of Poesie and The Defence of Poetry) — Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defense is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage.

See also

Notes

  1. ^ a b Charles Carlton (1992). Going to the Wars: The Experience of the British Civil Wars, 1638–1651, Routledge, ISBN 0415103916. p. 216
  2. ^ Works by Sir Philip Sidney at Project Gutenberg

References

  • Carlton, Charles (1992). Going to the Wars: The Experience of the British Civil Wars, 1638–1651, Routledge, ISBN 0415103916.
  • Sidney, Philip (1997). The Countess of Pembroke's Arcadia, ed. Maurice Evans (Penguin), ISBN 014043111X

Further reading

Books
  • Alexander, Gavin. Writing After Sidney: the literary response to Sir Philip Sidney 1586-1640. Oxford: Oxford University Press, 2006.
  • Craig, D. H. "A Hybrid Growth: Sidney's Theory of Poetry in An Apology for Poetry." Essential Articles for the Study of Sir Philip Sidney. Ed. Arthur F. Kinney. Hamden: Archon Books, 1986.
  • Davies, Norman. Europe: A History. London: Pimlico, 1997.
  • Duncan-Jones, Katherine. Sir Philip Sidney: Courtier Poet. New Haven and London: Yale University Press, 1991.
  • Frye, Northrup. Words With Power: Being a Second Study of the Bible and Literature. Toronto: Penguin Books, 1992.
  • Garrett, Martin. Ed. Sidney: the Critical Heritage. London: Routledge, 1996.
  • Greville, Fulke.Life of the Renowned Sir Philip Sidney. London, 1652.
  • Hale, John. The Civilization of Europe in the Renaissance. New York: Atheeum, 1994.
  • Jasinski, James. Sourcebook on Rhetoric: Key Concepts in Contemporary Rhetorical Studies. Thousand Oaks: Sage Publications, 2001.
  • Kimbrough, Robert. Sir Philip Sidney. New York: Twayne Publishers, Inc., 1971.
  • Leitch, Vincent B., Ed. The Norton Anthology of Theory and Criticism. New York: W. W. Norton & Company, Inc., 2001.
  • Lewis, C. S. English Literature in the Sixteenth Century, Excluding Drama. Oxford: Oxford University Press, 1954.
  • Robertson, Jean. "Philip Sidney." In The Spenser Encyclopedia. eds. A. C. Hamilton et al. Toronto: University of Toronto Press, 1990.
  • Shelley, Percy Bysshe. "A Defence of Poetry." In Shelley’s Poetry and Prose: A Norton Critical Edition. 2nd ed. Eds. Donald H. Reiman and Neil Fraistat. New York: W. W. Norton & Company, 2002.
  • Sidney, Philip. A Defence of Poesie and Poems. London: Cassell and Company, 1891.
  • The Cambridge History of English and American Literature. Volume 3. Cambridge: Cambridge University Press, 1910.
Articles
Other
  • Stump, Donald (ed). "Sir Philip Sidney: World Bibliography, Saint Louis University. Accessed 26 May 2008. "This site is the largest collection of bibliographic references on Sidney in existence. It includes all the items originally published in Sir Philip Sidney: An Annotated Bibliography of Texts and Criticism, 1554-1984 (New York: G.K. Hall, Macmillan 1994) as well updates from 1985 to the present."

External links

Military offices
Preceded by
The Earl of Warwick
Master-General of the Ordnance
(jointly with The Earl of Warwick)

1585–1586
Succeeded by
The Earl of Warwick
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Quotes

Up to date as of January 14, 2010

From Wikiquote

"Fool," said my Muse to me, "Look in thy heart and write."

Sir Philip Sidney (1554-11-301586-10-17) was an English courtier, soldier, poet and romancer. He was a friend and patron of Edmund Spenser, whose poetry he deeply influenced. During his own lifetime he attracted extraordinary admiration throughout Europe as the model of a Christian knight and chivalrous gentleman.

Contents

Sourced

  • My true love hath my heart, and I have his,
    By just exchange, one for the other given.
    • "My true love hath my heart, and I have his"

The Countess of Pembroke’s Arcadia (1580)

Quotations are cited from the edition of Maurice Evans (1977)

  • Open suspecting others comes of secret condemning themselves.
    • Book 1, page 144
  • Who shoots at the mid-day sun, though he be sure he shall never hit the mark, yet as sure he is he shall shoot higher than who aims but at a bush.
    • Book 2, page 253
  • A fair woman shall not only command without authority but persuade without speaking.
    • Book 3, page 485

Astrophel and Stella (1581)

  • ....But words came halting forth, wanting Invention's stay,
    Invention, Nature's child, fled step-dame Study's blows,
    And others' feet still seemed but strangers in my way.
    Thus great with child to speak, and helpless in my throes,
    Biting my truant pen, beating myself for spite:
    "Fool," said my Muse to me, "look in thy heart and write."
    • Sonnet 1,Concluding couplet from Loving in truth,and fain in verse my love to show
      Compare: "Look, then, into thine heart and write", Henry W. Longfellow, Voices of the Night, Prelude.
  • Have I caught my heav'nly jewel.
  • Come sleep, O sleep, the certain knot of peace,
    The baiting place of wit, the balm of woe,
    The poor man’s wealth, the prisoner’s release,
    The indifferent judge between the high and low.
    • Sonnet 39, line 1.
  • That sweet enemy, France.
    • Sonnet 41, line 4.

An Apology of Poetry, or The Defence of Poesy (1581)

Quotations are cited from the edition of Geoffrey Shepherd (2002)

  • Sweet food of sweetly uttered knowledge.
    • Book I.
  • I never heard the old song of Percy and Douglas that I found not my heart moved more than with a trumpet.
    • Book I.
  • High-erected thoughts seated in the heart of courtesy.
    • Book I. Compare: "Great thoughts come from the heart", Vauvenargues, Maxim cxxvii.
  • They are never alone that are accompanied with noble thoughts.
    • Book I. Compare: "He never is alone that is accompanied with noble thoughts", John Fletcher, Love's Cure, act iii. sc. 3.
  • Many-headed multitude.
    • Book II. Compare: "Many-headed multitude", William Shakespeare, Coriolanus, act ii. sc. 3.; "This many-headed monster, Multitude", Daniel, History of the Civil War, book ii. st. 13.
  • My dear, my better half.
    • Book III.
  • There have been many most excellent poets that never versified, and now swarm many versifiers that need never answer to the name of poets.
    • Page 87.
  • The historian…loaden with old mouse-eaten records, authorizing himself (for the most part) upon other histories, whose greatest authorities are built upon the notable foundation of hearsay; having much ado to accord differing writers and to pick truth out of partiality; better acquainted with a thousand years ago than with the present age, and yet better knowing how this world goeth than how his own wit runneth; curious for antiquities and inquisitive of novelties; a wonder to young folks and a tyrant in table talk, denieth, in a great chafe, that any man for teaching of virtue, and virtuous actions is comparable to him.
    • Page 89.
  • With a tale forsooth he cometh unto you, with a tale which holdeth children from play, and old men from the chimney corner.
    • Page 95.
  • Certainly, I must confess my own barbarousness, I never heard the old song of Percy and Douglas that I found not my heart moved more than with a trumpet.

Criticism

  • In the sweetly constituted mind of Sir Philip Sidney, it seems as if no ugly thought or unhandsome meditation could find a harbour. He turned all that he touched into images of honour and virtue.
    • Charles Lamb "Characters of Dramatic Writers, Contemporary with Shakspeare", in Thomas Hutchinson (ed.) The Works in Prose and Verse of Charles and Mary Lamb (1908) vol. 1, p. 70.
  • Hard-hearted minds relent and rigor's tears abound,
    And envy strangely rues his end, in whom no fault was found.
    Knowledge her light hath lost, valor hath slain her knight,
    Sidney is dead, dead is my friend, dead is the world's delight.

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