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Sir Philip Sidney

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Emily Williams

on 9 May 2013

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Transcript of Sir Philip Sidney

By: Emily Williams Sir Philip Sidney Outline Sir Philip Sidney
Thesis: A comparison of his works
By: Emily Williams
I.Introduction: Sir Philip Sidney was a poet from the Elizabethan age. He was
born in Penshurst Place, Kent; and wrote many sonnets and four songs.
A.“Thou set’st a bate between my will and wit;
If vaine Love have my simple soule opprest,
Leave what thou likest not, deale not thou with it.”
B.Most of Sir Philip Sidney’s works centered on the same topic, but how are they different?
C.Topic, Style, and Message are my topics for this speech.
II.First Main Point: Topic
A.Sonnet 4 vs. Sonnet 31
III.Second Main Point: Style
A.Sonnet 33 vs. Sonnet 41
b)Rhyme scheme
IV.Third Main Point: Message
A.Sonnet 39 vs. Fourth Song
A.Topic, Style, and Message; my three Main Points
B.Sir Philip Sidney wrote many poems that “seem” similar, but they are actually really different.
C.Sir Philip Sidney was a poet from the Elizabethan age. He was born in Penshurst Place, Kent; and wrote many sonnets and four songs. He is an excellent poet, with many great works. Background *Born: November 30, 1554
*Parents: Sir Henry Sidney, Lady Mary Dudley
*Siblings: Mary & Robert
*Religion: Staunch Protestant
*1583: Knighted; Married - Frances Walsingham
*Works: Arcadia, The Defense of Poetry, An apology for Poetry, Astrophel & Stella, and The Lady of May
*1585: Governor of Flushing - Netherlands
*KIA - October 17, 1586 Thesis: A Comparison of his works Introduction Sir Philip Sidney was a poet from the Elizabethan age. He was born in Penshurst Place, Kent; and wrote many sonnets and four songs. First Point: Topic Sonnet 4 vs. Sonnet 31 Vertue, alas, now let me take some rest;
Thou set'st a bate between my will and wit;
If vaine Love have my simple soule opprest,
Leave what thou likest not, deale not thou with it.
Thy scepter use in some olde Catoe's brest,
Churches or schooles are for thy seate more fit:
I do confesse—pardon a fault confest—
My mouth too tender is for thy hard bit.
But if that needs thou wilt usurping be
The little reason that is left in me,
And still th' effect of thy perswasions prove,
I sweare, my heart such one shall shew to thee,
That shrines in flesh so true a deitie,
That, Vertue, thou thy selfe shalt be in love. With how sad steps, O Moon, thou climb'st the skies !
How silently, and with how wan a face !
What, may it be that even in heavenly place
That busy archer his sharp arrows tries?
Sure, if that long with love-acquainted eyes
Can judge of love, thou feel'st a lover's case;
I read it in thy looks; thy languisht grace
To me that feel the like, thy state descries.
Then, even of fellowship, O Moon, tell me,
Is constant love deemed there but want of wit?
Are beauties there as proud as here they be?
Do they above love to be loved, and yet
Those lovers scorn whom that love doth possess?
Do they call virtue there, ungratefulness? Second Point: Style Sonnet 33 vs. Sonnet 41 I might—unhappy word!—oh me, I might,
And then would not, or could not, see my bliss;
Till now, wrapped in a most infernal night,
I find how heav'nly day, wretch, I did miss.
Heart, rent thyself, thou dost thyself but right;
No lovely Paris made thy Helen his,
No force, no fraud, robbed thee of thy delight,
Nor fortune of thy fortune author is;
But to myself myself did give the blow,
While too much wit, forsooth, so troubled me
That I respects for both our sakes must show,
And yet could not by rising morn foresee
How fair a day was near; oh, punished eyes,
That I had been more foolish—or more wise! Having this day my horse, my hand, my lance
Guided so well, that I obtained the prize,
Both by the judgment of the English eyes,
And of some sent from that sweet enemy, France;
Horsemen my skill in horsemanship advance,
Townsfolks my strength; a daintier judge applies
His praise to sleight, which from good use doth rise;
Some lucky wits impute it but to chance;
Others, because of both sides I do take
My blood from them who did excel in this,
Think Nature me a man of arms did make.
How far they shot awry! the true cause is,
Stella looked on, and from her heavenly face
Sent forth the beams which made so fair my race. Third Point: Message Sonnet 39 vs. Fourth Song 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;
With shield of proof, shield me from out the prease
Of those fierce darts Despair at me doth throw;
O make in me those civil wars to cease;
I will good tribute pay, if thou do so.
Take thou of me smooth pillows, sweetest bed,
A chamber deaf to noise and blind to light,
A rosy garland and a weary head:
And if these things, as being thine by right,
Move not thy heavy grace, thou shalt in me,
Livelier than elsewhere, Stella's image see. Only joy, now here you are,
Fit to hear and ease my care ;
Let my whispering voice obtain
Sweet reward for sharpest pain ;
Take me to thee, and thee to me—
' No, no, no, no, my dear, let be.'

Night hath closed all in her cloak,
Twinkling stars love-thoughts provoke,
Danger hence, good care doth keep,
Jealousy itself doth sleep ;
Take me to thee, and thee to me—
' No, no, no, no, my dear, let be.'

Better place no wit can find,
Cupid's yoke to loose or bind ;
These sweet flowers on fine bed too,
Us in their best language woo ;
Take me to thee, and thee to me—
' No, no, no, no, my dear, let be.'

This small light the moon bestows
Serves thy beams but to disclose ;
So to raise my hap more high,
Fear not else, none can us spy ;
Take me to thee, and thee to me—
' No, no, no, no, my dear, let be.'

That you heard was but a mouse,
Dumb sleep holdeth all the house ;
Yet asleep, methinks they say,
Young folks, take time while you may ;
Take me to thee, and thee to me—
' No, no, no, no, my dear, let be.' Niggard time threats, if we miss
This large offer of our bliss,
Long stay ere he grant the same ;
Sweet, then, while each thing doth frame,
Take me to thee, and thee to me—
' No, no, no, no, my dear, let be.'

You fair mother is a-bed,
Candles out and curtains spread ;
She thinks you do letters write ;
Write, but let me first endite ;
Take me to thee, and thee to me—
' No, no, no, no, my dear, let be.'

Sweet, alas, why strive you thus?
Concord better fitteth us ;
Leave to Mars the force of hands,
Your power in your beauty stands ;
Take me to thee, and thee to me—
' No, no, no, no, my dear, let be.'

Woe to me, and do you swear
Me to hate? but I forbear ;
Cursëd be my destines all,
That brought me so high to fall ;
Soon with my death I will please thee—
' No, no, no, no, my dear, let be.' Sources: Jokinen, Anniina. "The Works of Sir Philip Sidney." The Works of Sir Philip Sidney. Anniina Jokinen, 12 June 1996. Web. 29 Apr. 2013.
Ringler, Williams A., JR. "Sir Philip Sidney (English Author and Statesman)." Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 29 Apr. 2013.
Alexander, Gavin. "The Sidney Homepage - Biography of Sir Philip Sidney." The Sidney Homepage - Biography of Sir Philip Sidney. Faculty of English, 25 Sept. 2001. Web. 30 Apr. 2013.
Ridgway, Claire. "The Elizabeth Files." The Elizabeth Files RSS. The Elizabeth Files, 17 Oct. 2010. Web. 1 May 2013.
"Electronic Texts Terms and Conditions of Use." History Curriculum Homeschool. Heritage History, n.d. Web. 01 May 2013.
"Sir Philip Sidney." -Folger Shakespeare Library. Ed. Mimi Godfrey and Esther Ferington. Swim Design Consultants, 04 Mar. 2005. Web. 02 May 2013. http://www.bbc.co.uk/arts/yourpaintings/paintings/sir-philip-sidney-15541586-163047 Conclusion http://upload.wikimedia.org/wikipedia/commons/thumb/7/72/Funeral_procession_of_Sir_Philip_Sidney_1587_Theodor_de_Bry_pallbearers.jpg/640px-Funeral_procession_of_Sir_Philip_Sidney_1587_Theodor_de_Bry_pallbearers.jpg http://www.heritage-history.com/books/baldwin/fifty/zpage052.gif http://www.zazzle.com/sir_philip_sidneys_kindness_to_a_soldier_1815_postcard-239097932519022861 Works Background Pictures *Astrophel & Stella
*Early 1580s
*108 sonnets and 11 songs
*Inspired by Penelope Deveaux Expert opinion Astrophel bemoans his unhappy state, failing to recognize his love for Stella until after she married another man. He cannot blame anyone else for his misfortune because he was the cause of his unhappiness: "to myself myself did give the blow." Astrophel was blinded by his wit and rationality, so much so that he was unable to recognize the beautiful "day" that was rising near him, namely, Stella.
Analysis: This sonnet is thought by contemporary critics to refer to Astrophel/Sidney's regret that he did not marry Stella/Penelope when he had the opportunity. The idea is that he did not marry her because he was not yet in love with her. Now, however, Astrophel can only punish himself for missing his one chance to obtain her. Astrophel is weary of Virtue who, in his sternness, will not allow any vices. He urges Virtue to leave him alone, arguing that if Virtue does not like elements of Astrophel's character, Virtue should just ignore them. Astrophel recognizes that he has faults, but like a colt, he is too young to be driven so hard at Virtue's hands (his mouth is too tender for Virtue's bit). Still, even the old master Virtue could understand his love for Stella with a little convincing. Astrophel argues that the image of Stella in Astrophel's heart would be sufficient to make even Virtue himself fall in love with her.
Analysis: The poem depicts Virtue as a sort of stern schoolteacher. In doing so, the poem also creates a different view of Astrophel as the lover. Astrophel is young and full of life. He is contemptuous of churches, schools, and the power of thought because his will and his wit are constantly at odds with one another. He views the world in this way because he sees it through the lens of his love for Stella. In the last section of the poem, Astrophel becomes gentler as he begins to describe Stella. Stella's image is enough convince Virtue to fall in love, but Astrophel emphasizes that this is a result of her inherent virtue rather than her power. Astrophel sees the moon climbing in the sky at night, and he recognizes in its pale face the same lovesickness that he experiences. He suggests that, perhaps even in the heights of the sky, Cupid's arrows are powerful enough to shoot the moon. Then, Astrophel becomes completely certain that the moon is lovesick. He recognizes its looks and its languishing grace because they are the same looks and grace that he recognizes in himself. He asks the moon what life and love are like upon its surface. He asks: Is the faithful lover viewed as an idiot? Are beautiful women as proud as they are on earth? Do they desire love and attention but scorn those who give it to them? Do they call ungratefulness a virtue?
Analysis: Sidney's connection to the moon is an example of a "pathetic fallacy" in which elements of nature appear to experience human emotions. At first Sidney describes the moon in accordance with classical mythology, as an individual being. Yet, his insistence that the moon is lovesick does not make sense in this context because the goddess of the moon is Diana, a perpetual virgin who is not affected by love. Then, Sidney switches his perception of the moon to adhere to Copernican belief, and he describes the moon as a planet. The series of questions he asks expresses his desire for a logical explanation of Stella's behavior. He wants to know if the scorn his love receives at her hands is limited to the earth. Expert Opinion Astrophel describes his success at a tournament in front of the court. His horsemanship and strength allowed him to attain the prize of the event, judged by members of the English court and members of the French court. Onlookers praised his skill as the result of constant practice, while others claimed that it was simply good luck. Yet, Astrophel knows that the real reason for his success was that Stella was watching him.
Analysis: The tournament that Astrophel refers to could be a tournament held at court in May 1581 when members of the French court were visiting England. Because Sidney was against Queen Elizabeth's proposed marriage with the Duc of Alençon, his victory in the tournament would have been particularly satisfying, impressing Stella as well as the French visitors. Sonnet 53 serves as a foil to Astrophel's tournament success in this sonnet and displays the negative impact of Stella's presence. Expert Opinion Sidney personifies sleep and begins to have a conversation with it. He prays that Sleep will come and release him from his current misery. Only when he is asleep is he able to ease his suffering and stem the civil war that is waging between his heart and his head, between his love and his reason. He wonders what price he must pay in order to convince the god of Sleep to come to him, and he promises a "good tribute." Smooth pillows, a comfortable bed, and a dark, quiet room are all that he desires, if only he can persuade Sleep to come. Finally, Sidney comes up with a way to convince Sleep to come to him. When he is asleep, he argues, the image of Stella will appear in his dreams, and Sleep will be able to watch. This is the greatest tribute that he can pay.
Analysis: This is an example of a sonnet in which Sidney's persona talks to an entity other than Stella. In addition to "Sleep," Sidney also directs his speeches to the allegorical "Reason," "Love," "Queen Virtue," "Patience," "Desire," and more. In literature and rhetoric, this act of addressing something that is not a person is referred to as "apostrophe." The irony in this sonnet is very interesting. Sidney begs for Sleep to come and rescue him from his love and suffering for Stella. Yet, at the same time, an image of Stella will automatically come to his head while he is asleep. Whether he is asleep or awake, Stella is always in his mind. He prefers the Stella in his dreams because he does not have to face the reality that she is not his own. Song 4 describes a dialogue between Astrophel and Stella in which she rejects his passionate advances. Analysis: Each of the eleven songs has an important role in perpetuating the plot of the sonnet sequence. That is, they should not be read all at once but in the context of the relevant sonnets (some are described in the sonnet analyses as they come up). - Caitlin Vincent - Caitlin Vincent - Caitlin Vincent The Famous Death The funeral of Sir Philip Sidney was one of the great London events of 1587. After lying in state in the Minorites church just outside the city, the procession made its way through the capital’s streets to St. Paul’s, where Sidney was buried to the sound of a double volley, to “give unto his famous life and death a martial‘Vale’ [farewell].” Sidney’s father-in-law Sir Francis Walsinghamhad “spared not any cost to have this funeral well performed.’ Sir Philip Sidney was a poet from the Elizabethan age. He was born in Penshurst Place, Kent. He wrote 108 sonnets and 11 songs. He was a well liked and respected man; an excellent poet, with many great works. "Thou set'st a bate between my will and wit;
If vaine Love have my simple soule opprest,
Leave what thou likest not, deale not thou with it"
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