It discusses the background on the use of different approaches to rhetorical analysis of the text, discusses the terms used by Sidney, and provides details on
English lyric poetry in the sixteenth century is made up of the traces and struggles of many texts, but the single name that stands above them all is that of Petrarch, who gave not just Renaissance poetry but Western discourse one of the most hospitable conceptual schemes by which we have discussed sexual desire and its relationship with language.
The first characteristic of Astrophil and Stella in the Petrarchan context that made it such a powerful collective text encouraging and requiring continual rereading and interpretation was its adaptability. Petrarchanism is characterized by a discursive space in which rhetoric, theatricality, individual and socio cultural codes were mingled and explored.
The most prominent Petrarchan trait that strikes us in Astrophil and Stella is the rhetoric of erotic love and the conflict and dialectics involved.
Astrophil is the doubting, self consciously aggressive lover, Stella the golden haired, black eyed, chaste and distant and unobtainable elaborated by a series of oxymoron and conceits. Here again, we observe the Petrarchan internalization in Astrophil and Stella which tangles loyalty with desire, and fixes them both on the unobtainable object.
In the Petrarchan convention, the Neo-platonic idea of love is reflected in which love is an independent cosmic force, creating a world of its own in which the lover must survive and alienate himself from the natural world.
It is a fragmentation of the personality, an emotional dispersal under the influence of Desire.
The self that writes in the Petrarchan lyric often undermines itself. Sonnet 14 and 18 reveal that the heart, the seat of reason, once a victim of love is given over to passion. There is a continuous parallel between the act of writing poetry and making love. Any consummation would lead to removal of the need to write poetry.
Astrophil writes poetry not only to persuade Stella but also as surrogate for the act of loving itself. This temptation to create a self-satisfying world of poetical feigning is concentrated in the desire to isolate the self from any problematic, self-fragmenting encounter with the Other — embodied as Stella.
This revision of the process of creativity allows the poet to fantasize that he is the Horatian Orpheus who controls — even creates — his elusive beloved. Petrarchan conventions provide Astrophil the space to articulate the multiple changes of self that occur under the transforming power of love. This leads to the idea of metamorphosis, a tension between unity and fragmentation of the self.
The very nature of the paradox is such that closure is always undermined even while it is being asserted; the result is that resolution, even meaning is always questioned, identity always de-centered. Self division is noticed when debates take place between passion and reason inside Astrophil.
Astrophil acknowledges the rational relationship between beauty virtue and love, yet there occurs an objectification of desire whose presence still dominates in his mind unlike Plato who believed that all human beings should be guided by the superior faculty of reason.
A traditional and practical reason for writing Sonnet 45 is to persuade Stella to return his love by an appeal to pity. The presumption in this sonnet is that Stella can be induced to pity this fictionalized tale of woe more easily than she can pity him as a person drawing on the Petrarchan as well as Neo-Platonist vision of poet as an autonomous maker.Sonnet 18 from Sir Philip Sidney’s Astrophil and Stella sonnet sequence is typical of the sequence as a whole in many ways, including the following: The sonnet begins with an emphasis on Astrophil’s shame over his irrational behavior in pursuing Stella merely for her physical beauty.
Love is a common theme in the Renaissance poetry dominating the writings of nearly all great writers of the time. Sir Philip Sidney is one of the most celebrated writers of this period who is able. Sir philip sidney biography enotescom, sir philip sidneys “sonnet 31,” as a perfect example of apostrophe (the figure of speech in which the speaker talks to an absent person or an inanimate object), is a direct address to the.
Sir philip sidney sir philip sidney biography poem hunter, sir philip . Smith treated Astrophil and Stella as a carefully articulated sequence, in which Astrophil is a deliberate persona and the structure of the whole is essentially dramatic.
Most scholarship of the period, however, was concerned with individual poems or with external matters such as Sidney's influence on later poets, his experiments with classical.
Astrophel and Stella Probably composed in the s, Philip Sidney 's Astrophil and Stella is an English sonnet sequence containing sonnets and 11 songs.
The name derives from the two Greek words, 'aster' (star) and 'phil' (lover), and the Latin word 'stella' meaning star. Learn term:sonnets = sir philip sidney with free interactive flashcards.
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