?This matching of contraries?: Bruno, calvin and the Sidney circle

Neophilologus ◽  
1972 ◽  
Vol 56 (3) ◽  
pp. 331-343
Author(s):  
G. F. Waller
Keyword(s):  
Sidney Circle

GEORGE WHETSTONE AND THE SIDNEY CIRCLE

1990 ◽  
Vol 37 (2) ◽  
pp. 165-a-165
Author(s):  
J. D. ALSOP
Keyword(s):  
Sidney Circle

The Sidney|Circle

2016 ◽  
pp. 254-263
Author(s):  
Mary Ellen Lamb
Keyword(s):  
Sidney Circle

Gender and Authorship in the Sidney Circle.

1993 ◽  
Vol 24 (1) ◽  
pp. 190
Author(s):  
Constance C. Relihan ◽  
Mary Ellen Lamb
Keyword(s):  
Sidney Circle

Richard Barnfield, "Amyntas," and the Sidney Circle

PMLA ◽  
1959 ◽  
Vol 74 (4) ◽  
pp. 318
Author(s):  
Harry Morris
Keyword(s):  
Sidney Circle

Voicing Lyric

2019 ◽  
pp. 110-138
Author(s):  
Katherine R. Larson
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
And Performance ◽  
Sidney Circle ◽  
Affective Impact

Although not every lyric produced in sixteenth- and seventeenth-century England was intended to be sung, unpacking the musical facets of lyric circulation holds tremendous implications for our understanding of the performance-based facets of early modern poetics. In confronting these questions, this chapter takes as its focus the literary–musical nexus of the Sidney circle and, in particular, the writings of Mary Wroth, an accomplished musician whose writings abound with musical lyrics and allusions to song performance. Focusing on the manuscript collection of Wroth’s poems now preserved at the Folger Shakespeare Library and on the songs scattered throughout Urania, this chapter considers how reading Wroth’s songs as songs—as metrical compositions written with a tune in mind, adapted for musical setting and performance, or simply meant to be imagined as sung—sheds new light on the affective impact of the musical moments in her writings.

Proportional Form in the Sonnets of the Sidney Circle: Loving in Truth

2000 ◽  
Vol 95 (3) ◽  
pp. 797
Author(s):  
Andrew Hadfield ◽  
Tom W. N. Parker
Keyword(s):  
Sidney Circle
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