Proportional Form in the Sonnets of the Sidney Circle: Loving in Truth. Tom W. N. Parker

doi:10.1086/493035

Proportional Form in the Sonnets of the Sidney Circle: Loving in Truth. Tom W. N. Parker

Modern Philology ◽

10.1086/493035 ◽

2001 ◽

Vol 99 (1) ◽

pp. 87-92

Keyword(s):

Sidney Circle

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

Neophilologus ◽

10.1007/bf01515504 ◽

1972 ◽

Vol 56 (3) ◽

pp. 331-343

Author(s):

G. F. Waller

Keyword(s):

Sidney Circle

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Proportional Form in the Sonnets of the Sidney Circle

10.1093/acprof:oso/9780198184430.001.0001 ◽

1998 ◽

Cited By ~ 5

Author(s):

Tom W. N. Parker

Keyword(s):

Sidney Circle

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GEORGE WHETSTONE AND THE SIDNEY CIRCLE

Notes and Queries ◽

10.1093/nq/37-2-165a ◽

1990 ◽

Vol 37 (2) ◽

pp. 165-a-165

Author(s):

J. D. ALSOP

Keyword(s):

Sidney Circle

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The Sidney|Circle

Edmund Spenser in Context ◽

10.1017/cbo9781316218662.029 ◽

2016 ◽

pp. 254-263

Author(s):

Mary Ellen Lamb

Keyword(s):

Sidney Circle

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Gender and Authorship in the Sidney Circle.

Sixteenth Century Journal ◽

10.2307/2541861 ◽

1993 ◽

Vol 24 (1) ◽

pp. 190

Author(s):

Constance C. Relihan ◽

Mary Ellen Lamb

Keyword(s):

Sidney Circle

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Richard Barnfield, "Amyntas," and the Sidney Circle

PMLA ◽

10.2307/460441 ◽

1959 ◽

Vol 74 (4) ◽

pp. 318

Author(s):

Harry Morris

Keyword(s):

Sidney Circle

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The Sidney circle and the protestant cause in Elizabethan foreign policy

Renaissance and Modern Studies ◽

10.1080/14735787509366390 ◽

1975 ◽

Vol 19 (1) ◽

pp. 31-46 ◽

Cited By ~ 1

Author(s):

Roger Howell

Keyword(s):

Foreign Policy ◽

Sidney Circle

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Voicing Lyric

The Matter of Song in Early Modern England ◽

10.1093/oso/9780198843788.003.0003 ◽

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.

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