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God and lovers in the sonnet sequenc...

Emporia State University.

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God and lovers in the sonnet sequences of Petrarch, Sidney, and Wroth.

Record Type:	Electronic resources : Monograph/item
Title/Author:	God and lovers in the sonnet sequences of Petrarch, Sidney, and Wroth./
Author:	Myers, Laura Marie.
Description:	110 p.
Notes:	Source: Masters Abstracts International, Volume: 46-05, page: 2435.
Contained By:	Masters Abstracts International46-05.
Subject:	History, Medieval. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1455039
ISBN:	9780549551164

God and lovers in the sonnet sequences of Petrarch, Sidney, and Wroth.
Myers, Laura Marie.

God and lovers in the sonnet sequences of Petrarch, Sidney, and Wroth. - 110 p.

Source: Masters Abstracts International, Volume: 46-05, page: 2435.

Thesis (M.A.)--Emporia State University, 2008.

The sonnet sequences of Petrarch (Rime sparse), Sir Philip Sidney (Astrophil and Stella), and Lady Mary Wroth (Pamphilia to Amphilanthus), all have overarching spiritual themes involving the Lover's attitude towards God and virtue. In the Platonic love tradition, the Beloved was the being who inspired spiritual transcendence in the Lover. However, certain poems in these sequences challenge this convention and present a paradox between the Beloved as inspiration or distraction. Petrarch and the character of Astrophil confess that those they love do not inspire them to spiritual fulfillment, but distract them from their spiritual responsibilities. Petrarch's sequence concludes with a deliberate choice to love God more than he loves Laura. When read in light of these spiritual ideas, these confessional poems alter the view of various conceits Petrarch established, such as unrequited love and the Beloved as a heavenly being. In contrast, Sidney allows Astrophil to confess his inability to move towards God. This, coupled with Stella's refusal of his advances, leaves Astrophil sad and alone at the end of the sequence. Other works of Sidney suggest that his sequence was to be instructive about what not to do in love. In Pamphilia to Amphilanthus, Pamphilia's unique female perspective allows Wroth to alter the traditional Petrarchan conceits to gain credibility. Through Pamphilia's stance as both the male poet-lover and the virtuous lady, Wroth argues that traditional female virtues should be shared by all genders. In each sequence, the Lover's love was always unrequited; however, if the Lover would first seek God, instead of looking to an earthly love for satisfaction, the Lover would find spiritual peace of mind. God would become the Lover of the Lover and he or she would attain a love from God that would not be unrequited.

ISBN: 9780549551164Subjects--Topical Terms:

925067
History, Medieval.

God and lovers in the sonnet sequences of Petrarch, Sidney, and Wroth.
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245 1 0 $a God and lovers in the sonnet sequences of Petrarch, Sidney, and Wroth.
300 $a 110 p.
500 $a Source: Masters Abstracts International, Volume: 46-05, page: 2435.
502 $a Thesis (M.A.)--Emporia State University, 2008.
520 $a The sonnet sequences of Petrarch (Rime sparse), Sir Philip Sidney (Astrophil and Stella), and Lady Mary Wroth (Pamphilia to Amphilanthus), all have overarching spiritual themes involving the Lover's attitude towards God and virtue. In the Platonic love tradition, the Beloved was the being who inspired spiritual transcendence in the Lover. However, certain poems in these sequences challenge this convention and present a paradox between the Beloved as inspiration or distraction. Petrarch and the character of Astrophil confess that those they love do not inspire them to spiritual fulfillment, but distract them from their spiritual responsibilities. Petrarch's sequence concludes with a deliberate choice to love God more than he loves Laura. When read in light of these spiritual ideas, these confessional poems alter the view of various conceits Petrarch established, such as unrequited love and the Beloved as a heavenly being. In contrast, Sidney allows Astrophil to confess his inability to move towards God. This, coupled with Stella's refusal of his advances, leaves Astrophil sad and alone at the end of the sequence. Other works of Sidney suggest that his sequence was to be instructive about what not to do in love. In Pamphilia to Amphilanthus, Pamphilia's unique female perspective allows Wroth to alter the traditional Petrarchan conceits to gain credibility. Through Pamphilia's stance as both the male poet-lover and the virtuous lady, Wroth argues that traditional female virtues should be shared by all genders. In each sequence, the Lover's love was always unrequited; however, if the Lover would first seek God, instead of looking to an earthly love for satisfaction, the Lover would find spiritual peace of mind. God would become the Lover of the Lover and he or she would attain a love from God that would not be unrequited.
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650 4 $a History, Medieval. $3 925067
650 4 $a Literature, English. $3 1017709
650 4 $a Literature, Medieval. $3 571675
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