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Her mother, a well-educated woman who was a close friend of Queen Elizabeth, was the daughter of the Earl of Northumberland, who was virtual ruler of England in King Edward's final years, and the sister of Elizabeth's favorite, Robert Dudley. Except for some business correspondence, all of her extant works were completed or published in the s.

Her three-year-old daughter Katherine died in on the same day her son Philip was born. Her boldness lay in publishing under her own name, a most unusual action for an aristocratic woman. When Mary was fifteen she became the third wife of Henry Herbert, Earl of Pembroke, one of the richest men in England and an important ally of her father and of her uncle, the earl of Leicester.

Sometime in the early s, probably while she was completing her Petrarch translation, the countess had begun the work for which she is known, her metric translation of Psalms that completes and revises a project that her brother Philip had begun in his final years.

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Overcome by illness and grief, fearing invasion by the Spanish Armada, Mary Sidney remained in the country for two years. When the countess first began her metric versions, she remained fairly close to the phrasing and interpretation familiar to her from Miles Coverdale 's prose version in the Great Bible, incorporated into the Book of Common Prayer.

The extensive family correspondence mentioned by her brothers and other contemporaries has also been lost; her only surviving personal letters were written to her uncle, Robert Dudley, Earl of Leicester, in ; and to Robert Sidney's wife, Barbara Gamage, inoffering the services of a nurse.

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She began her public literary career after his death by encouraging works written in his praise, publishing his works, and completing his translation of the Psalms. A close friend of Philip SidneyMornay had visited England in and had probably met the countess on that trip.

By expanding metaphors and descriptions present in the original Hebrew, Sidney also incorporated her experience at Elizabeth's court, as well as female experiences of marriage and childbirth. Since it is a dialogue, we need not identify the countess with either position, but Piers concludes that only silence is adequate for the queen's praise, an ambiguity that calls into question the genre of the encomium itself. By using the Protestant code in phrases like "these most active times" and in comparing the monarch to King David, she was urging the queen to act on behalf of continental Protestants.

By refusing to marry his pregnant mistress, he incurred Elizabeth's fury and blotted a promising career. Antony and Cleopatra learn to stop blaming fate or each other, and to accept responsibility for the devastating consequences of their abandoning of public duty for private pleasure. She calls the paraphrase of the Psalms a "half-maimed piece," begun by "thy matchless Muse," the rest pieced together by herself.

Further readings about the author

Garnier's work is based on Plutarch's Life of Antonius but dramatizes only his final days. Together they have woven a cloth that becomes a "livery robe" for the queen to present as she sees fit. Even though the original was written by a man, Mary Sidney's vibrant and eloquent Laura provided an entry into the genre of love poetry for English women. Her more polished versions, transcribed by Sir John Davies of Hereford in the Penshurst manuscript, evidence a scholarly process of revision, however.

The stream of elegies for Sir Philip had dried up quickly after the death of the earl of Leicester, who had rewarded those who honored his nephew; Mary Sidney stepped into that role, encouraging a second wave of elegies, including works by Thomas MoffetAbraham Fraunce, and Edmund Spenser. Her literary career was both inspired by her brother and enabled by his death; as his literary heir, she could accomplish things usually restricted to the male prerogative by using consciously or unconsciously the traditionally feminine role of grieving relative to create a public persona.

His meditation on death as the beginning of true life was particularly suited to the countess's own grief for the recent deaths in her family, Like Antoniusthe Discourse also served as an oblique commentary on court politics, demonstrating the vanity of earthly ambition as had sixteenth-century writers such as Desiderius ErasmusSir Thomas Moreand Sir Thomas Wyatt. Mary Sidney was the most important non-royal woman writer and patron in Elizabethan England. References are also made to other continental versions and to earlier English metrical Psalms, such as those by Anne Lok and Matthew Parker.

After Ambrosia died inQueen Elizabeth invited the Sidneys to send Mary to court, away from the "unpleasant" air of Wales. The earl of Pembroke, a man in his late sixties who had long been struggling against serious illness, was drawing near death.

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Because all three of her brothers were serving with the English forces sent to help free Protestant Holland from the occupying forces of Catholic Spain, Mary was the only one who could represent the family at the funeral. Tantalizing later references indicate that she continued writing and translating until her death, but all subsequent works have been lost, probably to fire; her primary residences of Wilton and Baynards Castle burned in the seventeenth century. Like the Discourse"The Triumph of Death" offers consolation to the bereaved; the poem also permitted the countess to interject a female voice into the Petrarchan tradition.

Mary Sidney began her writing career in the late s, after her three surviving children were out of infancy and after she had experienced a devastating series of deaths in her family. Like AntoniusMornay's work emphasizes the dangers of civil war, although Mornay concludes that "we find greater civil war within ourselves. In "Angel Spirit" the countess makes the traditional gesture of humility, saying as other writers had done that her ability best Pembroke to flirt with a woman not equal to the task of praising her brother.

She turned from literary endeavors to administration. William would not come of age until April ofleaving the countess, her children, and all the Pembroke property vulnerable to the Court of Wards. She may have translated the other five poems of the Trionfisince the only extant manuscript is a transcript of a copy Sir John Harington sent to his cousin Lucy, Countess of Bedford, on 19 Decemberalong with three of the countess's Psalms and some other pieces; certainly Thomas Moffett's suggestion in his Silkworms that Sidney "let Petrarch sleep, give rest to sacred writ" indicates a substantial project.

In an apt metaphor, the countess says that Sir Philip set up the warp, the structural thre, while she wove the web, or completed the work. The countess used different verse forms for the Psalms she translated Psalm has twenty-two sectionsmaking her achievement ificant for metrical variety as well as for the content, Like her Genevan sources, the countess used the Psalms to comment on contemporary politics, particularly the persecution of "the godly," as Protestants called themselves.

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Lady Sidney was badly scarred by smallpox after nursing the queen, and thereafter rarely appeared at court. As mistress of the primary Pembroke estate at Wilton, their London home Baynards Castle, and several smaller estates, she encouraged literary and scientific endeavors among her friends and household. Her first known literary work, "The Doleful Lay of Clorinda," was published with Spenser's "Astrophel" in a collection of elegies.

Trying to protect the family property in Cardiff from popular uprisings against the seigneurial hold of the Pembrokes, she lodged charges of jewel theft, piracy, and murder against several residents of Cardiff, particularly Edmund Mathew. Her grief was undoubtedly genuine, but so was her poetic ambition. As Beth Wynne Fisken has shown, the humility of Sidney's phrasing in "Angel Spirit" partly masks the boldness of her literary initiative. The most probable scenario is that the countess worked with Spenser, assembling poems printed earlier in The Phoenix Nest and revising her poem written shortly after Philip's death.

The form of the closet drama, more suitable for reading aloud on a country estate than for acting on the public stage, was popular enough that Antonius was republished in and was followed by similar works on historical themes by Samuel DanielThomas KydSamuel Brandon, Sir Fulke GrevilleWilliam Alexander later Earl of Stirlingand Elizabeth Cary, Viscountess Falkland.

Arrangements for Anne's marriage were apparently thwarted by a recurring illness, although she had been well enough to participate in Ben Jonson 's Masque of Blackness in January. At war with Octavius Caesar, he has lost the battle of Actium by foolishly fleeing with Cleopatra and is now besieged in Alexandria.

He had been a companion of King Edward, who died in his arms. Unlike "The Doleful Lay of Clorinda," Sidney final elegy for her brother avoids pastoral conventions in order to make a direct statement of her loss and of her determination to honor him by her writing; her tears have "dissolved to ink.

In "The Triumph of Death" the spirit of Laura eloquently describes the experience of death, the joy of heaven, and her love for Petrarch. Mathew was allied to the Herberts by marriage but had turned against them after Pembroke jailed his older brother, William, for best Pembroke to flirt with a woman.

Writings by the author:

Major events take place offstage; the drama consists of a series of soliloquies, interspersed with discussions with servants and friends, and comments by a chorus, representing "first Egyptians and after Roman soldiers. Published with AntoniusMary Sidney's translation of Philippe de Mornay's Discours de la vie et de la mort one of a series of translations undertaken by Philip Sidney and his continental friends to support Mornay and the Huguenot cause.

In Novembershe returned to London in a splendid procession, and began to honor her brother by her activities as patron, translator, and writer. As in several of her Psalms, she develops a metaphor from ing, adding up the sum of her woes.

She follows convention in the final apotheosis, showing her brother living in heaven "in everlasting bliss" while those below mourn his absence.

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Although some critics have attributed the poem to Spenser, evidence of her authorship includes her letter to Philip Sidney 's friend Sir Edward Wotton, asking for his copy of a poem of mourning that she had written long ago and now needed; Spenser's parallel treatment of Lodowick Bryskett as "Thestylis" and the countess as "Clorinda"; the parallel separation of "Clorinda" from "Astrophel" and from "The Mourning Muse of Thestylis" by the use of borders and introductory stanzas in the first publication of the "Lay"; Spenser's own references to the countess in "Astrophel" and in The Ruines of Time ; and stylistic similarities to the countess' other works.

Spenser then wrote "Astrophel" for the volume, as well as stanzas introducing the other elegies. Although the Psalms have always been an important part of Judeo-Christian worship, translating them into the vernacular for private meditation and public singing had become a particularly Protestant activity in the sixteenth century.

All England and Holland mourned his death; several collections of elegies and his splendid funeral delayed until February for financial reasons helped to establish the Sidney legend. English Petrarchanists had focused on the first part of the Canzonieresonnets in which Laura is given little chance to speak. Under Queen Elizabeth the Countess of Pembroke had held a position of honor and some power; in the opening years of James's reign the widowed Dowager Countess lost her influence at court.

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The death of her father in May was quickly followed by her mother's death in August. Pembroke did die on 19 January Instead of comforting his mother, young William added to her problems when he seduced and abandoned Mary Fitton, one of the queen's Maids of honor. Although he was finally released from Fleet Prison on grounds that his health was failing, William was not able to obtain a suitable position at court until the queen died and James came to the throne.

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Although a letter to Leicester shows her struggling to please these two powerful earls, she quickly grew into her role as countess of Pembroke. In "The Doleful Lay of Clorinda" Sidney uses pastoral language to mourn the death of one who was the "Joy of the world, and shepherd's pride. Sidney had need of the queen's favor. Without appearing to transgress the strictures against women's writing, she composed a sizable body of work, evading criticism by focusing on religious themes and by confining her work to the genres thought appropriate to women: translation, dedication, elegy, and encomium.

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As the play opens, Antonius, once the most powerful man in the Roman empire, has become so besotted with love for the Egyptian queen Cleopatra that he has thrown away his power and his marriage to Caesar's sister, Octavia. Sidney's translation of Robert Garnier's Marc Antoineamong the first English dramas in blank verse, helped introduce the Continental vogue for using historical drama to comment on contemporary politics, a method of indirect political statement which was continued through her patronage and that of her sons. Sidney would have been particularly anxious to please the queen at this time, since she was seeking a suitable position at court for her eldest son, William, a teenager ready to begin his public career.

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The play is written in the form of Senecan closet drama, emphasizing character rather than action. At Wilton" and Antonius dated "At Ramsburie.

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Like her brother Philip, the countess was deeply influenced by Continental writers and sought to bring European literary forms and themes to England. The Psalms were essentially completed bythe date recorded on the Tixall Manuscript owned by Dr. Bent Juel-Jensen. Platonic Thenot debates the nature of poetic language with Protestant Piers, who says that one need only tell the truth plainly. Samuel Daniel 's Cleopatra was written as a companion to her translation, and William Shakespeare 's Anthony and Cleopatra circa was directly influenced by her Antonius.

In the autumn, while seriously ill herself, the countess learned that her brother Philip died on 17 October from infection of a wound received at Zutphen. These events may for the period of estrangement from his mother indicated by Robert Sidney's correspondence. The poem may also provide evidence that the countess worked on the Psalms from the beginning, for she says that they originally had two authors, but now only one is left.

As in Greek drama, the chorus comments on the action, the characters, and particularly on the consequences of the ruler's acts for the people. Sidney next turned to translationia form of writing, like elegies for male relatives, deemed suitably feminine. While Mary's brothers, Philip, Robert, and Thomas, were preparing to enter the university, she and her younger sister, Ambrosia, received an outstanding education for women of their time, including training in Latin, French, and Italian language and literature, as well as more typically feminine subjects such as needlework, lute playing, and singing.

Even more important to her success was her identity as the sister of Sir Philip Sidney. An obsequious letter written in January of gives the queen even more extravagant praise than "Astrea. The convoluted cases can be traced through the countess's correspondence and the records of the Star Chamber. While there are no explicit references to English politics, the play was particularly appropriate in the turbulent s, when England feared that Elizabeth's death would plunge them into a civil war as bloody as Rome's.

Between and she bore four children: Katherine, who died in childhood; Anne, who died in her early twenties; William, who became the third earl of Pembroke; and Philip, whom King James created Earl of Montgomery and who eventually succeeded his brother as fourth earl of Pembroke.

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