Relevant bibliographies by topics / Sidney, Philip, Poets, English

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Sidney, Philip, Poets, English'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Sidney, Philip, Poets, English.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Sidney, Philip, Poets, English"

1

Hanson, Kristin. "Quantitative meter in English: the lesson of Sir Philip Sidney." English Language and Linguistics 5, no. 1 (2001): 41–91. http://dx.doi.org/10.1017/s1360674301000132.

Full text
Abstract:
The Renaissance experiments in quantitative meter in English pose a long-standing puzzle: not only have their specific principles of composition proved elusive; so has any more general explanation of their ultimate failure. This article argues that the solution to the puzzle lies in interactions of quantity and stress in both the meter and the language. An analysis of the dactylic hexameter as based on moraic trochees explains why stress is more straightforwardly accommodated by some positions than others. Analyses of stress-induced ambiguities in English syllable quantity such as the resyllabification of intervocalic consonants in C[V acute]C[V times over] contexts explain apparent inconsistencies in scansion. When these complexities are taken into account, Sidney's compositions reveal themselves to be systematic and phonologically well founded; ambiguities are acknowledged and the meter is exploited to structure them. Ultimately, however, such ambiguities mean that quantity alone provides an inadequate basis for meter in English, because it underdetermines the metrical possibilities.
APA, Harvard, Vancouver, ISO, and other styles
2

Hooker, N. "The Politics of Tragicomedy: Shakespeare and After; Sir Philip Sidney and Arcadia." English 41, no. 171 (1992): 271–77. http://dx.doi.org/10.1093/english/41.171.271.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Duffell, Martin J. "The Italian line in English after Chaucer." Language and Literature: International Journal of Stylistics 11, no. 4 (2002): 291–305. http://dx.doi.org/10.1177/096394700201100401.

Full text
Abstract:
This article argues that the English iambic pentameter (EIP) has other important features in addition to the five parameters identified by Hanson and Kiparsky’s (1996) parametric theory ( position number and size, orientation, prominence site and type). One of these features is that EIP contains a mixture of pausing (French) and running (Italian) lines, as determined by whether the syllable in position 4 is word-final. A study of the frequency with which the Italian line is used in the two centuries after Chaucer’s death reveals that Hoccleve and the Scots poets, Henryson, Dunbar and Douglas, adhered fairly closely to Chaucer’s EIP verse design. On the other hand, several generations of English poets, Lydgate, Wyatt, Surrey and Sidney, experimented with alternative types of line that might well have developed into the canonical English long-line metre. Ultimately, however, the examples of Spenser and Shakespeare proved decisive in ensuring the victory of Chaucer’s metre. Between the 17th and 19th centuries, Donne, Milton, Dryden, Pope, Wordsworth, Keats and Browning were among the major poets who consolidated that victory and exploited the Italian line in order to accommodate their own or their age’s choice of diction. The mixture of French and Italian lines in decasyllabic verse is one of the distinguishing features of EIP. Although other factors affect the proportions in this mixture to a small extent, they are primarily the result of individual poets’ aesthetic choice. Significantly, all the English poets after Spenser whose verse is analysed in this article have favoured a more evenly balanced mixture of French and Italian lines than the random deployment of their lexicon would have produced.
APA, Harvard, Vancouver, ISO, and other styles
4

Zuse, Maria. "Distribution of word length in early modern English letters of Sir Philip Sidney*." Journal of Quantitative Linguistics 3, no. 3 (1996): 272–76. http://dx.doi.org/10.1080/09296179608599635.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Moore, Michael D. "Genre of Genre: Sidney and Defences of Poetry." Florilegium 16, no. 1 (1999): 147–54. http://dx.doi.org/10.3138/flor.16.012.

Full text
Abstract:
At the centre of this essay lies a reconsideration of an elusive spirit lurking amid the conventional classical, medieval, and Renaissance gestures of Sir Philip Sidney's Apologie for Poetrie . This underlying principle in the Sidneyan strategy seems also to animate other "defensive" interventions in the history of English poetics, and the mostly unspoken or unspeakable grounds for poetry's traditionally privileged place at the centre of a liberal education. It may accordingly have implications for our ambivalence today about the "uses" of literature in a world (and an academic profession) renewing—yet again—the same pattern of impatient suspicion and adroitly evasive apologia.
APA, Harvard, Vancouver, ISO, and other styles
6

Herman, Peter C. "“Bastard Children of Tyranny”: The Ancient Constitution and Fulke Grevilles A Dedication to Sir Philip Sidney." Renaissance Quarterly 55, no. 3 (2002): 969–1004. http://dx.doi.org/10.2307/1261562.

Full text
Abstract:
This essay proposes that Fulke Greville structured A Dedication to Sir Philip Sidney according to the principles of the Ancient Constitution. Greville departs from the standard view of Sidney in the early seventeenth century as a primarily literary figures by constructing his late friend as an avatar of the Ancient Constitution, and views Elizabeth and Essex in the same light. Greville’s redefinition of all three as exemplars of English constitutionalism directly results from the controversies surrounding James’ increasing absolutism. However, the question remains as to why in 1652 a Royalist would publish such a text, and the answer lies in how shifting political circumstances alters the interpretation of texts.
APA, Harvard, Vancouver, ISO, and other styles
7

Hallett, Nicky. "Philip Sidney in the Cloister: The Reading Habits of English Nuns in Seventeenth-Century Antwerp." Journal for Early Modern Cultural Studies 12, no. 3 (2012): 88–116. http://dx.doi.org/10.1353/jem.2012.0022.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Déléris, Alban. "Les vies françaises de l’Arcadia : du roman de Sir Philip Sidney à ses adaptations dramatiques en France." Renaissance and Reformation 40, no. 3 (2017): 133–56. http://dx.doi.org/10.33137/rr.v40i3.28739.

Full text
Abstract:
Dans les années 1580, Sir Philip Sidney s’attelle à l’écriture de son oeuvre majeure, l’Arcadia, vaste roman pastoral dont la composition inachevée s’étale sur plusieurs années, et la publication posthume. Sa diffusion à l’étranger, et notamment en France, est rapide et l’Arcadia fait en effet l’objet dès le début du XVIe siècle de plusieurs traductions, grâce à plusieurs érudits français qui n’hésitent pas à traverser la Manche pour affiner leur compréhension de la langue anglaise. Par ailleurs, le roman pastoral est adapté à trois reprises sur les scènes françaises, entre le tout début du XVIIe siècle et 1642, par successivement Galaut, La Calprenède et Mareschal. Ainsi, se dessinent des trajectoires littéraires et des continuités dramatiques singulières, qui conduisent à interroger tout à la fois les mécanismes de l’adaptation théâtrale et les fondements historiques des transferts culturels entre la France et l’Angleterre.
 In the 1580s, Sir Philip Sidney set about writing his major work, Arcadia. The unfinished composition of this huge pastoral romance stretched over several years, and it was published posthumously. Its dissemination abroad, and notably in France, was rapid. Arcadia was in fact translated several times from the beginning of the seventeenth century, thanks to a handful of French scholars who readily crossed the channel to refine their understanding of the English language. Moreover, the pastoral romance was adapted three times for the French stage between the outset of the seventeenth century and 1642, by Galaut, La Calprenède and Mareschal successively. Thus literary trajectories and singular dramatic continuities emerge, which lead to the questioning of both the mechanisms of theatrical adaption and the historical foundations of cultural transfers between France and England.
APA, Harvard, Vancouver, ISO, and other styles
9

Vyshenskaya, Yuliya P. "Italian treaties on literature as the style model for English secular early Renaissance literature." Vestnik of Kostroma State University 27, no. 1 (2021): 99–105. http://dx.doi.org/10.34216/1998-0817-2021-27-1-99-105.

Full text
Abstract:
The article deals with the matter of the English belles-lettres style of the 16th century. The style phenomenon is interpreted as some representative of the whole in particular. The fact in turn makes condition of interpreting the work of literature as belonging to some type of culture. Within the scope of the interpretation of the kind the style phenomenon is considered within the scope of the global context of changes which took place in European Renaissance. The notions of culture and literature are identified, the latter is believed to be one of the principle sphere of intellectual activity of the representatives of the humanistic thought devoted their time. The kind is marked by an outstanding rise during the analysed period of time. Perceiving the analysed time period culture as one of the cultures’ communication gives an opportunity to trace the ways of artistic transforming of the ideas about particular features of stylistic construction of a piece of literature. The study is based on the material of the creative heritage of Philip Sidney, the salient representative of the Elizabethan culture, whose individuality and style were under the influence of Italian humanistic thought.
APA, Harvard, Vancouver, ISO, and other styles
10

Moulton, Ian Frederick. "Scribal Publication in Seventeenth-Century England Harold Love Manuscript, Print, and the English Renaissance Lyric Arthur F. Marotti Sir Philip Sidney and the Circulation of Manuscripts, 1558-1640 H. R. Woudhuysen." Huntington Library Quarterly 60, no. 4 (1997): 459–69. http://dx.doi.org/10.2307/3817791.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Sidney, Philip, Poets, English"

1

Henson, Marie Celeste. "Representations of Counsel in Selected Works of Sir Philip Sidney." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467248.

Full text
Abstract:
This dissertation addresses the historical, political, and literary-rhetorical framing of counsel in selected works of Sir Philip Sidney: his Letter to Queen Elizabeth (1579), The Old Arcadia (1580), the first two books of The New Arcadia (1585), and the strikingly different final book of The New Arcadia. In these works, Sidney makes resourceful and varying use of the topos of the mirror. First, I show in what ways Sidney serves as the Queen’s mirror in advising her against the marriage to the Duke of Alençon. In the Letter, Sidney gathers, shatters, and distorts aspects of Elizabeth’s image; he multiplies reflections to discredit arguments of his political opponents and reconstitutes Elizabeth in an imperial, Protestant image. Turning to The Old Arcadia, I argue that, through the presentation of Gynecia, Sidney broadens the conventions of the genre familiarly known as the mirror for princes. Gynecia’s complexity and moral ambiguity complicate the traditional generic categories of virtue to be emulated and vice to be avoided. She serves as both an object in, and a reader of, the mirror for princes text and becomes a means for Sidney’s commentary on the genre and the moral questions it raises. By inviting the reader into an active experience of the mirror’s pedagogical enterprise, Sidney tests and refines the reader’s assumptions and moral judgments. In Books I and II of The New Arcadia, Sidney presents and interrogates poetry as a strategy for overcoming limited human agency and imperfect knowledge, limitations that appear in deployments of the mirror that show stasis and in images of the maze to indicate blocked access and thwarted mobility. By questioning poetry’s capacity to uncover and represent truth, Sidney holds the mirror up to himself. Book III of The New Arcadia restores the mirror as the productive mode of counsel in a mirror for princes text that instructs on a central theme of the Renaissance debate on counsel: discerning the flatterer. Sidney’s New Arcadia in its entirety offers an exemplary mirror of the self-scrutiny that leads to self-knowledge and the consequent authority to offer counsel of worth.<br>English
APA, Harvard, Vancouver, ISO, and other styles
2

Davis, Joel Brandner. "Renaissance neostoicism and the Sidney family literary discourse /." view abstract or download file of text, 1999. http://wwwlib.umi.com/cr/uoregon/fullcit?p9947976.

Full text
Abstract:
Thesis (Ph. D.)--University of Oregon, 1999.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 249-257). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9947976.
APA, Harvard, Vancouver, ISO, and other styles
3

Knauss, Daniel Philip. "Love's Refinement: Metaphysical Expressions of Desire in Philip Sidney and John Donne." NCSU, 1998. http://www.lib.ncsu.edu/theses/available/etd-19981127-152342.

Full text
Abstract:
<p>(Under the direction of R. V. Young.)<BR><BR><BR> Contrary to critics who assert that Elizabethan and Jacobean poets can be categorically differentiated from each other according to their philosophical outlook and style, Sir Philip Sidney' shows them to be contiguous and continuous innovators in the Petrarchan love lyric. <BR><BR>Both terminates with Astrophil trapped within the conditions he has defined. <BR><BR>This novel conclusion, although firmly based in conventional Petrarchan precepts, exposes the issues that constantly loom before any Petrarchan love lyricist; that is, the problematic identities and relationships of images, ideas, and realities; invention, inspiration, and imitation. On the other hand, in their arguments and attitudes toward love and poetry, but several of the most poignant and exploratory poems admit the necessity of idealized image-making while also accepting the inevitable irony in such images. Thus Donne's sequence can be seen as an acknowledgment of Sidney's exposure of the inherent instability involved in poetic attempts to transpose the ideal into the real, but it can also be seen as an innovative response to this problem that entails embracing the instability and irony of Petrarchan lyricism and then using that instability and irony prominently in poems whose speakers are conscious of the limitations of their conceits. As the primary example of this attitude, Donne's speaker in "A nocturnal upon S. Lucies day, Being the shortest day" explores the inherent irony in idealized images of the union of human lovers while yet recognizing the vision and direction they afford as sacramental foretypes of eternity and divine love.<P>
APA, Harvard, Vancouver, ISO, and other styles
4

Bergquist, Carolyn J. "Fictions of belief in the worldmaking of Geoffrey Chaucer, Sir Philip Sidney, and John Milton /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3102152.

Full text
Abstract:
Thesis (Ph. D.)--University of Oregon, 2003.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 176-185). Also available for download via the World Wide Web; free to University of Oregon users.
APA, Harvard, Vancouver, ISO, and other styles
5

Simonova, Natalia. "Works of another hand : authorship and English prose fiction continuations, 1590-1755." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9572.

Full text
Abstract:
This dissertation explores the development of prose fiction continuations from Sir Philip Sidney’s Arcadia to the novels of Samuel Richardson. Examining instances in which a text was continued by someone other than its original author, I ask precisely what this distinction means historically: what factors create a system of literary value in which certain continuations are defined as ‘spurious,’ and how does the discourse surrounding these texts participate in changing attitudes toward authorship, originality, and narrative closure? My work thus contributes to recent critical efforts to historicise authorship and literary property, using prose fiction examples that have not previously been discussed in this context. Analysing the rhetorical strategies found within paratextual materials such as prefaces, dedications, and advertisements, I establish how writers of continuations discuss the motivations for their works, how these are marketed and received, and how the authors of the source texts (or their representatives) respond to them. Through close reading, the dissertation traces the development of persistent metaphors for literary property across these texts, focusing on images of land, paternity, and the author’s ‘spirit.’ The introductory chapter addresses these metaphors’ significance, defines the main elements of continuations, and situates them within the historical context of a growing print marketplace and developments in copyright law. The dissertation then presents a series of case studies of the most documentarily-rich instances of continuation across the period. Starting with The Countess of Pembroke’s Arcadia, published posthumously in an incompletely-revised form, Chapter 2 shows how its gaps allowed other writers to continue the story, while Chapter 3 studies the metaphorical approaches to authorship taken in the continuations’ paratexts. Chapter 4 examines two Restoration texts, The English Rogue and The Pilgrim’s Progress, which combine the Arcadia continuations’ concern about the author’s honour with issues of commercial competition. The intersection of profit, reputation and copyright protection brought out in this chapter is reflected in the subsequent discussion of the career of Samuel Richardson. Chapter 5 shows him responding to public challenges to his authorial control following the success of Pamela, whereas Chapter 6 explores the more private assertions of authority taking place within Richardson’s correspondence during the publication of Clarissa and Sir Charles Grandison. Finally, my conclusion summarises the subsequent legal and critical privileging of original over continuation, emphasising the historical contingency of this process. The broad chronological scope of the dissertation allows the frames of all these texts to inform each other for the first time, crossing the established critical boundary between the ‘romance’ and the ‘novel.’ This approach reveals continuities as well as differences, enabling me to construct a more nuanced picture of Early Modern approaches to prose continuations and authorial ownership. In establishing links between law and literature, the project also provides an important historical context for contemporary debates about copyright, fanfiction, and literary property.
APA, Harvard, Vancouver, ISO, and other styles
6

Chatfield, Thomas Edward Francis. "Beyond realism and postmordernism : towards a post-Christian morality in the works of Philip Larkin, Kingsley Amis and Martin Amis." Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:1db4198a-56e4-417d-b5e5-eb6586a6d7d6.

Full text
Abstract:
This thesis evaluates and re-evaluates the relationship between the works of Philip Larkin, Kingsley Amis and Martin Amis through a detailed examination of their published works, and attempts to locate this relationship in the context of the central moral uncertainties of post-1945 British fiction. Most previous critical studies of these authors have tended to discuss the relationship between Kingsley Amis and Martin Amis in terms of an opposition between the father's realism and the son's postmodernism, and have debated Philip Larkin's influence upon Martin Amis only tangentially. Against this trend, this thesis argues that these three authors share a commitment to literature as a public, moral act, and, in particular, that their works share the intention of articulating a number of closely related secular 'human values' which map out a potential post-Christian morality in British society. The thesis also examines a common tension within their oeuvres inimical to such hopes - the fear that the possibilities of rational self-scrutiny and of becoming 'less deceived' have been discredited by the history of the twentieth century, and that this history instead evidences the dominance of irrational and self-destructive tendencies in the human. These fears, it is further claimed, are implicated in the works of all three authors in a tendency towards the construction of Edenic myths, deterministic simplifications, and despairing devaluations of the value of human life. Overall, this thesis makes the case for the significance of the common concerns of Martin Amis, Kingsley Amis and Philip Larkin's works in the context of contemporary literary studies: their efforts to create in art an unpretentiously 'public space' for the address of burning moral and existential issues, and their unresolved struggles with the question of what it might mean to live a good life in a society which no longer possesses religion as a common moral language.
APA, Harvard, Vancouver, ISO, and other styles
7

Light, Susan. "Strange constructions : reading romances in Renaissance England /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9809140.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Dawkins, Thom. "Rejoice in Tribulations: The Afflictive Poetics of Early Modern Religious Poetry." Case Western Reserve University School of Graduate Studies / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=case1562630899327406.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Phelps, Paul Chandler. "'Wounded Harts' : metaphor and desire in the epic-romances of Tasso, Sidney, and Spenser." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:6314229f-2797-4727-91c8-64265a16f6b3.

Full text
Abstract:
If we consider the representation of the body in the epic-romances of Torquato Tasso, Philip Sidney, and Edmund Spenser, certain instances of wounding and laceration emerge as crucial turning points in the development of their respective narratives: Clorinda’s redemptive mutilation, Parthenia’s blood-drenched pallor, Amavia’s disquieting suicide, Venus’s insatiable orifice, Amoret’s “perfect hole.” This thesis affords a detailed comparative study of such passages, contending that the wound assumed a critical metaphoric dimension in sixteenth-century epic-romance literature, particularly in relation to the perceived association between body condition and erotic desire. Along with its function as a marker of martial valor and somatic sacredness, the wound, I argue, increasingly is designated in these epic-romances as an interiorizing apparatus, one liable to accrue at any instance into a surplus of unanticipated meaning. As such, the wound becomes an emblem in these texts of what I call the phenomenology of desire—the equation of consummation and loss—as well as the aesthetic and metaphoric mechanism by which these writers seek to overcome it. The four chapters of this thesis constitute individual but cumulative points of response to the problem of thinking about desire as a type of wound. For Tasso, a wound poses a challenge to physical, psychological, and spiritual integrity, but its remarkable capacity for aestheticization also allows Tasso to envision it as a synthesizer of sacred and erotic affects. For Sidney, the prospect that a wound could define a body as courageous or pathetic, as sacred or corrupt, became both politically and socially troubling, and the New Arcadia, I argue, proleptically attempts to defend Sidney against interpretations of wounds that register them as manifestations of corrupt desire. For Spenser, body fracture and erotic wounding are analogic (indeed, almost indistinguishable), and The Faerie Queene investigates the prospect that confusing these analogies can become an empowering, even revelatory experience. In each of these epic-romances, a wound serves both a literal and a figurative function and, in this way, is established as the foremost image by which these writers imagine strength and mutilation, affect and heroism, epic and romance as being inextricably bound.
APA, Harvard, Vancouver, ISO, and other styles
10

Lazarus, Micha David Swade. "Aristotle's Poetics in Renaissance England." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:fea8e0e3-df54-4b57-b45d-0b46acd06530.

Full text
Abstract:
This thesis brings to light evidence for the circulation and first-hand reception of Aristotle's Poetics in sixteenth-century England. Though the Poetics upended literary thinking on the Continent in the period, it has long been considered either unavailable in England, linguistically inaccessible to the Greekless English, or thoroughly mediated for English readers by Italian criticism. This thesis revisits the evidentiary basis for each of these claims in turn. A survey of surviving English booklists and library catalogues, set against the work's comprehensive sixteenth-century print-history, demonstrates that the Poetics was owned by and readily accessible to interested readers; two appendices list verifiable and probable owners of the Poetics respectively. Detailed philological analysis of passages from Sir Philip Sidney’s Defence of Poesie proves that he translated directly from the Greek; his and his contemporaries' reading methods indicate the text circulated bilingually as standard. Nor was Sidney’s polyglot access unusual in literary circles: re-examination of the history of Greek education in sixteenth-century England indicates that Greek literacy was higher and more widespread than traditional histories of scholarship have allowed. On the question of mediation, a critical historiography makes clear that the inherited assumption of English reliance on Italian intermediaries for classical criticism has drifted far from the primary evidence. Under these reconstituted historical conditions, some of the outstanding episodes in the sixteenth-century English reception of the Poetics from John Cheke and Roger Ascham in the 1540s to Sidney and John Harington in the 1580s and 1590s are reconsidered as articulate evidence of reading, thinking about, and responding to Aristotle's defining contribution to Renaissance literary thought.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Sidney, Philip, Poets, English"

1

Alan, Stewart. Philip Sidney: A double life. Chatto & Windus, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Philip Sidney: A double life. Thomas Dunne Books/St. Martin's Press, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Alan, Stewart. Philip Sidney: A double life. Chatto & Windus, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Berry, Edward I. The making of Sir Philip Sidney. University of Toronto Press, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Sir Philip Sidney, courtier poet. Yale University Press, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Duncan-Jones, Katherine. Sir Philip Sidney, courtier poet. Hamish Hamilton, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

P, Kuin R. J., ed. The correspondence of Sir Philip Sidney. Oxford University Press, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Berry, Edward. The Making of Sir Philip Sidney. University of Toronto Press, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Berry, Edward I. The making of Sir Philip Sidney. University of Toronto Press, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

J, Kinnamon Noel, ed. A Sidney chronology, 1554-1654. Palgrave Macmillan, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Sidney, Philip, Poets, English"

1

Frenk, Joachim. "15. Philip Sidney, The Two Arcadias (1577–1584)." In Handbook of English Renaissance Literature, edited by Ingo Berensmeyer. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110444889-016.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Buxton, John. "The Tradition of Patronage." In Sir Philip Sidney and the English Renaissance. Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-19023-2_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Buxton, John. "The Education of a Patron." In Sir Philip Sidney and the English Renaissance. Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-19023-2_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Buxton, John. "The Education of a Patron." In Sir Philip Sidney and the English Renaissance. Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-19023-2_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Buxton, John. "Experiments for a New Poetry." In Sir Philip Sidney and the English Renaissance. Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-19023-2_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Buxton, John. "A Generall Maecenas of Learning." In Sir Philip Sidney and the English Renaissance. Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-19023-2_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Buxton, John. "The Countess of Pembroke." In Sir Philip Sidney and the English Renaissance. Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-19023-2_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Buxton, John. "Many Gentlemen Excellently Learned." In Sir Philip Sidney and the English Renaissance. Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-19023-2_7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Buxton, John. "Epilogue." In Sir Philip Sidney and the English Renaissance. Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-19023-2_8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Craik, Katharine A. "Beneath the Skin: George Puttenham, Sir Philip Sidney and the Experience of English Poetry." In Reading Sensations in Early Modern England. Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230206083_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Sidney, Philip, Poets, English' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography