엘리자베스와 소네트
Reading Elizabeth in the Sonnets of Sidney and Spenser
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In 1590s, writing love sonnets became a vogue in Elizabethan England as a genre to express desire. While desire was multi-leveled, from a desire for the beloved lady's grace to a desire for the patron's favor, sonnets were pursued and exercised as a means of a most effective rhetoric by Elizabethan poets and courtiers who participated in the power politics in the court of Elizabeth I and in its patronage system. Given that Elizabeth I was the ultimate source of patronage, the Queen was hardly to be excluded from the original audience, and her image was inevitably represented in the sonnet sequences. Based on the set of homologies between lover/beloved and courtier/monarch, this study explores the implied representation of Queen Elizabeth in the sonnets of Sidney and Spenser. The image of Astrophil as totally subjugated to a more powerful female sovereign, who can be interpreted as his monarch as well as his beloved lady, is clearly represented in Astrophil and Stella. As the lover-Astrophil is subjected to his lady, the courtier-Sidney must appear to be subjected to his monarch, the Queen. Like the lover-Astrophil, the courtier-Sidney is doomed to a life of waiting and of continuous frustration. On the other hand, Spenser’s Amoretti is unique among sonnet sequences of the period in that it concludes with a marriage poem—Epithalamion. In Amoretti, Spenser signals a reversal of the sexual roles conventionally associated with the Petrarchan sonnet sequence in order to realize his ideal relationship with the lady. After sixty-two sonnets, the traditional Petrarchan scenario in Spenser’s poems radically alters in ways that allow both the writer and his male readers to override convention and to appropriate and dominate a woman called Elizabeth. The rhetoric of courtship in the sonnets of Sidney reflects and Spenser their response to their own self-positioning before a powerful woman they had to court: Queen Elizabeth.
Abstract
In 1590s, writing love sonnets became a vogue in Elizabethan England as a genre to express desire. While desire was multi-leveled, from a desire for the beloved lady's grace to a desire for the patron's favor, sonnets were pursued and exercised as a means of a most effective rhetoric by Elizabethan poets and courtiers who participated in the power politics in the court of Elizabeth I and in its patronage system. Given that Elizabeth I was the ultimate source of patronage, the Queen was hardly to be excluded from the original audience, and her image was inevitably represented in the sonnet sequences. Based on the set of homologies between lover/beloved and courtier/monarch, this study explores the implied representation of Queen Elizabeth in the sonnets of Sidney and Spenser. The image of Astrophil as totally subjugated to a more powerful female sovereign, who can be interpreted as his monarch as well as his beloved lady, is clearly represented in Astrophil and Stella. As the lover-Astrophil is subjected to his lady, the courtier-Sidney must appear to be subjected to his monarch, the Queen. Like the lover-Astrophil, the courtier-Sidney is doomed to a life of waiting and of continuous frustration. On the other hand, Spenser’s Amoretti is unique among sonnet sequences of the period in that it concludes with a marriage poem—Epithalamion. In Amoretti, Spenser signals a reversal of the sexual roles conventionally associated with the Petrarchan sonnet sequence in order to realize his ideal relationship with the lady. After sixty-two sonnets, the traditional Petrarchan scenario in Spenser’s poems radically alters in ways that allow both the writer and his male readers to override convention and to appropriate and dominate a woman called Elizabeth. The rhetoric of courtship in the sonnets of Sidney reflects and Spenser their response to their own self-positioning before a powerful woman they had to court: Queen Elizabeth.
참고문헌 (14)
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