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n.1.See Astrofel.
References in classic literature ?
It was now, too, that Spenser wrote Astrophel, a sadly beautiful dirge for the death of his friend and fellow-poet, Sir Philip Sidney.
Jay had written his Master's thesis on Astrophel and Stella, Sir Phillip Sydney's fifteenth-century sonnet sequence.
Sidney introduces a metaphoric inversion when Astrophel recognizes "the like" to his own love's torture "in heavenly place" (Sonnet 31).
In his 1591 introduction to Philip Sidney's Astrophel and Stella, he mentions a recent English translation of Sextus's Outlines.
The essay is difficult to summarize; for it is densely argued with essential illustrations, such as Descartes's famous compass (from Geometrie) which is used to demonstrate the process of Sidney's first sonnet in Astrophel and Stella.
Wealthy gentlemen writers like Thomas Wyatt and Philip Sidney circulated their works in manuscript form: The first print edition of Sidney's Astrophel and Stella was pirated and published after Sidney's death.
In fact, if we take Shakespeare's reference to signal Marlowe's authorship of the poem, then we would need to take Nashe's lines from Summer's last will: "Well sung a Shepherd, that now sleeps in skies, 'Dumb swans do love, and not vain chattering pies'" (48) to signal Sidney's authorship of the same, since Nashe is here attributing a line from Astrophel and Stella to a dead shepherd.
Sean McDowell, in "Stealing or Being Stolen: A Distinction between Sacred and Profane Modes of Transgressive Desire in Early Modern England," uses sonnets from Sidney's Astrophel and Stella and Barnabe Barnes's Parthenophile and Parthenophe to illustrate the profane mode and certain poems of Richard Crashaw's Carmen Deo Nostro to represent the sacred.
One could justifiably call it a pastoral elegy manque in so far as Arnold stops considerably short of the kind of complete shaping of the poem according to the pastoral conventions one finds, say, in Spenser's November eclogue or Astrophel, or in 'Lycidas.
Although the latter's title directs us to a sonnet from Astrophel and Stella, Sidney is only tangentially present in the poem, though in three distinct ways.
James Schiffer proposes "agnostic tolerance" (54) about such disputed issues while making a case that rather than constructing a narrative, the sonnets present a series of lyric moments over time, much like Sidney's Astrophel and Stella or Donne's Songs and Sonets.
A notable precursor is Sidney's first sonnet in Astrophel and Stella: "Loving in truth, and fain in verse my love to show .