to the second

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Actually, she is attacked, and doesn't have time to stare.

No, the heart is transfixed. And what about Britomart as witness?

Loewenstein discusses these doubled meanings in "Spenser's Retrography."

This is speculation, plausible but not certain.

I think this is too compressed an expression, since it dispenses with layers of fiction and indirection, as if the action were set in Ireland rather than Faeryland, and Cormoraunt were not a giant but an Anglo-Irish rebel.

It isn't pathless. It has too many paths.

"So many pathes, so many turnings seene, That which of them to take, in diuerse doubt they been."

With "his" friend.

Methexis as participation suggests an alternative to Aristotelian mimesis. Both theatrical and philosophical.

Teskey on allegory asserts that Platonism cannot account for the gap between ideal form and particular object. He proposes that allegory as a form arises out of this inability to join the two, and that it does so by importing the metaphor of copulation. For Teskey, this means that allegory is tainted (by way of sedimentation) with a kind of primary sexual violence.

But does the notion of methexis as alternative to mimesis suggest an alternative conception of allegory?

beauty = divine origin, but by way of simile.

strong enjambment

no full stop at stanza end

Venus and foam.

T2v

"intimate"

h3

I3

K6

K7

K8

I1

B8

B7

B6

B5

B4

A8

i6

i7

i8

i1

h8

h7

h6

sig. h5

sig k1

If Bynneman and Middleton are the printers, then so much more evidence that "A.B" are fictitious initials. Pigman and others tell us that this is the Elizabethan equivalent of "John Doe." Fair enough, especially when the initials appear in legal documents. But when these same initials are assigned to a printer, they add another potential semantic layer, since the printer is now named after the alphabet contained in his typecase. Cf. the elaborate conceits in “Eyther a needelesse or a bootelesse comparison between two letters.”

Here redeeming the topos of the beloved as angel, introduced in Am 1 and taken up from Petrarch.

Part of a pattern in which previously disparaged elements reappear, here with a kind of acquired innocence, vs. the bookish practices of lustful figures, including the poet ("I know the art").

Would it be too much to find in this line a redemptive transformation of the triumph-motif as Petrarchan?

Emphasis on transforming the "deare" of 67, and on the resonances of "lyke."

Rosamund Clifford, 1150-76, mistress to Henry II.

The author of the sonnet sequence, solicited to write about Rosamond.

Elizabeth Lambert, 1445-1527, mistress to Edward IV and other powerful noblemen.

Initially perhaps "signified," but the "impost" of line 1 activates the mercantile sense.

tax or tribute

disyllabic

The simile compares the poet to a lute played by the Muse.

Dissing Spenser

A discreet allusion to the deception of Ixion, who impregnates a cloud in the form of Hera.

A more original conceit than most of the other sonnets, this aligns Delia with Albion, both protected from "Muse-foe Mars" by England's insular geography.

must be disyllabic if the line is to scan

coast

This makes the conventional masochism of the Petrarchan lover quite explicit.

Ralegh's "The Ocean to Cynthia" develops this conceit at some length. The composition dates may overlap, so it's not clear whether one is imitating the other, or the similarity is mere coincidence.

OED: "A trailing ornament (carved, moulded, or embroidered) in the form of a wreath or spray of leaves or tendrils; a wreathed or foliated ornament."

Compare lines 3-4 of 31. Here the addition of the (unneeded) comma throws into relief the absence of enjambment.

A rare submetrical line. Unfortunately, on those few occasions when Daniel's meter isn't predictably regular, it's deficient.

Very much in the vein of Shakespeare's sonnets to the young man. Except that Shakespeare's bravura handling of the "eternizing conceit" shows how relatively tame and conventional Daniel's are in comparison.

Echoed by Shakespeare in sonnet 65, "O, none, unless this miracle have might.

Here's an example of a line that isn't end-stopped, but isn't really enjambed either. Daniel makes the pentameter line such a regular, predictable, self-enclosed unit that the effect is one of unvarying recurrence. He's metrically boring.

I haven't counted, but it seems like Daniel has quite a few lines that are, like this one, built out of monosyllables.

"wrecke my wronge" is revenge, yet the conceit turns away from that mood, offering the sonnets as consolation and, even, rebirth.

For once Daniel breaks away from the three-quatrains-and-a-couplet rhyme scheme: abba abba cdcdcd.

This scenario is taken from Petrarch, 45 and 46; Spenser will have recourse to it as well in AM 45, "Leave lady in your glasse of christall clene."

The "title due."

Icarus

Hard to construe. "My heart [sing.] chose these [windows] to vex me"?

voice, hand, and eye?

cf "Let the world choose to wonder or admire" (Spenser).

?

hope

"prospective," either a prospective glass, "A device which allows one to see objects or events not immediately present" (OED), or a perspective view

As in sealing its fate--although OED shows this only since 19th c.: "To decide irrevocably (the fate of a person or thing); to complete and place beyond dispute or reversal (a victory, defeat, etc.)."

At this point in the sequence it seems clear that Daniel isn't comfortable with enjambment, and that the smooth regularity of his verse prevents the kinds of effects Spenser is so good at.

I.e., return the gifts Nature has given you. Interesting as a reverse-blazon.

inborn

Against Cupid as Lord of love: a familiar topos.

hypermetrical: a hexameter line.

Perhaps disyllabic? Otherwise the line is a foot short.

"loose," i.e. "the bonde," line 10.

Now his own heart is the surface for inscription.

So the lady-as-stone is the material the artist works upon.

And just what form might this "pittie" take?

Is there a point at which the prevalence of metaphors making the verse itself a figure of the lady begins to insinuate the reverse, i.e. that the lady is a figure for the verse: the Petrarchan problem of Laura as pretext?

Evidently the device of repetition across sonnets will be used to mark the linking between successive poems.

mollify

Hard to construe. "Painte" may be a form of "pant."

Sisyphus.

"Turns" in particular characterizes the eyes' art figuratively as that of the sonnet form.

Cf. "crosse" at I.12.

Turns the preceding conclusion back against itself, as the explicit repetition emphasizes: as it turns out, his muse having slept would have been a good thing.

Contradicting IV in a moment of unusual candor about the careerist motives of the Petrarchan poet.

Turns the myth of Actaeon into an allegory.

esteems

The first three sonnets, addressed to different audiences, build on Petrarch's opening sonnet, which addresses his posterity.

The formula for an envoi. Here conspicuously imitating To His Booke," which opens The Shepheardes Calender*

cross out, cancel; also mark with a cross, crucify

overflowing

The title marks Daniel's sequence as an homage to Maurice Scève (c. 1501–c. 1564), the French poet who first imitated Petrarch's Canzoniere in his lyric sequence Délie, objet de plus haulte vertu (1544). Both names are to be read as anagrams for "l'Idee/Idea."

This is the classic "prodigal poet" defense. See Helgeron, The Elizabethan Prodigals.

Daniel's personal motto, adapted from the Roman elegist Propertius: "Let youth sing of loves, later years of conflicts."

Act 3 should begin here.

wig

marrow

The next triumph.

mainland

The season, spring.

Laura dies on the anniversary of the date and time when Petrarch first saw her and fell in love.

Sandlon: "Of your unnumbered tasks is there e'en one That is aught more than merest vanity? Let him reply who knows what ye have done."

Sandlon: "coming when there is least heed of me, I put an end to infinite vain thoughts.

Cupid, referring the the Triumph of Chastity.

hence "triumph of death"

Difficult lines. The English language has just been called "attire" for the untransformed substance of the Hebrew; now it is itself attired, or "guised" (disguised) in order to better "grace" Sidney. The last phrase is difficult both in itself and it its syntactic relation to the rest: "the vulgar" may mean English itself as vernacular, or it may mean the common people as they "form" the undisguised language. "What" is especially difficult, although the example in the next stanza suggests reading it as "that"--to better grace you, who formed the vernacular. Perhaps the approximate sense is that Sidney ornamented the vernacular so that it had some hope of better gracing both him and itself.

A suggestion from JL: "Best I can do is to imagine her saying that they’re doing better than the likes of Sternhold and Hopkins and other vulgar translators, thus

And may aspire to better grace thee, translated/guised into English [than] the disguise [i.e. what] fashioned by the vulgar

That is, all I think you need is an ellipsed 'than.'"

Here she represents Sidney in heaven as beholding directly the form of virtue and falling in love with it. She thus reconciles the tension between Sidney's Platonic claims for poetry in the Defense and his restless urging of physical desire in AS.

Not literally kin, but "akin."

OED: "a run of water, flowing into the Thames between Ludgate Hill and Fleet Street, now a covered sewer; called also Fleet ditch; hence, the prison which stood near it."

Only the metaphorical "nag," and not the gallows it represents, could perform this action.

The form of the blazon.

Being of sound mind . . .

The first hint of the strategy of appropriating Petrarchan rhetoric.

from the author to the reader

sore

To cheat the cheater is no fraud

excells

flinch, recoil

lively

"implicates"?

Actually this is an error. Reacher's injury is not caused by head-butting, but by a blow to the side of the head.

Cf Amoretti, 20.

measure, mark out

cross-hatched

tresses

veil

Alcyon and Cyex?

poulter's measure

i.e., husbands

treating London as a type of Babylon

tetrameter

Iphegenia

immoral

green (verdant)

poulter's measure

punning on sexual mating

defensive move in chess

the conceit uses chess to develop a metaphor of courtship as combat

retreat

Praxiteles? He was a sculptor. This reference is to a draftsman and painter. Perhaps a more recent artist, Titian or Raphael?

translation from Martial

celebrating ataraxia

terza rima

use

A pea. "As a type of something of very small value or importance. Frequently in not to be worth a pease and variants." (OED)

ataraxia

strut

haunches

sticky, stringy

egg-white

cruel, harsh

"apt and quick"

Behave himself.

A portion of the Nicene Creed.

Carow Abbey, a former Benedictine priory in Bracondale, southeast Norwich, England.

"I have loved," also from Ps. 114.

Alas

adders

marshes

Xenophon, a member of Socrates' circle

"Lord"

Psalm 121: "I will lift up mine eyes unto the hills.

One of the Furies, associated with jealousy.

From the Office for the Dead, Psalm 114:9, "I will please the Lord in the land of the living."

"Hail Mary"

"Our Father who"

"In my trouble I cried to the Lord"--opening of Psalm 120.

Worrow: to choke (a person or animal) with a mouthful of food.

nuns

This binary doesn't appear to permit the hypothesis that universals exist in (and are a product of) language. If we accept that proposition, then universals exist within space and time (because language does), but not within their instances, because those, too, are products of language, knowable as instances only because language-users have produced the concept that defines them as instances-of.

How much flexibility in matters of coding, formatting, and metadata can be retained without making commensurability too difficult?