{"title":"机械玩具:菲利普·西德尼爵士和歌词","authors":"R. Kuin","doi":"10.1086/706604","DOIUrl":null,"url":null,"abstract":"In a tone both playful and serious, this essay explores Sidney’s use of the term “toy” to describe the purpose, artfulness, and aesthetic force of his lyric poems through an extended discussion of the singing match between Lalus and Dorus in the First Eclogues and the double sestina of Strephon and Klaius. A careful consideration of the technical virtuosity of Sidney’s verse and its possible provenance leads to an argument for the lyric’s distinctive modes of evoking virtue and excellence.","PeriodicalId":39606,"journal":{"name":"Spenser Studies","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Mechanical Toys: Sir Philip Sidney and the Lyric\",\"authors\":\"R. Kuin\",\"doi\":\"10.1086/706604\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In a tone both playful and serious, this essay explores Sidney’s use of the term “toy” to describe the purpose, artfulness, and aesthetic force of his lyric poems through an extended discussion of the singing match between Lalus and Dorus in the First Eclogues and the double sestina of Strephon and Klaius. A careful consideration of the technical virtuosity of Sidney’s verse and its possible provenance leads to an argument for the lyric’s distinctive modes of evoking virtue and excellence.\",\"PeriodicalId\":39606,\"journal\":{\"name\":\"Spenser Studies\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Spenser Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1086/706604\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q1\",\"JCRName\":\"Arts and Humanities\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Spenser Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1086/706604","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"Arts and Humanities","Score":null,"Total":0}
In a tone both playful and serious, this essay explores Sidney’s use of the term “toy” to describe the purpose, artfulness, and aesthetic force of his lyric poems through an extended discussion of the singing match between Lalus and Dorus in the First Eclogues and the double sestina of Strephon and Klaius. A careful consideration of the technical virtuosity of Sidney’s verse and its possible provenance leads to an argument for the lyric’s distinctive modes of evoking virtue and excellence.
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