The symmetrical paradox of presence and absence
created in these three lines suggest a broader shift in
how the language of individual poems contribute to
the movement of the series as a whole. In the fi rst
poem of Astrophil and Stella, Sidney displays not only
faith in his ability to “look into [his] heart and write” (l.
14) but also a faith in predictable causal chains. He
predicts, “Pleasure might cause her reade, reading
might make her know, / Knowledge might pitie winne,
and pitie grace obtain” (ll. 2–4). The forward progres-
sion from the lady’s pleasure to her pity and ultimately
to graciousness to the lover so clearly mapped in the
fi rst sonnet devolves in Sonnet 60 into a cycle of pres-
ence-as-absence, absence-as-presence. Astrophil’s con-
cern about the source of his poetic inspiration in
Sonnet 1 is quickly solved by the last line of the poem.
He will look into his heart and write. In Sonnet 60,
however, frustration resides in the incompatibility of
love and presence. By ending with two consecutive
oxymorons, the poem leaves the reader and Astrophil
with no resolution to his untenable situation.
See also ASTROPHIL AND STELLA (OVERVIEW).
Margaret M. Simon
Astrophil and Stella: Sonnet 61 (“Oft with true
sighs, oft with uncalled tears”) SIR PHILIP SID-
NEY (ca. 1582) Sonnet 61 signals the oncoming end
of the relationship between Astrophil and Stella. In
form and style, it indicates a break from the action of
the fi rst two-thirds of the cycle and summarizes what
the reader may expect from this point on in terms of
the subject and function of the poems.
Like the previous sonnets in Astrophil and Stella,
Sonnet 61 makes use of simple, masculine rhyme, but
in other aspects it differs greatly, thus signaling the
changes ahead. Semantic upheaval, indicated through
simultaneous revelations of Stella’s expectations from a
lover—“That who indeed infelt affection bears, / So
captives to his saint both soul and sense / That, wholly
hers, all selfness he forbears” (ll. 5–7)—and indications
of her feelings for Astrophil’s love—“Now since her
chaste mind hates this love in me” (l. 9)—send mixed
messages about love and poetry. The SONNET’s struc-
ture further refl ects this juxtaposition, as it follows nei-
ther the ITALIAN (PETRARCHAN) SONNET form nor the
ENGLISH SONNET form. Though divided into OCTAVE and
SESTET, the ending rhyme scheme is eefggf in place of
the hopeful fi nal COUPLETs found in the earlier sonnets.
Astrophil and Stella are effectively separated, semanti-
cally and metrically, and the status quo has been
altered to an unrecognizable form. Further instability
is indicated through the replacement of IAMBIC PENTAM-
ETER with a more strident spondaic rhythm (e.g., “Oft
with true sighs, oft with uncallèd tears,” l. 1), indicat-
ing fi nality through an authoritative voice that makes
no promises as it delivers an ultimatum to the lover.
The shifts in rhythm create a metrical variance within
the poem that adds to the overall feeling of instability
Sidney is trying to impose.
The metaphorical language employed in Sonnet 61
furthers this sense of defeat. Initially, the poet describes a
fi nal physical and emotional assault attempted by Astro-
phil—“I Stella’s eyes assail, invade her ears” (l. 3)—but
that is quickly thwarted by Stella: “But this at last is her
sweet-breathed defence” (l. 4). Astrophil quickly real-
izes that he has lost the war. He will no longer delude
himself into believing he has a chance, for Stella refuses
to see his love as true. Turning from words of war to
those of a medical treatment, Astrophil appeals to
“Doctor Cupid,” (l. 12) intending to make a clean
break from this erstwhile love.
See also ASTROPHIL AND STELLA (OVERVIEW); SIDNEY, SIR
PHILIP.
Melissa A. ElmesAstrophil and Stella: Sonnet 63 (“O grammer-
rules, O now your vertues show”) SIR PHILIP
SIDNEY (ca. 1582) Sonnet 63, one of the lighter
SONNETs in Astrophil and Stella, is an academically
sophisticated and amusing quibble, relying on the
reader’s understanding of the conventions of Latin
grammar as well as those of love. It amounts to a comic
PAEAN sung in triumph, only qualifi ed in the last lines.
Astrophil has asked Stella for the thing desired “which
she ever denies” (l. 6), and she has answered, “No, No”
(l. 8). The speaker pounces upon her double negative
and asserts that she has, by grammar’s rule that a dou-
ble negative makes a positive, really granted his request.56 ASTROPHIL AND STELLA: SONNET 61