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s̸ Pamphilia to Amphilanthus s̸
.I.
When nights black mantle could most darknes proue,
and sleepe deaths Image did my ſenceſes hiere
from knowledg of my ſelf, then thoughts did moue
ſwifter then thoſe most ſwiftnes need require:
In sleepe, a Chariot drawne by wing'd deſire
I ſawe: wher ſate bright Venus Queene of loue,
and att her feete her ſonne, still adding fire
to burning hearts wch she did hold aboue,
Butt one hart flaming more then all the rest
the goddeſs held, and putt itt to my brest
deare ſonne, now shute ſayd she: thus must wee win̅
Hee her obay'd, and martir'd my poore hart,
I, waking hop'd as dreames itt would depart
yett ſince: O mee: a lover haue I bin̅ s̸
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1.
When night's black mantle could most darkness prove,
And sleep, death's image, did my senses hire*
From knowledge of myself, then thoughts did move
Swifter than those most swiftness need require:
In sleep, a chariot drawn by winged desire
I saw, where sat bright Venus, Queen of love,
And at her feet her son, still adding fire
To burning hearts, which she did hold above.
But one heart flaming more than all the rest
The Goddess held, and put it to my breast.
'Dear son, now shoot,' said she, 'thus must we win.'
He her obeyed, and martyred my poor heart.
I waking hoped as dreams it would depart;
Yet since, O me, a lover I have been.
In the Folger manuscript, the sonnets begin by being 'named' as 'Pamphilia to Amphilanthus', but, as discussed in the textual introduction, they are frequently signed and separated by Mary Wroth's abbreviated signature: the S fermé, which confirms her identity as a Sidney (rather than a Wroth). In P, where the sonnet sequence is also headed 'Pamphilia to Amphilanthus', the S fermé no longer appears, which might reinforce the sense that the sonnets are 'by' Pamphilia - although of course Pamphilia is also a version of Wroth herself. The sonnets are placed on a new page after the printed romance ends in mid sentence (in imitation, most probably) of the 1590 revised Arcadia.
The first sonnet in both F and P differs considerably from the opening sonnets in Philip and Robert Sidney's sonnet sequences. (Philip Sidney's sonnet sequence 'Astrophil and Stella', henceforth "AS", and Robert Sidney's sonnet sequence 'Rosis and Lysa', henceforth "RS"). The depiction of Venus and Cupid, who are also present as characters in Wroth's pastoral play Love's Victory, sets up Wroth's theme of the speaker as a martyr for love, tortured by her desire. This kind of dramatisation is present in other sonnet sequences and probably derives from Petrarch. In AS, sonnet 20 describes Astrophil's heart being pierced by Cupid's dart.
hire: ie sleep hires (employs) her senses away from knowledge of herself.
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[transcription note: next 2 lines same size font]
PAMPHILIA,
TO
AMPHILANTHVS.
I
When night's blacke Mantle could moſt darkneſſe proue,
And ſleepe (deaths Image) did my ſenſes hyre,
From Knowledge of my ſelfe, then thoughts did moue
Swifter then thoſe, most switneſſe neede require?
In ſleepe, a Chariot drawne by wing'd Deſire,
I ſaw; where ſate bright Venus Queene of Loue,
And at her feete her Sonne, ſtill adding Fire
To burning hearts, which ſhe did hold aboue,
But one heart flaming more then all the reſt,
The Goddeſſe held, and put it to my breaſt,
Deare Sonne now ſhut, ſaid ſhe, thus muſt we winne;
He her obeyd, and martyr'd my poore heart.
I waking hop'd as dreames it would depart,
Yet ſince, O me, a Lover I haue beene.
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1.
When night's black mantle could most darkness prove,
And sleep, death's image, did my senses* hire
From knowledge of myself, then thoughts did move
Swifter than those most swiftness* need require:
In sleep, a chariot drawn by winged desire
I saw, where sat bright Venus, Queen of love,
And at her feet her son, still adding fire
To burning hearts, which she did hold above.
But one heart flaming more than all the rest
The Goddess held, and put it to my breast.
'Dear son, now shoot,' said she, 'thus must we win.'
He her obeyed, and martyred my poor heart.
I waking hoped as dreams it would depart;
Yet since, O me, a lover have I* been.
senses: the first of Wroth's corrections as she revised F for P: corrected from 'senceses'.
P swiftness: reads 'switness', an example of a corruption probably created by the compositor (early modern typesetter).
have I: changed from 'I have': could be authorial or a compositor's mistake.
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