Astrophel and Stella: Analysis of Major Characters
"Astrophel and Stella: Analysis of Major Characters" delves into the intricate character dynamics within Sir Philip Sidney's sonnet sequence. At the heart of the work is Astrophel, a young lover whose voice embodies the sonnets as he ardently pursues Stella, despite her marriage. Astrophel is portrayed not only as a reflection of Sidney himself—echoing his family background—but also as a figure who considers himself a superior poet, inspired uniquely by his love for Stella. Stella, in contrast to traditional Petrarchan heroines, is presented as virtuous and conflicted; her feelings for Astrophel are complicated by her commitment to her husband, which underscores her character's depth. The husband, referred to as a "rich fool," serves as a silent rival, further complicating the love triangle. Additionally, Love, personified as Cupid, plays a significant role, emphasizing the tension between desire and virtue that Astrophel grapples with throughout the sequence. Together, these characters explore themes of unrequited love, virtue, and the complexities of desire within the context of Elizabethan society.
Astrophel and Stella: Analysis of Major Characters
Author: Sir Philip Sidney
First published: 1591
Genre: Poetry
Locale: England
Plot: Love
Time: Sixteenth century
Astrophel, the young lover in whose voice the sonnets and songs are cast. Although Stella is married and he describes her as virtuous, he still pursues her, begging her to love him. Whether the sonnets express the true feelings of their author, Sir Philip Sidney, the character of Astrophel clearly is meant to represent him. The last syllable of “Astrophel” echoes the name “Philip”; sonnet 30 identifies Astrophel's father as the governor of Ireland, the post Sidney's father held; and sonnet 65 describes Astrophel's coat of arms, which matches in every detail the Sidney family crest. Astrophel considers himself superior to other writers of love poetry, to whom he frequently contrasts himself: They imitate one another, and only he is original, because his inspiration is his beloved Stella. He presents himself as the servant not only of Stella but also of love, personified as the boy Cupid.
Stella, Astrophel's beloved, to whom the sonnet sequence is addressed. She differs from the stock character of the Petrarchan sonnet sequence in two key respects. First, her rejection of the lover's advances is not attributed to coldheartedness, the standard complaint of the Petrarchan sonneteer, but to her virtue, as she is married to another. Second, although her hair is the standard Petrarchan gold, her eyes are not the standard blue, but rather black. This is probably because the author of the sonnets, Sir Philip Sidney, had a real lady in mind: Penelope Devereux, who by the time the sonnets were written was married to Lord Robert Rich. After Astrophel steals a kiss, Stella admits some feeling for him, though virtue still forbids her to encourage him. Although Petrarchan sonnet sequences normally speak only in the voice of the young man, Stella's own voice is heard in several of the songs.
Stella's husband, Astrophel's rival for Stella's love, who appears only obliquely in the sonnet sequence. He is referred to as a “rich fool,” a pun on the name of his original, Lord Rich, who married Penelope Devereux, the original of Stella, in 1581. His marriage to Stella is, to Astrophel, “foul abuse” of Stella's beauties. He is ignorant of Stella's “high treasures,” Astrophel maintains.
Love or Cupid, the personification of the force that dominates Astrophel. The two names, Love and Cupid, are used interchangeably. The traditional Renaissance iconography of Cupid is used in Love's first appearance, in sonnet 2: He “wounds” Astrophel with his golden arrows, which make him fall in love with Stella. Although Love rules Astrophel's heart, sonnet 5 reveals a rival power, virtue. Astrophel acknowledges that virtue rather than love ought to be his goal, yet he cannot stop loving Stella. Sonnet 8 recounts Love's flight from his birthplace in Greece to live in Stella's face, but although Love gets Stella's face, he will never have her heart. Love is exclusively physical, rather than a higher love. Although he knows that he will never know this kind of love with Stella, Astrophel still serves love rather than virtue.