Misplaced Pages

#469530

87-407: Sidney's Arcadia has a history that is unusually complex even for its time. Sidney may have begun an early draft in the late 1570s, when he was in his twenties. His own comments indicate that his purpose was humble; he asserts that he intended only to entertain his sister, Mary Herbert ( Countess of Pembroke from 1577). This version is narrated in chronological order, with sets of poems separating

174-522: A jukebox musical adapted from Arcadia featuring songs by The Go-Go's , opened at the Hudson Theatre . Online texts: Mary Sidney Mary Herbert, Countess of Pembroke ( née Sidney , 27 October 1561 – 25 September 1621) was among the first Englishwomen to gain notice for her poetry and her literary patronage. By the age of 39, she was listed with her brother Philip Sidney and with Edmund Spenser and William Shakespeare among

261-562: A playing company , Pembroke's Men , one of the early companies to perform works of Shakespeare. According to one account, Shakespeare's company "The King's Men" performed at Wilton at this time. June and Paul Schlueter published an article in The Times Literary Supplement of 23 July 2010 describing a manuscript of newly discovered works by Mary Sidney Herbert. Her poetic epitaph , ascribed to Ben Jonson but more likely to have been written in an earlier form by

348-487: A "comic" low plot that centers on the steward Dametas's family. The standard modern edition of Old Arcadia , on which this synopsis is based, is edited by Jean Robertson (Clarendon: Oxford, 1973). In Book I, the Duke of Arcadia , Basilius, journeys to the oracle at Delphos and receives a bleak prediction: his daughters will be stolen by undesirable suitors, he will be cuckolded by his wife, and his throne will be usurped by

435-623: A bookbinder in Paul's Churchyard, came to me, and told me that there was one in hand to print, Sir Philip Sidney's old Arcadia asking me if it were done with your honour's consent or any other of his friends/ I told him to my knowledge no, then he advised me to give warning of it, either to the Archbishop or Doctor Cosen, who have as he says a copy of it to peruse to that end/ Sir I am loath to renew his memory unto you, but yet in this I must presume, for I have sent my Lady your daughter at her request,

522-606: A child, she spent much time at court where her mother was a gentlewoman of the Privy Chamber and a close confidante of Queen Elizabeth I . Like her brother Philip, she received a humanist education which included music, needlework, and Latin, French and Italian. After the death of Sidney's youngest sister, Ambrosia, in 1575, the Queen requested that Mary return to court to join the royal entourage. In 1577, Mary Sidney married Henry Herbert, 2nd Earl of Pembroke (1538–1601),

609-505: A close ally of the family. The marriage was arranged by her father in concert with her uncle, Robert Dudley, Earl of Leicester . After her marriage, Mary became responsible with her husband for the management of a number of estates which he owned including Ramsbury, Ivychurch , Wilton House , and Baynard's Castle in London , where it is known that they entertained Queen Elizabeth to dinner. She had four children by her husband: Mary Sidney

696-435: A correction of that old one done 4 or 5 years since which he left in trust with me whereof there is no more copies, and fitter to be printed than that first which is so common, notwithstanding even that to be amended by a direction set down under his own hand how and why, so as in many respects especially the care of printing it is to be done with more deliberation, Sidney's original version was all but forgotten until 1907, when

783-559: A foreign state. Hoping to preempt this fate, Basilius entrusts the Arcadian government to his loyal subject, Philanax, and retires to a pastoral lodge with his wife, Gynecia, their attractive daughters, Pamela and Philoclea, his boorish servant, Dametas, and the latter's repulsive wife and daughter, Miso and Mopsa. In a nearby city, Pyrocles and Musidorus pass the night; they are cousins, princes, and best friends, and are famous throughout Greece for their heroic exploits. Pyrocles, upon seeing

870-449: A friendly compatriot of Musidorus suddenly arrives with important information. He has heard about the trial, guessed the princes' true identities, and feels Euarchus should know that he has condemned his own son and nephew to death (for various reasons, the identities of Euarchus and the princes has been hitherto obscured). At this moment of recognition, or anagnorisis , Euarchus is devastated, but decides that justice trumps kinship, and with

957-477: A heavy heart confirms their death sentence. Suddenly, groans are heard from Basilius's corpse and, to the surprise and delight of all, Basilius emerges from a deep coma. All are forgiven, the princes marry the princesses, and the book thus ends with a comic reversal, or peripeteia , from justice and death to reconciliation and marriage. Although Sidney's manuscripts of the Old Arcadia were not published until

SECTION 10

#1732798507470

1044-462: A lengthy trial scene. Gynecia, "Palladius" and "Timopyrus" are brought forth to stand before Euarchus, who presides as judge, and Philanax, who argues on behalf of the apparently murdered Basilius. Gynecia's trial goes quickly because she, overcome by grief, wants to die as quickly as possible, and gives a false confession of intentionally poisoning her husband and sovereign. Euarchus sentences her to death by being entombed alive with Basilius. "Timopyrus"

1131-499: A look into psychology. This was furthered by Lajos Egri who advocated for using psychology to build characters in The Art of Dramatic Writing, published 1946. He also examines character through the lens of physiology, sociology and psychology. However, there was a rise in structuralism in the mid-to-late 20th century with such thinkers as Roland Barthes , Vladimir Propp , Joseph Campbell , Northrop Frye who often tries to find

1218-403: A major reversal of fortune. Dametas, Miso and Mopsa return to the lodge to find Pamela missing, and Dametas, fearing punishment for neglecting his royal ward, begins a frantic search for Pamela. Supposing her to be with her sister, Philoclea, Dametas barges into Philoclea's bed chamber and finds, of course, not Pamela, but "Cleophila," who is naked and in bed with Philoclea, and who is evidently not

1305-529: A military campaign against the Spanish in the Netherlands in 1586. She finished his translation, composing Psalms 44 through to 150 in a dazzling array of verse forms, using the 1560 Geneva Bible and commentaries by John Calvin and Theodore Beza . Hallett Smith has called the psalter a "School of English Versification" Smith (1946) , of 171 poems (Psalm 119 is a gathering of 22 separate ones). A copy of

1392-410: A nocturnal assignation to both Gynecia and Basilius in a nearby cave, intending to trick the husband and wife into sleeping with each other (hoping they won't notice that the other is not Cleophila) and to enjoy a night alone with Philoclea. Book III ends with a double "climax": the attempted rape of Pamela by Dorus. The consummated union of Pyrocles and Philoclea. In Book IV, Dorus and Cleophila suffer

1479-421: A picture of Philoclea at a gallery, is overwhelmed by a passionate desire to see her in person. To that end, Pyrocles disguises himself as Cleophila, an "[Amazonian lady] going about the world to practice feats of chivalry," and heads for Basilius's pastoral lodge, accompanied by the skeptical but loyal Musidorus. Deceived by Cleophila's feminine disguise, Basilius falls in love with her, and invites her to stay with

1566-409: A single starting point may lead to multiple developments and outcomes. The principle of all such games is that, at each step of the narrative, the user makes choices that advance the story, leading to a new series of choices. Authoring non-linear narrative or dialogue thus implies imagining an indefinite number of parallel stories. In a gamebook , readers are told to turn to a certain page according to

1653-410: A two-act structure consisting of a "complication" and "dénouement" split by a peripeteia. The sections are: The first act begins with setup, where all of the main characters and their basic situations are introduced, as well as the setting. It contains the primary level of characterization for both of these (exploring the characters' backgrounds and personalities, the relationships between them, and

1740-542: A unifying idea for story structure and how to academically study them. For example, Joseph Campbell tried to find one unifying story structure for myth, Ronald Barthes further argued for Death of the Author and Propp tried to find a story structure for Russian folktales. In Northrop Frye's Anatomy of Criticism , he deals extensively with what he calls myths of spring, summer, fall, and winter: In Frye's Great Code , he offers two narrative structures for plots: Lajos Egri

1827-470: A woman. Dametas bolts the lovers inside and sounds the alarum. In the cave, Gynecia and Basilius, each thinking the other is Cleophila, have sex, but recognize each other in the morning. Basilius accidentally drinks a potion that Gynecia had intended for Cleophila, and dies. Gynecia becomes hysterical and self-incriminating, and offers herself up to justice as the murderer of her husband and the sovereign. Philanax, Basilius's loyal friend, arrives to investigate

SECTION 20

#1732798507470

1914-656: Is Alain Resnais 's 1993 French film Smoking/No Smoking . The plot contains parallel developments, playing on the idea of what might have happened had the characters made different choices. Outside of film, some novels also present their narrative in a non-linear fashion. Creative writing professor Jane Alison describes nonlinear narrative "patterns" such as spirals, waves, and meanders in her 2019 book Meander, Spiral, Explode: Design and Pattern in Narrative . The chapters of Chitra Banerjee Divakaruni 's novel Before We Visit

2001-599: Is a romance that combines pastoral elements with a mood derived from the Hellenistic model of Heliodorus . A highly idealized version of the shepherd's life adjoins, on the other hand and not always naturally (in its literary sense), stories of jousts, political treachery, kidnappings, battles, and rapes. As published, the narrative follows the Greek model: stories are nested within each other, and different storylines are intertwined. After Sidney's death, his revised Arcadia

2088-501: Is a translation of a French play, Marc-Antoine (1578) by Robert Garnier . Mary is known to have translated two other works: A Discourse of Life and Death by Philippe de Mornay , published with Antonius in 1592, and Petrarch 's The Triumph of Death, circulated in manuscript. Her original poems include the pastoral "A Dialogue betweene Two Shepheards, Thenot and Piers, in praise of Astrea," and two dedicatory addresses, one to Elizabeth I and one to her own brother Philip, contained in

2175-516: Is an overview of various story structures and components that might be considered. Story is a sequence of events, which can be true or fictitious, that appear in prose, verse or script, designed to amuse or inform an audience. Story structure is a way to organize the story's elements into a recognizable sequence. It has been shown to influence how the brain organizes information. Story structures can vary culture to culture and throughout history. The same named story structure may also change over time as

2262-472: Is based around a turning point, change in direction, reversal, or twist. The fourth and final section concerns itself with a result or conclusion, a consequence thereof, or a 'coming to fruition'. This covers a loose worldwide history of story structure. The first known treaties on story structure comes from Aristotle 's Poetics . He advocated for a continuous two-act plot: δέσις (desis) and λύσις (lysis) which roughly translates to binding and unbinding, that

2349-426: Is divided into four sections, which have been defined and used differently by narratives from each of the three cultures where the form is most commonly found. The first section is generally considered an introduction of sorts across all three interpretations, albeit understood by each in a different way. The second may refer to the development, or to a beginning of an action related to self-realization. The third section

2436-406: Is evident in the devotional lyrics of Barnabe Barnes , Nicholas Breton , Henry Constable , Francis Davison, Giles Fletcher , and Abraham Fraunce . Their influence on the later religious poetry of Donne, George Herbert , Henry Vaughan , and John Milton has been critically recognized since Louis Martz placed it at the start of a developing tradition of 17th-century devotional lyricism. Sidney

2523-546: Is my prime discovery so far; & the fact that I've been so long finding it, proves, I think, how false Percy Lubbock's doctrine is--that you can do this sort of thing consciously." in November 1923. She went back and forth on the work throughout her life. and thus wrote some bits on their own treaties. Gertrude Stein also later contributed to the general feel of stories by promoting stream-of-consciousness and supported much of Literary Modernism and looking at writing as

2610-412: Is similarly open-ended, but of course cannot be said to be authored. A simple graphic narrative, such as in comics, has four stages: an introduction of the characters and a description of a situation; the introduction of a problem, unexpected opportunity, or other complication into the situation; a resolution in the form of a partial or complete response to the problem by one or more of the characters; and

2697-471: Is the recognizable or comprehensible way in which a narrative 's different elements are unified, including in a particularly chosen order and sometimes specifically referring to the ordering of the plot : the narrative series of events, though this can vary based on culture. In a play or work of theatre especially, this can be called dramatic structure , which is presented in audiovisual form. Story structure can vary by culture and by location. The following

The Countess of Pembroke's Arcadia - Misplaced Pages Continue

2784-459: Is then credited in Syd Field's last edition of The Foundations of a Screenwriting published in 1979. The book argued for three acts, not five and had no peak in the final diagram. This idea of a universal story structure fell out of favor with poststructuralism such as Michel Foucault and Jacques Derrida asserted that such universally shared, deep structures were logically impossible. At

2871-405: Is tried next, and Philanax delivers a vituperative oratory condemning him for cross-dressing, for raping Philoclea. For conspiring with Gynecia to murder Basilius; "Timopyrus" is acquitted of the murder charges, but is sentenced to death for raping Philoclea. "Palladius" is likewise condemned to death for attempted theft of the royal daughter, Pamela. As the convicts are escorted to their executions,

2958-422: Is under the constant surveillance of the jealous and enamored Basilius and Gynecia. Dorus's elopement strategy begins by distracting Pamela's guardians: he tricks Dametas into wasting a day on a bogus treasure hunt; he dispatches Miso by telling her Dametas is cheating on her with a woman in an adjacent village, and he leaves Mopsa up in a tree waiting for a sign from Jove. The coast cleared, Dorus and Pamela head for

3045-522: The Arcadia known to the Renaissance and later periods is substantially longer than the Old Arcadia . In the 1580s, Sidney took the frame of the original story, reorganized it, and added episodes, most significantly the story of the just rebel Amphialus. The additions more than double the original story; however, Sidney had not finished the revision at the time of his death in 1586. The New Arcadia

3132-587: The Arcadia obsolete. While the original is still widely read, it was already becoming a text of primary interest to historians and literary specialists. By the beginning of the Romantic era, the grand, artificial, sometimes obstinately unwieldy style of Sidney's Arcadia had made it thoroughly alien to more modern tastes. Edmund Gosse in the EB1911 writes, "This severe censure of Euphuism may serve to remind us that hasty critics have committed an error in supposing

3219-618: The Arcadia of Sidney to be composed in the fashionable jargon. That was certainly not the intention of the author, and in fact the publication of the Arcadia , eleven years after that of Euphues , marks the beginning of the downfall of the popularity of the latter." In modern times, the Arcadia has been readapted for the stage. In 2013, the Old Arcadia was adapted for the stage by The University of East Anglia's Drama Department, and performed alongside Shakespeare's As You Like It as part of "The Arcadian Project". In 2018, Head Over Heels ,

3306-561: The antiquarian Bertram Dobell discovered that a manuscript of the Arcadia he had purchased differed from published editions. Dobell subsequently acquired two other manuscripts of the old Arcadia : one from the library of the Earl of Ashburnham and one that had belonged to Sir Thomas Phillipps . This version of the Arcadia was first published in 1926, in Albert Feuillerat's edition of Sidney's collected works. The version of

3393-523: The 19th century when Selden Lincoln Whitcomb wrote A Study of a Novel which examines the basis for Silas Mariner's plot structure, where he argues for the Line of Emotion on Page 39. He argues that "The general epistolary structure may be partially represented by a graphic design." For which he posts a proposed design for Miss. Burney Evelina on page 21. He presupposes that stories might have different shapes for those emotions. And this leads to diagraming that

3480-503: The 20th century, the New Arcadia was published in two different editions during the 16th century, and enjoyed great popularity for more than a hundred years afterwards. Sidney's book inspired a number of partial imitators, such as his niece Lady Mary Wroth 's Urania , and continuations, the most famous perhaps being that by Anna Weamys . These works, however, are as close to the "precious" style of 17th-century French romance as to

3567-623: The Cat who contributed language such as "Story Beats". However, other story structures became more widely known in the 2010s-2020s when European and European diaspora writers became aware of story structures such as kishotenketsu which was said to be used in films such as, Everything Everywhere All at Once . Most forms of narrative fall under two main categories: linear narrative and nonlinear narrative. Other forms also include interactive narration, and interactive narrative. Flashbacks , often confused with true narratives, are not strictly linear, but

The Countess of Pembroke's Arcadia - Misplaced Pages Continue

3654-462: The Goddess are not arranged based on the linear sequence of events, but rather in a way that fulfills certain literary techniques. This allows the characters in the novel to have a believable life timeline while still employing the techniques that make a story enjoyable. In works of interactive narration there is only one narrative but the method of delivery requires the user to actively work to gain

3741-517: The Greek and chivalric models that shape Sidney's work. William Shakespeare borrowed from Arcadia for the Gloucester subplot of King Lear ; traces of the work's influence may also be found in Hamlet and The Winter's Tale . Other dramatizations also occurred, such as Samuel Daniel 's The Queen's Arcadia , John Day 's The Isle of Gulls , Beaumont and Fletcher 's Cupid's Revenge ,

3828-598: The Tixall manuscript copy of her verse psalter. An elegy for Philip, "The dolefull lay of Clorinda", was published in Colin Clouts Come Home Againe (1595) and attributed to Spenser and to Mary Herbert, but Pamela Coren attributes it to Spenser, though also saying that Mary's poetic reputation does not suffer from loss of the attribution. By at least 1591, the Pembrokes were providing patronage to

3915-609: The action rises as the romantic relationships become increasingly complicated, and as Basilius's retirement foments political unrest. Cleophila struggles to woo Philoclea while simultaneously placating the jealous Basilius and Gynecia. Meanwhile, Dorus, who has ingratiated himself to Dametas and entered his household as a shepherd-servant, struggles to woo Pamela, who is always accompanied by Dametas's vain and ugly daughter, Mopsa. To avoid raising suspicions that he loves Pamela, Dorus addresses all of his significant looks, sighing, singing, poetry, etc. to Mopsa, who laps it up and fails to notice

4002-510: The action to its catastrophe. Philanax struggles to maintain order in Arcadia, which is dangerously divided: some factions support various political climbers, others clamor for democratic government, and some call for the election of the two princes, whose good looks and military prowess had made them very popular. Philanax needs a leader capable of commanding the allegiance of the Arcadians and of bringing justice to Basilius's murderers. Luckily,

4089-606: The anonymous Mucedorus play from the Shakespeare Apocrypha , and, most overtly, in James Shirley 's The Arcadia . According to John Milton in Eikonoklastes , Charles I quoted lines from the book, an excerpt termed "Pamela's Prayer", from a prayer of the heroine Pamela, as he mounted the scaffold to be executed. Although Milton praised the book as among the best of its kind, he complains of

4176-424: The bomb?" or "Will Y end up with their love interest?" The second act , or confrontation, is considered to be the bulk of the story. Here, the characters' conflict is most developed (particularly between the protagonist and antagonist ) as well as any changes in values and personality one or more characters may undergo (known as character development, or a character arc ). This leads to the second plot point, where

4263-465: The books from each other. It seems likely that Sidney finished this version while staying at Herbert's estate during a temporary eclipse at court in 1580. In 1588, two years after Sidney's death, Fulke Greville appears to have appealed to Francis Walsingham to prevent an unauthorized publication of parts of the original, as we learn from a letter that also serves as evidence for the circulation of Arcadia in manuscript form: Sir this day one Ponsonby

4350-432: The captive Dorus and Pamela, who are now primary suspects in the duke's murder. Thus, Dorus (now "Palladius") joins Cleophila (now "Timopyrus") in prison. Pamela demands to be recognized as the new sovereign, but Philanax demands an interim period of investigation and burial before the succession is established. Meanwhile, the body politic erupts into a confused and "dangerous tumult" about political succession. Book V brings

4437-448: The choice they wish to make to continue the story. Typically, the choice will be an action rather than dialogue. For example, the hero hears a noise in another room and must decide to open the door and investigate, run away, or call for help. This kind of interactive experience of a story is possible with video games and books (where the reader is free to turn the pages) but less adapted to other forms of entertainment. Improvisational theatre

SECTION 50

#1732798507470

4524-525: The company of Helene de Melun, "Countess of Berlaymont", wife of Florent de Berlaymont the governor of Luxembourg . The two women amused themselves with pistol shooting. Sir John Throckmorton heard she went on to Amiens . There is conjecture that she married Lister, but no evidence of this. She died of smallpox on 25 September 1621, aged 59, at her townhouse in Aldersgate Street in London , shortly after King James I had visited her at

4611-410: The completed psalter was prepared for Queen Elizabeth I in 1599, in anticipation of a royal visit to Wilton, but Elizabeth cancelled her planned visit. This work is usually referred to as The Sidney Psalms or The Sidney-Pembroke Psalter and regarded as a major influence on the development of English religious lyric poetry in the late 16th and early 17th centuries. John Donne wrote a poem celebrating

4698-434: The concept relies upon a fundamentally linear understanding of the narrative. An example would be Citizen Kane by Orson Welles . Although some films appear to open (very briefly) with the ending, flashback movies almost immediately jump back to the very beginning of the story to proceed linearly from there. Usually the film will proceed past the supposed "ending" shown at the beginning of the movie. Cinema can only provide

4785-465: The coronation to avoid the plague. She was regarded as a muse by Daniel in his sonnet cycle "Delia", an anagram for ideal. Her brother, Philip Sidney , wrote much of his Arcadia in her presence, at Wilton House. He also probably began preparing his English lyric version of the Book of Psalms at Wilton as well. Philip Sidney had completed translating 43 of the 150 Psalms at the time of his death on

4872-548: The culture also changes. The three-act structure is a common structure in classical film and other narrative forms in or associated with the West . It originated with Syd Field in Screenplay: The Foundations of Screenwriting who popularized the form. Based on his recommendation that a play have a "beginning, middle, and end," the structure has been falsely attributed to Aristotle, who in fact argued for

4959-410: The dead king's choice of a profane text for his final prayer. The Arcadia contains the earliest known use of the feminine personal name Pamela . Most scholars believe that Sidney simply invented the name. In the eighteenth century, Samuel Richardson named the heroine of his first novel after Sidney's Pamela. Despite this mark of continued respect, however, the rise of the novel was making works like

5046-483: The denouement, the aftermath of the response that makes clear the success, partial success, non-success, or uncertain success of the response. This fourth stage may also show how the original situation has changed due to what has taken place in the Complication and Resolution stages of the narrative. In a simple narrative, the four stages appear in order. That is, the sequence of the telling or presentation follows

5133-410: The duke's death and Pamela's flight, and becomes a zealous advocate for executing everyone associated with the death of Basilius. Meanwhile, Musidorus and Pamela fall captive to the attacking mob, but not before Musidorus kills and gruesomely maims several of them. Hoping for a reward for finding the fugitives, the mob heads for Basilius, but is intercepted and slaughtered by Philanax and his men, who take

5220-418: The dynamics of the world they live in). This setup is often called the exposition. Later in the first act, the protagonist experiences a dynamic event known as the inciting incident (or catalyst ). Their initial actions are to deal with this event and attempt to reestablish order. These lead to the first plot point , where the first act ends and a dramatic question is raised; for example, "Will X disable

5307-554: The family. While Musidorus covertly observes this meeting, he is overwhelmed by a passionate love for the elder daughter, Pamela, and decides to disguise himself as a shepherd, Dorus, in order to gain access to her. When everyone congregates in an arbor to hear the shepherds sing, a lion and bear attack the party. Cleophila kills the lion, saving Philoclea; Dorus kills the bear, saving Pamela. Cleophila's manly puissance leads Gynecia to suspect her secret male sex, while Philoclea forms an intense "sisterly" affection for Cleophila. In Book II,

SECTION 60

#1732798507470

5394-416: The five-part structure of classical dramaturgy : exposition, action, complication, reversal, catastrophe. This hybrid structure—part prose romance and part classical drama —allows Sidney to contain the diverseness of romance within the cohesiveness of the dramatic arc. The work is often called "tragicomic" for its combination of a "serious" high plot centering on the princes and Duke Basilius's household and

5481-555: The heavy-handed hints that Pamela, not Mopsa, is the object of his passion. In an extremely complicated piece of hoodwinking, Dorus reveals his identity to Pamela, proposes elopement, and is elated by the princess's willingness to flee Arcadia with him. Meanwhile, Cleophila manages to reveal his identity to Philoclea, and they declare their mutual love. Their idyll is interrupted by a mob of drunken Arcadian rabble who are angry at Basilius for neglecting his sovereign obligations. Cleophila, Basilius, Dorus and friendly shepherds slaughter much of

5568-491: The illusion through broken narrative, a famous example of this being the 1994 film Pulp Fiction . The film is ostensibly three short stories, which, upon closer inspection, are actually three sections of one story with the chronology broken up; Quentin Tarantino constructs the narrative without resorting to classic "flashback" techniques. An even more ambitious attempt at constructing a film based on non-linear narrative

5655-569: The many claimants named as the true author of the works of William Shakespeare in the Shakespeare authorship question . Mary Sidney appears as a character in Deborah Harkness 's novel Shadow of Night , which is the second instalment of her All Souls trilogy. Sidney is portrayed by Amanda Hale in the second season of the television adaptation of the book . Dramatic structure Story structure or narrative structure

5742-536: The mob before finally subduing it. Book II ends with the establishment of the unusual love "square" in which father, mother and daughter are all violently in love with the cross-dressed Pyrocles/Cleophila, and the love triangle comprising Mopsa, Pamela and Dorus. It also begins the political theme, expanded in the fourth and fifth books, concerning the implications of negligent government. In Book III, Musidorus tells Pyrocles of his intentions to elope with Pamela. Pyrocles despairs of his own success with Philoclea because he

5829-420: The nearest seaport. While resting, Dorus is overcome by her beauty and is about to rape her when they are suddenly attacked by another mob. Meanwhile, Gynecia's passion has become desperate and she threatens to expose Cleophila's identity if he does not requite her love. To distract Gynecia, Cleophila pretends to requite her love, which aggravates Basilius and Philoclea. In an ill-fated bed-trick, Cleophila promises

5916-830: The newly completed Houghton House in Bedfordshire . After a grand funeral in St Paul's Cathedral , her body was buried in Salisbury Cathedral , next to that of her late husband in the Herbert family vault, under the steps leading to the choir stalls, where the mural monument still stands. Mary Sidney turned Wilton House into a "paradise for poets", known as the " Wilton Circle ," a salon-type literary group sustained by her hospitality, which included Edmund Spenser , Samuel Daniel , Michael Drayton , Ben Jonson , and Sir John Davies . John Aubrey wrote, "Wilton House

6003-413: The next piece of the narrative, or have to piece the parts of narrative that they have together in order to form a coherent narrative. This is the narrative approach of some modern video games. A player will be required to reach an objective, complete a task, solve a puzzle, or finish a level before the narrative continues. An interactive narrative is one which is composed with a branching structure where

6090-493: The notable authors of the day in John Bodenham 's verse miscellany Belvidere . Her play Antonius (a translation of Robert Garnier's Marc Antoine ) is widely seen as reviving interest in soliloquy based on classical models and as a likely source of Samuel Daniel 's closet drama Cleopatra (1594) and of Shakespeare's Antony and Cleopatra (1607). She was also known for translating Petrarch 's "Triumph of Death", for

6177-524: The poetry anthology Triumphs , and above all for a lyrical, metrical translation of the Psalms. Mary Sidney was born on 27 October 1561 at Tickenhill Palace in the parish of Bewdley , Worcestershire . She was one of the seven children – three sons and four daughters – of Sir Henry Sidney and wife Mary Dudley . Their eldest son was Sir Philip Sidney (1554–1586), and their second son Robert Sidney (1563–1626), who later became Earl of Leicester. As

6264-424: The poets William Browne and her son William, summarizes how she was regarded in her own day: Underneath this sable hearse, Lies the subject of all verse, Sidney's sister, Pembroke's mother. Death, ere thou hast slain another Fair and learned and good as she, Time shall throw a dart at thee. Her literary talents and aforementioned family connections to Shakespeare has caused her to be nominated as one of

6351-432: The same time that Literary Structuralists rose with story structure, there were also Postmodernism and Post-postmodernism , who often argued about the nature of stories and what if any the story structures could be. Some authors, such as John Gardner advocated for the use of both such as in The Art of Fiction (1983). Ideas of this got shared over the next few decades which lead to writers such as Blake Snyder 's Save

6438-484: The second act ends and the protagonist returns to their ordinary world. The third act , or resolution, is when the problem in the story boils over, forcing the characters to confront it, allowing all the elements of the story to come together, leading to the climax , which is the answer to the dramatic question, being hand in hand with the end of the conflict. Kishōtenketsu is a structure mainly derived from classic Chinese, Korean, and Japanese narratives. Kishōtenketsu

6525-408: The sovereign most renowned for his wise and just government, Euarchus of Thessalia, has traveled to Arcadia to visit his good friend Basilius. Euarchus is also the father of Pyrocles and uncle of Musidorus, but has no idea what they have been up to. Philanax persuades the reluctant Eurarchus to aid Arcadia by assuming authority for the present and becoming the state's "protector." The book concludes with

6612-858: The story itself, but for the chorus. However, the majority of the treaties for story structure took off in the 19th-20th centuries. The first notable figure being Gustav Freytag 's Die Technik Des Dramas which was published in 1863. He outlined the basics for what would later become the foundation for the three and five act story structures. He outlined the sections of the story as Introduction, Rise, Climax, Return or Fall, Catastrophe. Some theorists had issues with Gustav Freytag 's theories and directly went against him such as Georges Polti 's The Thirty-Six Dramatic Situations in which he goes out of his way to mention current French, Chinese, Jewish, English, and other cultures that Gustav Freytag put down as never good enough except for Shakespeare. Polti argued for multiple shapes and situations of plots. This continued into

6699-435: The story, most notably the fifth edition of 1621, which included Sir William Alexander 's attempt to work over the gap between Sidney's two versions of the story. Other continuations and developments of Sidney's story were published separately. The hybrid editions did not efface the difference between the highly artificial, hellenized revised portion and the straightforward conclusion Sidney wrote originally. Nevertheless, it

6786-400: The time period which made it harder to study academically, and thus proposed that conflict should be at the center of all stories, using such works as War and Peace by Leo Tolstoy . And also advocated for Death of the Author in his work. He made a concentrated effort to look at conflict at the center of stories. Writers such as E. M. Forster and Virginia Wolf diasgreed with him. "This

6873-812: The verse psalter and claiming he could "scarce" call the English Church reformed until its psalter had been modelled after the poetic transcriptions of Philip Sidney and Mary Herbert. Although the psalms were not printed in her lifetime, they were extensively distributed in manuscript. There are 17 manuscripts extant today. A later engraving of Herbert shows her holding them. Her literary influence can be seen in literary patronage, in publishing her brother's works and in her own verse forms, dramas, and translations. Contemporary poets who commended Herbert's psalms include Samuel Daniel, Sir John Davies, John Donne, Michael Drayton , Sir John Harington , Ben Jonson , Emilia Lanier and Thomas Moffet . The importance of these

6960-635: Was an aunt to the poet Mary Wroth , daughter of her brother Robert. The death of Sidney's husband in 1601 left her with less financial support than she might have expected, though views on its adequacy vary; at the time the majority of an estate was left to the eldest son. In addition to the arts, Sidney had a range of interests. She had a chemistry laboratory at Wilton House, where she developed medicines and invisible ink. From 1609 to 1615, Mary Sidney probably spent most of her time at Crosby Hall in London . She travelled with her doctor, Matthew Lister , to Spa, Belgium in 1616. Dudley Carleton met her in

7047-595: Was given to Joseph Esenwein. The plot structure was then used by Death of a Salesman author Arthur Miller. However, the coining for "Exposition" as the first part goes to earlier author, Rev. J.K. Brennan who wrote his essay "The General Design of Plays for the book 'The Delphian Course'" (1912) for the Delphian Society . Exposition, not Introduction nor "Incident" are used as the first part. This leads to Percy Lubbock who wrote The Craft of Fiction in 1921. He argued that there were too many story structures in

7134-405: Was in this form that Sidney's work entered history and reached a wide readership. Although Old Arcadia has never been greatly popular, it has entertained a small set of readers for over 400 years with its sensational treatment of sex, politics, violence, soporifics, mobs, and cross-dressing. Narrated in sprawling Renaissance prose, the romance comprises five "books or acts," organized according to

7221-649: Was instrumental in bringing her brother's An Apology for Poetry or Defence of Poesy into print. She circulated the Sidney–Pembroke Psalter in manuscript at about the same time. This suggests a common purpose in their design. Both argued, in formally different ways, for the ethical recuperation of poetry as an instrument for moral instruction — particularly religious instruction. Sidney also took on editing and publishing her brother's Arcadia , which he claimed to have written in her presence as The Countesse of Pembroke's Arcadia . Sidney's closet drama Antonius

7308-490: Was later described by Joseph Esenwein who directly cited him, but argued that the diagram was supposed to be used only for short stories. He follows Selden Lincoln Whitcomb's recommendations and says that parts are: Incident, emotion, crisis, suspense, climax, dénouement, conclusion. This diagram was copied and explained one for one by Kenneth Rowe almost verbatim, in Kenneth Rowe's Write That Play , though no credit

7395-455: Was like a college, there were so many learned and ingenious persons. She was the greatest patroness of wit and learning of any lady in her time." It has been suggested that the premiere of Shakespeare's As You Like It was at Wilton during her life. Sidney received more dedications than any other woman of non-royal status. By some accounts, King James I visited Wilton on his way to his coronation in 1603 and stayed again at Wilton following

7482-570: Was not centered on "one individual", but where the characters learn a lesson through negative reinforcement. He believed the Chorus was the most important part of the story. Later scholars such as Horace in Ars Poetica and Aelius Donatus in Aeli Donati qvod fertvr Commentvm Terenti: Accendvnt Evgravphi Volume 2 argued for a five act chorus. Neither specify that five acts should be for

7569-413: Was prepared for the press and published in two differing editions. Fulke Greville, in collaboration with Matthew Gwinne and John Florio , edited and oversaw the publication of the 1590 edition, which ends in mid-scene and mid-sentence. In 1593 Mary Herbert herself published an edition in which the original version supplements and concludes the part that Sidney revised. Later additions filled in gaps in

#469530