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Structure, Theme and Convention at Sir Philip Sidney's Sonnet Sequence The sixteenth century was a time of scientific, historic, archaeological, religious and artistic quest. More attention was being allotted to probing into the depths of the human psyche and it had been up to the musicians and artists instead of the priests and scholars to analyze and reflect these inner landscapes. The 'little world of man'  has been reflected through different artistic forms, one of which was the sonnet, that was used for dedications, moral epigrams and so on. Traditionally many sonnets dealt with the subject of romantic love and generally the sonneteer coped with the over-riding concern of the self and another, the latter of which generally referred to some mistress, buddy, or even a familial relation. One of the first important artistic creations seen by the Elizabethans was Sidney's sonnet sequence named Astrophil and Stella, a version on Petrarch's Canzoniere. Sidney who was indeed acclaimed the 'British Petrarch', yet wrote with his Elizabethan readers in your mind as his characters talked in English accents, voiced English worries and evoked the soul of their time. The sequence, which like all Renaissance sequences is not a realistic autobiography, is about a man, Astrophil who is drawn to and in pursuit of a married woman, called Stella. On stealing a kiss against Stella whilst she's asleep the male protagonist worries about her reaction lest she should figure out, but afterwards on chides himself for not using this situation. He then proceeds to recount how he's filled with hopes one minute and despair the next, whilst trying in vain to pursue her. In constantly being refused, he believes angere...