Astrophil's actions seem to be forgiven by some critics because he is driven by love. In fact Sidney's depiction of the Astrophil is one that makes some critics and readers empathize with him during his lamentations and praise of Stella. This may be because it is thought that Sidney's aim was to show readers how a man can let his emotions get the better of him, thereby leading him into eventual despair. It is through Astrophil's mistakes and broken-hearted downfall that Sidney is able to explore morality. This is also another typical quality of Sonnets and Ballads, that seem to morally instruct through their art.
Beneath the witty surface of Astrophil's despair, Thomas P. Roche seems to feel that
"Sidney is using Astrophil's journey from hope to despair as a fictional device for the analysis of human desire in Christian terms..."
Consequently Roche points out that in witnessing Astrophil's despair the readers' reaction is supposed to make them conscious of his limitations from a Christian perspective. Conventional topics such as addressing the moon, appealing to the world of sleep and dreams, waffling on about the lady's absence, praising her unique beauty and virtue, reprimanding her Icy 'Cold-Fish' attitude and feeling frustrated by his desire are all included in the work, but the impossibility of the hero and heroine's relationship, coupled with Astrophil's weak and sympathetic character, are highlighted in the unique style Sydney uses.
Similarly, placing the two names together in the sequence, is reminiscent of 'Romeo and Juliet', and would seem to indicate that the two main characters, Astrophil and Stella, are a couple, which in fact, they are not. Again, the strict rise of Christianity and religious life in 16th Century rural England is hinted at throughout the publication. The Christian opposition of heaven and hell is evident from the verse
"No doome should make one's heav'n become his hell.'
Whilst the word 'doome' suggests the Astrophil's' Christian damnation, it is nothing more than Stella's rebuttal. Like many Ballads of the day, Astrophil and Stella concentrates primarily on attitudes and beliefs, explained through some unique experience of the character, in this case Astrophil's obsessive and rejected love. The historical-sociological element is evident from the hints at the social pressures and moral restraints of the time. Even though the theme of the poem is one of moral bleakness it has become a cornerstone of 16th Century English artistry and did, evidently, appeal to the masses of the time.
"The Pinder of Wakefield".
Intriguing hints at early 16th century English social ritual can be found in many ballads and sonnets of the time. The following is a particular case. From the fairly popular "Pinder of Wakefield", published in 1632, but believed to have been compiled from ballads written over a century earlier, we have a retold account of the folk hero "George a Greene", and a grudge contest arranged between the common men of the villages of Kendall and Halifax (p. 42-45). The tale concerns a quarrel, which results in the arranging of a duel between the men of three villages and how the bouts of the contest unfold. The material reveals some interesting things about such events and also raises several questions. In doing so it provides students of 16th Century culture a rare glimpse into an aspect of early English social ritual.
"Of a great fray that happened in Wakefield betwixt Kendall men, Hallifax men and George and his companions."
There are many interesting elements to note within the Pinder of Wakefield's presumably fictional account of rural conflict among the Wakefield, Halifax and Kendal men. Although it is possible that this amusing tale is based around a true event, and may have been changed slightly as it was rewritten over time, the combat is ritualistic, and not intentionally lethal, despite severe injuries and even a death. Strangely enough, there appears to be no indication that this is considered immoral or wrong. Even though the "sport" is bloody and begins over a real fight (and indeed, ends with one it seems) the participants conclude by drinking together without any apparent hard feelings.
Worth pointing out is how the main character of George a Green, the local pinder (Someone who controls stray animals and herds them into a pen) is at first stepping in between the quarrelling parties. But then George quickly arranges a contest among them (even participating in the event himself). Does he do this out of ritual and tradition as a way of avoiding a lawless brawl, and arranging it into an orderly contest? Much in the way a sheriff might control such a domestic situation? Or perhaps he was playing a 16th century Don King, thinking of how he might gain financially by promoting and arranging such an event. Another curious factor is that English country folk such as these villagers were armed and skilled with such weaponry. In Thomas Deloney's excessively long ballad Jack of Newbury (1597), for example, we read of a gathering of rural English men and how the title character, wealthy clothier, waited with his fellows to greet the arrival of the King's men.
"Jack of Newbery cloathed 30 tall fellowes, being his houshold servants, in blew coates, faced with Scarcenet, every one having a good sword and buckler on his shoulder. Who knowing the King would come over a certaine meadow, neere adjoining to the Towne, got himselfe thither with all his men; and repairing to a certaine Ant-hill, which was in the field, took up his seate there, causing his men to stand round about the same with their swords drawne." (Deloney, Jack, p37).
So perhaps, a standard, ritualised way of handling individual or group conflict within small communities was, as Pinder of Wakefield suggests, to arrange a formal bout or duel, allowing men to thrash out their differences with swordplay. Not too unbelievable for anyone who has enjoyed a leisurely drink on a weekend evening in Peckham, Brixton, Lewisham or any of London's other 'pleasant community locations'. Certainly, right here in the 21st Century, social ritual is still recorded much in the same way. So many of us grew up with the lyrics to "My old man's a Dustman", "Down in the Vally" and "The Workingman's club" in order to teach us how men should handle certain social situations they may encounter in society later on. So, pleasant tall-tale, or social lesson? Perhaps both of these ballads are examples of pure, 16th Century English Entertainment. Or maybe, just maybe, they give us a fascinating insight into the attitudes, beliefs and values of our ancestors.
Bibliography
Christoph Amberger (1999): "The Secret History of the Sword" Multi-Media Books,
Thomas P. Petrarch (1989): "The English Sonnet Sequence" Roche Publishing
Peter Burke (1994): "Popular Culture in Early Modern Europe"
Joyce Youings (1984): "Sixteenth Century England" Penguin books.
