Mary Sidney

Mary Sidney was born on 27 October 1561 at Tickenhill Palace in the parish of Bewdley, Worcestershire.[2] 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),[3] and their second son Robert Sidney (1563–1626), who later became Earl of Leicester. As 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.[4] Like her brother Philip, she received a humanist education which included music, needlework, and classical languages like French and Italian. Following the death of Sidney's youngest sister, Ambrosia, in 1575, the queen requested that Mary to return to court to join the royal entourage.[2]

Arms of Herbert: Per pale azure and gules, three lions rampant argent

In 1577, Mary Sidney married Henry Herbert, 2nd Earl of Pembroke (1538–1601), a close ally of the family. The marriage was arranged by her father, and uncle Robert Dudley, Earl of Leicester. As countess of Pembroke, Mary was responsible for a number of estates including Ramsbury, Ivychurch,[5] 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:

• William Herbert, 3rd Earl of Pembroke (1580–1630), was the eldest son and heir.
• Katherine Herbert (1581–1584)[6] died as an infant.
• Anne Herbert (born 1583 – after 1603) was speculated also to have been a writer and a storyteller.[6]
• Philip Herbert, 4th Earl of Pembroke (1584–1650), succeeded his brother in 1630. Philip and his older brother William were the "incomparable pair of brethren" to whom the First Folio of Shakespeare's collected works was dedicated in 1623.

Mary Sidney was also aunt to the poet Mary Wroth, the daughter of her brother Robert.

Sidney's husband died in 1601. His death 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.[7] From 1609 to 1615, Mary Sidney probably spent most of her time at Crosby Hall in London. She travelled with her doctor, Sir Matthew Lister, to Spa, Belgium. There is conjecture that she married Lister, but there is no evidence of this.[8]

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 the newly completed Houghton House in Bedfordshire.[2] 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.[2]

The title page of Sidney's The Tragedy of Antony, her interpretation of the story of Mark Antony and Cleopatra.

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 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."[9] Sidney received more dedications than any other woman of non-royal status.[10] By some accounts, King James I visited Wilton on his way to his coronation in 1603 and stayed again at Wilton following the coronation to avoid the plague. She was regarded as a muse by Daniel in his poem "Delia", an anagram for ideal.[11]

Her brother, Philip Sidney, wrote much of his Arcadia in her presence, at Wilton House. He also likely began preparing his English lyric version of the Book of Psalms at Wilton as well.

Philip Sidney had completed 43 of the 150 Psalms at the time of his death during a military campaign against the Spanish, in the Netherlands in 1586. She finished his translation of the psalms, composing Psalms 44 through 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 one hundred and seventy-one poems (Psalm 119 is a gathering of twenty-two separate poems). A copy of 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 is regarded as an important influence on the development of English religious lyric poetry in the late 16th and early 17th century.[12] John Donne wrote a poem celebrating the verse psalter and claiming that he could "scarce" call the English Church reformed until its psalter had been modelled after the poetic transcriptions of Philip Sidney and Mary Herbert.[13]

Although the psalms were not printed in her lifetime, they had extensive manuscript publication. There are 17 extant manuscripts today. A later engraving of Herbert shows her holding them.[15] Her literary influence can be seen through literary patronage, through publishing her brother's works and through her own verse forms, dramas, and translations. Contemporary poets who commended Herbert's verse psalms include Samuel Daniel, Sir John Davies, John Donne, Michael Drayton, Sir John Harington, Ben Jonson, Aemelia Lanyer, and Thomas Moffet.[10] The importance and influence of the Psalter translation is evident in the devotional lyric poems of Barnabe Barnes, Nicholas Breton, Henry Constable, Francis Davison, Giles Fletcher, and Abraham Fraunce — and its influence upon 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 seventeenth-century devotional lyric.[2]

Sidney was instrumental in having her brother's An Apology for Poetry or Defence of Poesy, put into print, and she circulated the "Sidney–Pembroke Psalter" in manuscript at about the same time. The simultaneity suggests a proximate relationship in their design: both argued, in formally different ways, for the ethical recuperation of poetry as an instrument for moral instruction — particularly for religious instruction.[16] Sidney also took on the editing and publishing her brother's Arcadia, which he claims to have written in her presence as The Countesse of Pembroke's Arcadia.[17]

Sydney's closet drama Antonius 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, which was published with Antonius in 1592, and Petrarch's The Triumph of Death, which was circulated in manuscript. Her original poems include the pastoral, "A Dialogue betweene Two Shepheards, Thenot and Piers, in praise of Astrea,"[18] and two dedicatory addresses, one to Elizabeth I and one to her brother Philip, contained in the Tixall manuscript copy of her verse psalter. An elegy for Philip, The dolefull lay of Clorinda, which was published in Colin Clouts Come Home Againe (1595), has been attributed to Spenser and to Mary Herbert, but Pamela Coren is probably right in awarding it to Spenser, and certainly right to say that Mary's poetic reputation does not suffer from loss of the attribution.Coren (2002)

By at least 1591, the Pembrokes were providing patronage to the Pembroke's Men playing company, one of the early companies to perform the works of Shakespeare. According to one account Shakespeare's company "The King's Men" performed at Wilton at this time.[19]

June and Paul Schlueter published an article in The Times Literary Supplement of 23 July 2010, in which they described a manuscript of newly discovered works by Mary Sidney Herbert.[20]