The ‘Sidney psalter’ has attracted critical attention for the extraordinary metrical versatility displayed by Philip and (mostly) Mary Sidney in their complete set of psalm paraphrases in English. Ithas not however been discussed in the context of the neo-Latin metrical usage and experiment of the latter sixteenth century described in Chapter 2, although the Sidney psalter precisely reproduces in English the literary achievement in Latin of the major Protestant psalm paraphrases by George Buchanan and Theodore de Bèze (Beza). Of great devotional and literary importance for Protestants throughout Europe, these two collections were recognized immediately by contemporaries for their literary achievement, and Buchanan’s, in particular, was routinely cited until well into the eighteenth century. Taken together, they are crucial landmarks in the development of a Protestant Latin poetics, combining the literary achievement of humanism with a distinctively Protestant emphasis upon the literal meaning of the Hebrew Bible. This chapter describes theachievement and influence of these Latin works and sets out the evidence for their direct influence upon Mary Sidney in particular.

argues that Aemilia Lanyer’s Salve Deus Rex Judæorum (1611) participates in an oppositional brand of religious politics associated with the poem’s female dedicatees. Building on the system of correspondences in which wife was to husband as subject was to ruler, Lanyer issues a call for “libertie” not as protofeminist appeal but as defense of the rights of the Church and the nation at a time when both were threatened by James’s growing use of his royal prerogative. Reviving the woman-centered discourse of the Protestant Reformation, Lanyer champions an ultra-Protestant corrective to masculine tyranny, the true Church of the persecuted elect represented by the oppressed collective of women. In “Cooke-ham,” Lanyer pays tribute to her primary patron and zealous Puritan Margaret Clifford by representing her as a virtuous monarch whose intimate relation to Christ in her rural retreat recalls the Song of Songs and offers pointed anticourt critique.

This chapter is concerned with Sulpicia’s female-authored elegies, Mary Sidney’s translations of Petrarch’s Triumph of Death, and of Robert Garnier’s Antonie, both texts which make prominent use of a female voice of desire, and Mary Wroth’s first sonnet from her Pamphilia to Amphilanthus. The argument here is not so much that Sulpicia is a model for Sidney and Wroth as an exploration, in each period, of what happens when a female author/narrator inserts herself into a discourse which is primarily gendered masculine. It analyses how previous instances of ventriloquised female voices in male authored elegy and Renaissance love poetry open up a space into which it is possible for a female author to insert herself. Of special interest is the question of what happens when the female beloved speaks up, speaks back, speaks for herself.