Abstract:Speakers and singers in Philip Sidney's The Countess of Pembroke's Arcadia are constantly losing control of their own voices: poems and songs are interrupted by sobs and sighs, and words, as volatile physical sounds, manage to escape the confines of their intended acoustic environment, becoming subject to overhearing and repetition. Recent scholarship on the voice in early modern literature has tended to emphasize the threat that the unstable medium of embodied vocal sound might pose to masculinity or, more broadly, to the logocentric, patriarchal order. However, in the case of Sidney's Arcadia, the alienability of the voice is often precisely what endows it with oratorical power and what enables it to become a site for the performance of elite, homosocial intimacy. Focusing on Cleophila's sonnet in book 1 of the Old Arcadia (the first sung poem in Sidney's romance), I examine how representations of vocal estrangement mediate larger issues and anxieties concerning poetic circulation. I argue that within the imagined community of coterie publication, the failure of a speaker to maintain strict control of his utterance does not threaten but, rather, signals and affirms the system of elite poetic exchange as a site for the meaningful performance of (male) social belonging. This managed loss of voice, I maintain, stands in marked contrast to what the alienated voice comes to mean once Sidney's texts travel beyond their originally intended audiences, and so the article concludes by looking at how non-elite readers might have encountered Cleophila's sonnet in the version that appeared in print.

中文翻译：

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Arcadian的口才：在彭布罗克伯爵夫人的Arcadia伯爵夫人中失声

摘要：菲利普·西德尼（Philip Sidney）的《彭布罗克伯爵夫人》的《阿卡迪亚伯爵》中的演讲者和歌手不断失去对自己声音的控制：诗歌和歌曲被抽泣声和叹息声打断，而单词（作为易变的物理声音）设法摆脱了预期的声学环境，变得容易被偷听和重复。早期现代文学中有关声音的最新学术研究倾向于强调，所体现的声音的不稳定媒介可能对男性气概，或者更广泛地对以徽标为中心的父权制秩序构成威胁。然而，就西德尼的《阿卡迪亚》而言，声音的可移植性通常恰恰是赋予它口头上的力量的原因，也是使它成为表现出精英，同族亲密关系的场所的原因。专注于Cleophila' 我在《旧阿卡迪亚》（第一卷）中的十四行诗（《悉尼传奇》中的第一首唱诗）中，我研究了声音疏离的表现如何调解有关诗意循环的更大问题和忧虑。我认为，在想象中的小圈子出版物社区中，演讲者未能严格控制自己的话语并不会构成威胁，而只是表示并肯定了精英诗歌交流系统是（男性）有意义表演的场所社会归属感。我认为，这种有控制的失声与当悉尼大学的文本超出原定的受众范围之后，疏远的声音所形成的含义形成了鲜明的对比，因此，本文的结尾是研究非精英读者可能是如何在英语中遇到了Cleophila的十四行诗的。印刷版本。