Abstract
The present article aims at showing how Sir Philip Sidney’s two versions of the Arcadia deal with the issue of masculinity. Patricia Fumerton’s propositions about the parallels between Hilliard’s miniatures and Sidney’s sonnets are here confronted to the two pastoral romances, which seem to have retained a rather similar approach to the idea of ornament. The issue of disguises and ornamental attributes of one’s sex in the old and new Arcadia, compared with the limner’s vision of the same, thus turn to prove central in understanding the fascinating complexities of sex in Sidney’s original and revised works.
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