Abstract
Lady Mary Wroth’s The First Part of the Countesse of Montgomeries Urania (1621) is a test case for current conflicting historical/biographical and aesthetic approaches to early women’s writings. In her romance, Wroth redefines her previous amorous lyric poetry as restrictive and demeaning, especially for women. Read through the intertexts of Sidney’s Defence of Poesy (1595), as well as his Arcadia, Wroth’s scandalous roman à clef maintains careful critical distance from her characters to become a didactic work of poetic imitation designed to shape and transform her culture.
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