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The Earl of Essex, Sir Philip Sidney and surviving Elizabeth’s court
Richard James Wood

. Andrew Hadfield, in Literature, Politics and National Identity: Reformation to Renaissance , draws attention to the ‘anxiety regarding the form of public/national political participation and representation’ evident in the Old and New Arcadia s. With reference to the figure of the ‘poor painter’, who loses both hands in the rebellion of the revised text (282), Hadfield suggests that ‘the painter without hands resembles a gagged Sidney whose aesthetic work has been mutilated’. Based on the conjecture that Sidney’s revisions were, in part, influenced by state

in Sidney's Arcadia and the conflicts of virtue