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The purpose of this paper is to explore Pamphilia's construction of her own subject as a woman and prince through her relationship with Cupid in Pamphilia to Amphilanthus. Petrarchan discourse conventionally includes the danger of subjection and loss of self of the poet-lover. Mary Wroth creates a female persona Pamphilia to explore the emotional and psychological struggles in her experiences of love and dramatizes the conflict between passionate surrender and self-affirmation of female self in Pamphilia's relationship with Cupid which appears as sometimes a mischievous boy and some times a mature and virtuous monarch. Cupid is in Jung's terms Pamphilia's animus, which envisages her self-sovereignty as a woman and prince. As a lover Pamphilia wants to subject herself to Cupid to gain his favor, and yet she finds herself so intrigued by the infantile and self-centered aspects of love, the mischievous boy Cupid. Her subjugation in love is analogous to her subordinate relationship to men in a patriarchal society, and so threatens her princely subject that has been constructed by a discipline of dominance and rule. The contradictory female and male aspects of her subject often entrap her in the labyrinths of love. She thus seeks a new type of relationship in love, and in the "Crowne of Sonetts" turns to a just and esteemed monarch Cupid. By fully yielding to the wise and virtuous Cupid's sovereignty, Pamphilia finds herself empowered by his virtue, now her virtue, constancy that ensures her the sovereignty over her self as well as her kingdom.