Lady Mary Wroth’s 1621 sonnet sequence, Pamphilia to Amphilanthus, alludes to the contexts with the opening of the corona that crowns the sequence: “In this Strang labourinth how shall I turne?” The temporal and spatial vagaries of “this” and the punning “labour” of Wroth’s spelling evoke the poem itself as intricate space and Pamphilia’s thought as labyrinthine source of mimetic writing. The capabilities of Pamphilia and Love suggest that gender roles may transcend or contradict physical sex in the labyrinth. The labyrinth thus becomes an ideal of female poetic freedom, a place where spiritual knowledge undercuts the equation of female speech with promiscuity. Even as Pamphilia disavows poetry through silence, the sonnet reasserts the poet’s role by addressing an audience of future love poets, suggesting Pamphilia’s, and thereby Wroth’s, poetic progeny. The labyrinth and the corona, self-enclosed figure and circular poetic form, help address issues of woman’s publication by creating a fictionalized privacy.