Sir philip sidney's Apology for poetry
- 1. ALLPPT.com _ Free PowerPoint Templates, Diagrams and Charts APOLOGY FOR POETRY SIR PHILIP SIDNEY
- 2. Sir Philip Sidney • Sir Philip Sidney (born November 30, 1554, Kent, England-died October 17, 1586, Arnhem, Netherlands), Elizabethan courtier, statesman, soldier, poet, and patron of scholars and poets, considered the ideal gentleman of his day. Philip Sidney was the eldest son of Sir Henry Sidney and his wife, Lady Mary Dudley, daughter of the duke of Northumberland, and godson of King Philip II of Spain. After Shakespeare’s sonnets, Sidney’s Astrophel and Stella is considered the finest Elizabethan sonnet cycle. His The Defence of Poesie introduced the critical ideas of Renaissance theorists to England.
- 3. Apology For Poetry • Sidney wrote the Apology before 1583. Among the English criti cs, Philip Sidney holds a very important place. His Apology for Poetry is a spirited defense of poetry against all the charges lai d against it since Plato. He considers poetry as the oldest of all branches of learning and establishes its superiority. • An Apology for Poetry is the most important contribution to Renaissance literary theory. Sidney advocates a place for poetry within the framework of an aristocratic state, while showing concern for both literary and national identity.
- 4. Poetry, according to Sidney, is superior to philosophy by its charm, to history by its universality, to science by its moral end, to law by its encouragement of human rather than civic goodness. Sidney deals with the usefulness of other forms of poetry also. Poetry is an art of ‘imitation’ and its chief function is to teach and delight. Imitation does not mean mere copying or a reproduction of facts. It means a representing or transmuting of the real and actual, and sometimes creating something entirely new.
- 5. • “Poetry is an art of imitation, for so Aristotle termed it in the word mimesis” • “It is not rhyming and versing that make a poet But it is that feigning of notable images of virtues, vices, or what else, with that delightful teaching, which must be the right describing not to know a poet by” • “The poet, he nothing affirms, and therefore never lie. For, as I take it, to lie is to affirm that to be true which is false” • “Poetry is the companion of camps”
- 6. Significance • An Apology for Poetry is one of the most important contributions to literary theory written in English during the Renaissance. Sidney advocates a place for poetry within the framework of an aristocratic state, while showing concern for both literary and national identity. Sidney responds in Apology to an emerging antipathy to poetry as expressed in Stephen Gosson’s The School of Abuse. Gosson offers what is in essence an attack on imaginative literature .
- 7. Sidney writes An Apology for Poetry in the form of a judicial oration for the defense, and thus it is like a trial in structure. Crucial to his defense is the descriptive discourse and the idea that poetry creates a separate reality. Sidney employs forensic rhetoric as a tool to make the argument that poetry not only conveys a separate reality, but that it has a long and venerable history, and it does not lie. It is defensible in its own right as a means to move readers to virtuous action.
- 8. Discourse of Apology: • Sir Philip Sidney’s Apology for Poetry is one of the most impor tant pieces of prose of the entire English Renaissance. Sidney’s d efense of poetry is important not so much because its ideas are or iginal but precisely because they are not. Sidney gave highly me morable expression to many ideas that were extremely widespread during his period. • Sidney's treatise is important partly because Sidney himself was such a highly respected figure. If Sir Philip Sidney read poetry, wrote poetry and valued poetry, then many other English people felt comfortable doing the same.
- 9. Among the points Sidney makes in his treatise are the following: • In the past, poetry was highly valued, partly because it was one of the first means by which people learned and expressed their learning. • Many of the most respected intellects in human history have been poets and have defended poetry. • Poetry is used and valued even in the Bible, the most important book for all Christians. • The word “poet” comes from a Greek word meaning “to make”; a poet, therefore, is a maker.
- 10. Purpose of Writing Apology: An Apologie for Poetrie may for purposes of convenience be divided into Fifteen sections. 1. The Prologue • Sidney justified his stand by referring in a half-humorous manner to a treatise on horseman-ship by Pietro Pugliano. If the art of horsemanship can deserve such an eloquent eulogy and vindication, surely poetry has better claims for eulogy and vindication. There is a just cause to plead a case for poetry since it has fallen from the highest estimation of learning to be ‘the laughing stock of children.’
- 11. 2. Some Special Arguments in Favour of Poetry • Poetry has been held in high esteem since the earliest times. It has been ‘the first light-giver to ignorance.’ The earlier Greek philosophers and historians were, in fact, poets. Even among the uncivilized nations, in Turkey, among the American Indians, and m Wales, poetry enjoys an undiminishing popularity. To attack poetry is, therefore, to cut at the roots of culture and intelligence. 3. The Prophetic Character of Poetry • The ancient Romans paid high reverence to the poet by calling him Vates, which means a Diviner, a Prophet, or a Foreseer. The etymological origin of Greek word ‘poet’ is Poiein, and this means ‘to make’. Hence the Greeks honour the poet as a maker or creator. This suggests the divine nature of poetry.
- 12. 4. The Nature and Function of Poetry • Poetry is an art of ‘imitation’ and its chief function is to teach and delight. Imitation does not mean mere copying or a reproduction of facts. It means a representing or transmuting of the real and actual, and sometimes creating something entirely new. The poet, so Sidney declares, “lifted upwiththe vigour of his own invention, doth grow in effect another nature, in making things either better than Nature bringethforth, or, quite a new, forms such as never were in Nature, as the Heroes, Demigods, Cyclops, Chimeras, Furies, and such like.”
- 13. 5. The Three Kinds of Poetry • The three kinds of poetry, according to Sidney, are: (a) religious poetry, (b) philosophical poetry, and (c) poetry as an imaginative treatment of life and nature. He calls special attention to the third class of poets, for ‘these be they that, as the first and most noble sort may justly be termed vates.’ They ‘most properly do imitate to teach and delight, and to imitate borrow nothing of what is, has been, or shall be, but range, only with learned discretion, into the divine consideration of what may be, and should be.’
- 14. Various Sub-divisions of the Third Kind of Poetry • Poetry proper may further be divided into various species—the heroic, lyric, tragic, comic, satiric, iambic, elegiac, pastoral and others. Poets generally make use of verse to apparel their poetical inventions. But verse is ‘an ornament and no cause to poetry since there have been many most excellent poets that never versified, and now swarm many versifiers that need never answer to the name of poets.’ 7. Superiority of Poetry to Philosophy and History • Poetry is superior to Philosophy in the sense that it has the power to move and to give incentive for virtuous action. It presents moral lessons in a very attractive form. Things which in themselves are horrible as cruel battles, unnatural monsters, are made delightful in poetic imitation. Poet is, therefore, the monarch of all sciences.
- 15. Various Species of Poetry • The pastoral poetry treats of the beauty of the simple life, and sometimes, of the miseries of the people under hard Lords. Elegiac poetry deals with the weakness of mankind and wretchedness of the world. It should evoke pity rather than blame. Satiric poetry laughs at folly, and iambic poetry tries to unmask villainy. These also do not deserve to be condemned. Comedy is an imitation of the common errors of our life presented in a ridiculous manner. It helps men keeping away from such errors.
- 16. • Tragedy, which opens the greatest wounds in our hearts, teaches the uncertainty of this world. Nobody can resist the ‘sweet violence’ of a tragedy. The lyric which gives moral precepts and soars to the heavens in singing the pr aises of the Almighty, cannot be displeasing. Nor can the epic or heroic poetry be disliked because it inculcates virtue to the highest degree by portraying heroic and moral goodness in the most effective manner. Sidney asserts that the heroically is ‘not only a kind, but the best and most accomplished kind of poetry.’
- 17. Main Objections Brought Against Poetry by its Enemies • A common complaint against poetry is that it is bound up with ‘rhyming and versing’. But verse is not essential for poetry. ‘One may be a poet without versing, and a versifier without poetry’ Verse is used for convenience. It produces verbal harmony and lends itself easily to memorizing. It is the only fit speech for mu sic. It adds to words a sensuous and emotional quality. 10. Four Chief Objections to Poetry • There are some more serious objections to poetry, namely : (a)that there being many other more fruitful knowledge, a man might better spend his time in them than in this; (b)that it is the mother of lies : (c)that it is the nurse of abuse, in fecting us with many desires; and, (d) that Plato had banished poets from his ideal republic.
- 18. Replies to These Objections • Sidney dismisses the first charge by saying that he has already established that ‘no learning is so good as that which reach and move to virtue, and that none can both teach and move there to so much as poetry.’ • His answer to the second objection that poets are liars is th at of all writers under the sun the poet is the least liar. The Ast ronomer, the Geometrician, the historian, and others, all make false statements. But the poet ‘nothing affirms, and therefore never lie,’ his aim being ‘to tell not what is or is not, but what should or should not be.’ So what he presents is not fact but fiction embodying truth of an ideal kind.
- 19. The third charge against poetry is that all its species are infected with love themes and amorous conceits, which have a demoralizing effect on readers. To this charge Sidney replies that poetry does not abuse man’s wit, it is man’s wit that abuse poetry. All arts and sciences misused bad evil effects, but that did not mean that they were less valuable when rightly employed. • Sidney is rather perplexed at the last charge, namely Plato’s rejection of poetry. He wonders why Plato found fault with poetry. In fact, Plato warned men not against poetry but against its abuse by his contemporary poets who filled the world with wrong opinions about the gods. So Plato’s objection was directed against the theological concepts.
- 20. Why is Poetry not honoured in England as it is elsewhere? • Why has England grown so hard a step-mother to Poets? asks Sidney. He thinks that it is so because poetry has come to be represented by ‘base men with servile wits’ or to men who, however studious, are not born poets. He says that ‘a poet no industry can make, if his own genius be not carried unto it’. 13. Poetry in England from Chaucer to Sidney’s own Time • Sidney says that few good poems have been produced in England since Chaucer. Chaucer did marvelously well in Troilus and Cresseida. Spenser’s The Shepherds Calenderis worth reading . English lyric poetry is scanty and poor. Love lyrics and sonnets lack genuine fire and passion. They make use of artificial diction and swelling phrases.
- 21. 14. Condition of Drama • The state of drama is also degraded. The only redeeming tragedy is Gorboduc which itself is a faulty work. A tragedy should be tied to the laws of poetry and not of history. A dramatist should have liberty to frame the history to his own tragical convenience. Comedy should not only amuse but morally instruct. 15. Advantages of the English Language • The English language has some definite advantages. It is appreciable for its adaptability to ancient and modern systems of versification. It admits both the unrhymed quantitative system of the ancient poetry and the rhyme peculiar to modern language.
- 22. Conclusion • Sidney compares poetry with history and philosophy. He observes that poetry is superior to history since it is more philosophical and studiously serious. The poet is better and more effective teacher than either the philosopher or the historian or the other accredited apostles of truth and morality. Poetry, according to Sidney, is superior to philosophy by its charm, to history by its universality, to science by its moral end, to law by its encouragement of human rather than civic goodness. Sidney deals with the usefulness of other forms of poetry also.
- 23. • Poetry is universal; the first light-giver to ignorance and the first nurse. The earliest recorded or preserved utterance of any nation is a form of poetic expression alone. The poet speaks of both what is and what should be, of what is universal and what is particular. Poetry has liveliness and passion which are lacking in history and philosophy.