AN APOLOGY FOR POETRY BY PHILIP SIDNEY (1554-1586)

SIDNEY’S DEFENCE OF POETRY

Introduction:. In 1579, Stephen Gosson wrote “The School of Abuse” and dedicated to Philip
Sidney. In this book, he attacked poetry and drama. “An Apology” appeared after the death of
Sydney in 1595, but it must have been written ten years before. The book was a reply to
Gosson’s “The School of Abuse”. The book rejects the views of Gosson against poetry. It also
tells what poetry is and what it stands for in the life of a nation. The case of Sidney against
Gosson was the same as was of Aristotle against Plato. The Puritans took the arguments of Plato
to reject poets and poetry. Sidney defended poetry in “An Apology for Poetry” and answered to
the objections.
*ARGUMENTS IN FAVOR OF POETRY: First of all, Sidney argues that poetry should be
valued because of its antiquity and universality. Poetry has always been present in all Asian,
African and European countries for year. Although some nations have no form of writing, yet
they have poetry. The Romans called a poet “VATES” which meant a prophet, a diviner or seer.
For the Greeks a “Poet” was equal to the “maker” or “creator”. These titles show the divinity and
the power of invention of the poets. Poetry is the first light-giver to ignorance. It is the first
“Nurse” that used to feed the learned.
Comparing arts and sciences with poetry, Sidney gives poetry intellectual values. He opines that
the ultimate end of all learning is “Virtuous Action” or good life. So, poetry offered this good
life before any other sciences. According to Sidney, theology, law, philosophy and history also
impart the knowledge of virtue. Excluding theology and law, he states that poetry has also the
high claim of cultural value like history and philosophy.
Sidney states that philosophy traces the nature of virtue by means of analysis and definitions. It
treats particular aspects and gives general rules for human conduct. If philosophy is concerned
with theoretical virtue, history deals with practical virtue. History does not teach abstract
arguments. It teaches in a concrete way what virtue really is. However, both of them have
defects. Philosophy deals with abstractions which are too misty to be conceived. History presents
such confused jumble of facts as area unable to show the general truth and the nature of virtue.
On the other hand, poetry combines the qualities of both philosophy and history. By means of
particular truths, it presents universal truths. A philosopher cannot guide us as directly as the
poetry of Virgil or of Sir Thomas Moore can. Even Christ used allegorical or poetic methods to
teach the common man. According to Sidney, what a philosopher teaches is understood by a
learned man while the food offered by the poet is even for the tender stomachs. Hence a poet is
indeed “The Right popular Philosopher”. It can be claimed that history also does the same thing.
It uses particular events to make generalizations. But the field of a historian is limited. He is
bound to tell things as they are. So he provides no moral instructions.
Unlike history and philosophy, poetry is such a power as can move us to virtue. Sidney referring
to Aristotle says that the fruit of learning is not mere knowing but doing. Mere knowledge of
virtue does not lead us to action unless it keeps the power. The teaching of philosophy or history
may be perfect but they lack the delightfulness of poetry. History is almost past and facts. It has
no room for imagination while a poet has emotional appeal and imagination. He puts such
incentive of sweet prospect as entices any reader to enter his imagination. A poet never begins
with obscure definitions. He comes to us with delightful words and music. Its tale attracts all
children and old men.
Poetry is of social and moral value in all its general and other kinds. For example, Pastoral
Poetry treats the evils of tyranny or the beauty of simple life. Elegiac Poetry arouses sympathy.
Iambic Poetry unmasks the devices of villainy. Satire indicates follies and makes us laugh as
well as satisfies. Comedy offers common errors in ridiculous fashion. Tragedy reveals
wickedness in high place and teaches humans about the uncertainty of life. The Lyric kindles
courage in the hearts of men. Epic or Heroic poetry brings forth heroic and moral goodness. So,
in this way Sidney demands a positive viewpoint for poetry because of its essential truths and
dynamic power.
ANSWERS TO OBJECTIONS: First objection in the times of Sidney against poetry was its
rhyming and versifying scheme. Sidney replies that verse is not essential in poetry. In fact,
poetry is a polish of speech which cannot be priceless. He also proceeds that metrical form
creates a verbal harmony. It adds sensuous and emotional quality to the words which makes
poetry worth-memorizing. He declares as a long gown cannot make a man an advocate in the
same way only rhyming and versifying quality does not make someone a poet. He says even
anti-poetry Plato’s “Dialogues” has poetic beauty.
Secondly, it was said that poetry is a useless activity and a waste of time. Sidney dismisses this
charge by claiming that poetry generates virtue and value. If the search for virtue is waste of
time, the same charge should be leveled against philosophy and history.
Thirdly, it was charged that poetry was the mother of lies, and a collection of falsehood. Sidney
says a poet is the least liar of all the writers under the sun. A lie affirms something to be true
which is actually false but a poet affirms nothing so he never lies. The aim of a poet is not to tell
“what is” or “what is not” but what should not be. What a poet offers is not a fact but fiction.
Astronomers, Physicians, Historians and others affirm things and inevitably make false
statements. A poet offers fiction which is however not falsehood because it offers an ideal kind
of truth.
Fourthly, it was charged that poetry abuses men’s wit. It throws them into wanton sinfulness and
lustful love. It makes the people idle and impractical. Sidney answers this objection in two parts:
He says generally comedy and lyrics are objected for abusing men’s wit and inspiring
lust. He answers that it is not poetry that abuses human wit rather it is human wit that abuses
poetry. Fault is not of poetry but of its use. A medicine used rightly can cure and used wrongly
can become a poison. With a sword we can kill either our enemy or our father. If poetry is used
wrongly, it definitely means it can also be used rightly so poetry is not totally a baseless thing.
Secondly he says that it is wrong to say that poetry makes us inactive. People were inactive
even in the absence of poetry. Poetry is cherished by all men of action. Alexander left his school-
master Aristotle but took Dead Homer with him and often used to wish that Homer had been
alive.
Lastly, Puritans objected poetry on behalf of Plato who banished poets from his ideal state.
Sidney answers this objection in three parts:
First, he says that there had been a conflict between philosophy and poetry for two centuries
before Plato so Plato being a philosopher could not stand by poets and hence cannot be regarded
as an authority.
Secondly, Plato wanted to banish the poets on account of morality while his own book contains
immoral elements when he allows a man to have any woman he likes. Such permission is more
harmful than poetical sonnets in the opinion of Sydney.
Thirdly, he says Plato was not against all poets. He was against only immoral poetry otherwise
Plato himself was the most poetical.

SIDNEY’S THEORY OF POETRY

SCOPE AND NATURE OF POETRY:
Sidney was a soldier, scholar, politician, artist and a poet. In his “Apology for Poetry”, he
discusses the nature, the function, the kinds and the form and the content of poetry. Sidney
includes all imaginative literature into which the element of function is entered whether written
in prose or verse. He says although Herodotus was a historian, yet had all the qualities of a poet.
One who studies Plato will never fail to see there the flowers of poetry. It is not the rhyming
scheme which makes a poet, as a long gown does not make someone an advocate. Verse is an
ornament, not a cause to poetry. In his opinion, all Greek Philosophers and Scientists were poets
because they wrote metrically. Poetry is verse but more importantly, it is an invention. It tells
such a story as is not literally true. By poetry means, “fiction plus liveliness plus passion”.
As far as, the nature of poetry is concerned, Sidney regards it as the fruit of inspiration
and “a divine gift”. He does not discuss the actual nature of this divine gift; however, he takes
pains in defining poetry rationally. To him, poetry is an art of imitation in accordance with the
Aristotle theory. In his opinion, imitation does not mean a mere copy or reproduction of the facts
of life. A poet is different from an astronomer, physician or a historian. A poet borrows nothing
rather he attempts to compose entirely some new creation. He creates things either better than
nature or never found in nature.
Dealing with the idea of imitation, Sydney says that the poet does not imitate or discuss
such things as already exist. In fact, a poet invents new things. The poet presents things with the
hidden reality behind them. The poet, however, does not create an ideal world for escapism.
According to Sidney, the poet does not imitate but creates; it is the reader who imitates what the
poet creates. This is the point where Sidney is different from Aristotle.
THE FUNCTION OF POETRY: According to Sidney, the function of poetry is to teach in
such a delightful manner as may motivate the reader to act upon what he learns. In his opinion,
the function of poetry comprises both moral and aesthetic views. He states that poetry not only
shows the way but also inspires to adopt the way. Poetry presents ideal heroes so vividly that the
reader or the listener wishes to imitate their virtues. It presents such a world where virtue always
triumphs and vice is made so ugly that the reader always wishes to avoid it in future. Sidney
repeats that the function of poetry is to move a person to virtue. Satire in poetry on human folly
convinces us to correct ourselves.
FORM AND CONTENT IN POETRY: Discussing form and content in poetry, Sidney opines
that a poet not only creates a perfect example but also moves the reader to follow the example.
From this point of view, the form of poetry is rhetoric which is an art of convincing and
persuasion. In his view, it is form or style, not the content of poetry, which forces a reader to
follow the code of morality. Good poetry delights by teaching and teaches by delighting. He says
that passion and knowledge are the main contents of poetry. Knowledge brings moral value
while passion gives vigor and liveliness to poetry.
KINDS OF POETRY: According to Sidney, there are three kinds of poetry which consist
in an imaginary treatment of human life:
Religious Poetry: This type of poetry imitates the inconceivable excellences of GOD.
Philosophical Poetry: This type of poetry gives delightful teachings but it treats the things as
they were or are, hence, loses the quality of imagination.
Imaginative Poetry: This type of poetry is the real poetry in the eyes of Sidney. It imaginatively
deals with life giving moral and aesthetic pleasure.
Conclusion: Sidney is neither a follower of Aristotle nor of Plato. He chooses the best out of
everything and develops his own concept of poetry. From Plato, he takes the idea of inspiration
but changes Muse with GOD. He rejects Plato by saying that poetry is not the imitation of an
imitation. He accepts Aristotle in “imitation” but gives it new meaning by saying that the poet
creates while the reader imitates. Aristotle uses the word “should” in technical sense while
Sydney uses it in moral sense.
______________________________________________________________

SIDNEY ON CONTEMPORARY LITERATURE

Introduction: Criticism for practical use is called applied criticism. Sidney’s criticism is
applied criticism because he discusses the nature of poetry and its value. He deals with those
arguments which reject the appreciation of the poetic art. The last section of “Apology” is more
valuable because he puts criticism to practical use and studies his contemporary literature. First
of all, he tries to trace out the causes of the contempt for poetry and then examines tragedy,
comedy, lyrics, stylistic and metrical questions. In his applied criticism, he points out the defects
in various literary forms, especially, the drama of his time. Secondly, he gives suggestions for
the improvement of that genre. Thirdly, he judges good or bad literature on its adherence to
classical models and the sincerity of purpose.
Tragedy: Sidney is one of those who attempted to treat the poetic art according to some
principles and methods. The concept of tragedy presented by Sidney is a blend of ideas drawn
from Aristotle and Medieval Italian Critics. The Medieval doctrine insists that tragedy deals
mainly with the falls of tyrants and the uncertainty of life. It maintains the necessity for dignified
speeches and moral teaching. It emphasizes upon the observance of the unities. It provides the
practical hints for the handling of tragic plot, that is, the treatment of the given story should be
for dramatic purposes.
 Sidney explains that tragedy is not subject to the laws of history but to the laws of poetry, so,
a dramatist is free to change or modify his material to obtain proper tragic effect. Secondly, the
plot should open at such a significant point as may touch the heart of the readers. Thirdly, in
developing an interesting plot the dramatist may change the historical sequence of events or even
add new incidents. Lastly, if some details cannot be presented on stage, they could be reported
with the help of some messenger as was common in ancient plays.
After this, Sidney throws light upon some serious defects of the contemporary drama,
especially, Tragedy. The Elizabethan Drama broke all unities so Sidney attacked such neglect of
unities. In his opinion, the neglect of unities brought grave improbabilities. The mixing of comic
and tragic elements was a great set-back for the plot. It is noteworthy that he was against ill-
timed comic scenes, not against comic scenes.
Comedy: Sidney criticizing contemporary comedy comments that it has become little more than
rough farce. He desires for an intellectual comedy. In this regard, he says laughter and delight are
two different things. It is wrong to say that there is no delight without laughter. He adds that
delight implies a joy forever. Laughter is momentary and superficial. It lacks harmony between
human’s nature and the specific subject.
He asserts that delight is possible without laughter. In the same way there could be laughter
without delight. However, effective combination of delight and laughter can bring a productive
comedy in true sense. After the discussion of intellectual comedy, he supplies some practical
hints to make a comedy effective. Firstly, following Aristotle, he says comedy has nothing to do
with evils or vices. Secondly, painful deformation of humans should be avoided. Lastly, real
comedy emerges out of human follies and weaknesses. It is important to note that Shakespeare is
the real representative of Sidney’s concept of comedy in his plays.
Lyrical Poetry: Sidney complains that contemporary lyrical poetry is unsuccessful in inspiring
true lyrical quantities. He asserts that lyrical love poetry is devoid of sincerity, passion and
impact. Most of such poems are borrowed and full of swelling phrases.
Diction and Style: Sidney disapproves the style of “fine-writing” that was full of obscure terms.
Use of hackneyed (unoriginal) figures and alliteration were the defects of that time literature. As
far as diction and English are concerned, Sidney is convinced that the English Language is suited
to express the best kind of poetry owing to its vocabulary from both classical and vernacular
sources.

SIDNEY AS A CRITIC
Introduction: Sidney appears as an outstanding critic whose “An Apology” is ideal as well as
practical kind of work. His book is a great performance in English criticism which opened a new
phase in the history of criticism. This book is a beautiful blend of the Renaissance, Classical and
Italian doctrine.
Originality in Matter: Originality is the first feature of Sidney as a critic. He draws, selects,
adapts and fuses ideas on the conception of poetry from earlier teachings and arrives at a new
conclusion independently. He takes help from Plato, Aristotle, Horace and Plutarch but never
sticks to anyone school of thought. His style is eclectic, that is, to select the best out of
everything. It is, however, right to say that he is under Platonic influence, but in defending poetry
he seems to be a follower of Aristotle. For him, poetry is not merely an instrument of moral
teaching. He regards it as a source of delight and the criticism of life. He rejects traditional
objections against poetry and shows the importance of poetry at intellectual and moral life.
Originality in Manner: There is also originality in the manner of Sidney. There is vigor and
freshness in his ideas. He does not indulge in fantasies. He does daring experiments in prose. His
book is a happy mingling of the ideal and the practical. His manner of presentation is a blend of
dignity and humor, simplicity and nobility, classicism and romanticism. He presents abstract
ideas in concrete form. Hence, his “Apology” seems to be a prelude to the coming works on
criticism.
A Humanist: Sidney’s attitude to poetry is of a humanist. He answers the objections of the
Puritans but does not make poetry merely pleasure. He says if a poet worships beauty or nature,
it does not mean he is sensual. He looks upon poetry as a force of moving men to active virtue
and civility. For him, poetry is a creative spark of divine spirit in human nature. He respects the
classical and criticizes the contemporary superfluous freedom in poetry. But he is not a blind
follower of the classical. In fact, he joins aesthetical and ethical aspects of poetry for humans.
Limitations: Some points in “Apology” by Sidney are ambiguous. Sidney seems to say the
world created by a poet is not “imitation” but “improvement”. Poetry inspires the reader to
imitate that improvement. But this statement may not be applicable to the other forms of art like
painting or music. We cannot agree that the function of painting is to help the people to improve
their own faces by imitating the portrait.
The word “move” used by Sidney is also ambiguous. Sometimes, it gives the meaning of “Spur”
and at other place it stands for “Persuade”. He says poetry arouses emotions which are very close
to the idea of Plato. It means Sidney, rejecting the objections of Plato, supports him
unconsciously.
Sidney seems to project poetic-justice when he says the world of the poet is a perfect world
where the righteous always prosper and the wicked are always punished. But it does not seem to
be a logical and practical idea as such never happens in real life.
Conclusion: Sidney is neither a follower of Aristotle nor of Plato. He chooses the best out of
everything and develops his own concept of poetry. From Plato, he takes the idea of inspiration
but changes Muse with GOD. He rejects Plato by saying that poetry is not the imitation of an
imitation. He accepts Aristotle in “imitation” but gives it new meaning by saying that the poet
creates while the reader imitates. Aristotle uses the word “should” in technical sense while
Sidney uses it in moral sense.
__________________________________________________________________