Significance[ edit ] An Apology for Poetry is one of the most important contributions to literary theory written in English during the Renaissance.
Poetry can lead to virtuous action. But their humours, if I may grace them with that name, are so thin sown that never above one of them come up in any Play: Thirdly, Sidney implies a theory of metaphoric language in his work.
But in the first place give me leave to tell you, that the Unity of Place, how ever it might be practised by them, was never any of their Rules: A continued gravity keeps the spirit too much bent; we must refresh it sometimes, as we bait upon a journey, that we may go on with greater ease.
In Apology, he shows opposition to the current of his day that pays little attention to unity of place in drama, but more specifically, his concern is with the "manner" that the "matter" is conveyed. Unlike the ancients, moderns have the chance of benefiting from the works of elder generations.
Crites contends that modern playwrights are but pale shadows of Aeschylus, Sophocles, Seneca, and Terence. Pauper videri Cinna vult, et est pauper [Cinna wants to seem to be a pauper; and, sure enough, he is a pauper]: The poet is free to portray the ideal, while the historian must be faithful to his subjects, and they, being human, mingle faults with their virtues.
When the rest had concurred in the same opinion, Crites, a person of a sharp judgment, and somewhat too delicate a taste in wit, which the world have mistaken in him for ill nature, said, smiling to us, that if the concernment of this battle had not been so exceeding great, he could scarce have wished the Victory at the price he knew must pay for it, in being subject to the reading and hearing of so many ill verses as he was sure would be made upon it; adding, that no Argument could scape some of those eternal Rhymers, who watch a Battle with more diligence than the Ravens and birds of Prey; and the worst of them surest to be first in upon the quarry, while the better able, either out of modesty writ not at all, or set that due value upon their Poems, as to let them be often called for and long expected!
Sidney finds the virtues of both combined in the poet, who can give precept and example. If they had tragic-comedies, perhaps Aristotle would have revised his rules.
I deny not but this may sute well enough with the French; for as we, who are a more sullen people, come to be diverted at our Playes; they who are of an ayery and gay temper come thither to make themselves more serious: He tells us we cannot so speedily recollect our selves after a Scene of great passion and concernment as to pass to another of mirth and humour, and to enjoy it with any relish: For instance, he argues against the way in which poetry was misaligned with youth, the effeminate and the timorous.
For amongst others, I have a mortal apprehension of two Poets, whom this victory with the help of both her wings will never be able to escape. Nam quos contemnimus eorum quoque laudes contemnimus. I could multiply other instances, but these are sufficient to prove that there is no errour in choosing a subject which requires this sort of narrations; in the ill managing of them, there may.
During this final speech, the barge docks at the Somerset-Stairs, and the four friends go their separate ways, content with their evening. Yet, my Lord, you must suffer me a little to complain of you, that you too soon withdraw from us a contentment, of which we expected the continuance, because you gave it us so early.
The poet may show evil punished and good rewarded; the historian must record the vagaries of fortune, which allows the innocent to suffer and the vicious to prosper. In presenting his argument, Dryden takes up the subject that Philip Sidney had set forth in his Defence of Poesie in And after, Si meliora dies, ut vina, poemata reddit, Scire velim pretium chartis quotus arroget annus?
Those Ancients have been faithful Imitators and wise Observers of that Nature, which is so torn and ill represented in our Plays, they have handed down to us a perfect resemblance of her; which we, like ill Copiers, neglecting to look on, have rendered monstrous and disfigured.
Nam quos contemnimus eorum quoque laudes contemnimus [For we detest praise that comes from those we detest—ed.
The entire section is 1, words. He had no sooner said this, but all desired the favor of him to give the definition of a Play; and they were the more importunate, because neither Aristotle, nor Horace, nor any other, who writ of that Subject, had ever done it.
Even Plato illuminated his philosophy with myths and dramatic scenes. Before going deep into the essay, please read this para first.
There ought to be one action, says Corneille, that is one complete action which leaves the mind of the Audience in a full repose: As an expression of a cultural attitude descending from Aristotle, Sidney, when stating that the poet "never affirmeth," makes the claim that all statements in literature are hypothetical or pseudo-statements.
An expanding money economy encouraged social mobility. As far as possible, only such words should be used as are in common use, and new words should be coined only when absolutely necessary. Poetry, in Apology, becomes an art that requires the noble stirring of courage.
Even the Ancients did not always observe the Unity of Time.
In Sejanus you may take notice of the Scene betwixt Livia and the Physician, which is a pleasant Satyre upon the artificial helps of beauty: Furthermore, much of the writing being produced in England was hackneyed and trite.
True poets must teach and delight — a view that dates back to Horace.The Defence of Poesie Sidney's famous essay is said to be a response to an attack on poetry and stage plays, which had been dedicated to him without his permission, by Stephen Gosson, a former playwright: The Schoole of Abuse, Another reply, inferior but interesting, had been published by Thomas Lodge in “An Essay of Defence essay dramatick poesie Poesy” was probably written in during the closure of the London theaters due to plague.
It can be read as a general defense of drama as a legitimate art form—taking up where Sir Philip Sidney’s “Defence of Poesie” left off—as well as Dryden’s own defense of his literary practices.
The Essay was probably written during the plague year ofand first published in In presenting his argument, Dryden takes up the subject that Philip Sidney had set forth in his Defence of Poesie in The treatise is a dialogue between four speakers: Eugenius, Crites, Lisideius, and mi-centre.com: John Dryden.
John Dryden’s Of Dramatic Poesie (also known as An Essay of Dramatic Poesy) is an exposition of several of the major critical positions of the time, set out in a semidramatic form that gives. An Essay of Dramatick Poesie in its defence. Yet, my Lord, you must suffer me a little to complain of you, that you too soon withdraw from us a contentment, of which we expected the continuance, because you gave it us so early.
which is by Aristotle in the dispute betwixt the Epique Poesie and the Dramatick; for many reasons he there.
John Dryden (9 August – 1 May ) was a prominent English poet, critic, translator, and playwright who dominated the literary life of the Restoration Age; therefore, the age is known as the Age of Dryden.Download