The Defence of Poesy

Sir Philip Sidney’s The Defence of Poesy, also called An Apology for Poetry, is one of the earliest works of English literary criticism. Presented in the format of a speech, as if it were a rhetorical exercise, this treatise responds to contemporary and ancient criticisms of poetry. Relying heavily on examples from ancient history and literature, Sidney argues in this work that poetry surpasses the other literary genres in its ability to stir its audience to “virtuous action.”This guide is based on Oxford University Press’s 1966 edition, edited by Van Dorsten, J.A.Greek words are transliterated into the Roman alphabet.

The treatise opens with an “Exordium,” or introduction, in which Sidney relates a conversation with an equestrian named John Pietro Pugliano. The latter’s passionate praise of horsemanship inspires Sidney to attempt a similar argument in support of poetry. Imitating the style of ancient oratory, the author begs his audience to forgive any faults in his argument.

Moving to the “Narration,” Sidney examines the nature of poetry and traces its ancient roots. He explains that the Romans used the same word for “poet” and “prophet,” conflating the roles of the two. The Greek word for “poet” literally means “maker,” and Sidney uses the concept of the “poet-maker”’ to set poets above writers of other genres. Sidney concludes this section with an examination of poetry’s imitative power and its ability to improve upon nature and reality. In a brief “Proposition,” Sidney sets out his definition of poetry: that it is an imitative art whose end is to teach and delight. He will later add that poetry has the unique power to move its audience to “virtuous action” (29).

In the “Divisions” section, Sidney describes the various kinds of poetry. Divine poetry and philosophical poetry receive little attention, and Sidney directs his focus to the eight main “parts,” or subgenres, of poetry: heroic, lyric, tragic, comic, satiric, iambic, elegiac, and pastoral.

Sidney next launches into his two “Examination” sections. In the first “Examination,” he compares poetry with philosophy and history, finding that poetry is ultimately superior. Although philosophy teaches virtue, it does not delight its audience. By the same token, while history delights its audience, it does not necessarily teach them the right lessons. Since poetry has the storytelling properties of history but the freedom to teach the virtuous lessons of philosophy, it combines the strengths of both other genres. Furthermore, poetry can “move” its audience to “virtuous action,” something that the other two genres fail to do. In the second “Examination” section, Sidney revisits the parts of poetry (comic, heroic, etc.) and addresses whatever criticisms might be leveled against each.

The next section is the “Refutation,” in which Sidney addresses specific accusations against poetry. These accusations—that poetry is a waste of time, that poets are liars, that poetry is a bad influence, and that Plato banished poets from his Republic—reflect popular criticisms from both ancient and contemporary thought.

Before concluding, Sidney inserts a lengthy “Digression” on the state of English poetry. Here, he analyzes the shortcomings of contemporary poets regarding drama, unity of time and place, decorum, delight, and love poetry. He accepts that English poetry is straying from its earlier glory, despite that the language is particularly well-suited to verse. Still, it is crucial for his argument that this failing is entirely on the part of bad poets, not the art of poetry itself.

Sidney concludes the work with a “Peroration,” or conclusion, in which he summarizes the preceding arguments and begs his audience not to dismiss poetry. It is worth noting that “poetry” and “poesy” carry subtly different connotations for Sidney: “poesy” is the art of making poetry, whereas “poetry” is the product of that art. This guide favors the modern use of “poetry” as encompassing both concepts.