Philip Sidney defends poetry against accusations in his essay "Apology for Poetry". The major objections are that poetry is a waste of time, tells lies, and promotes vice. However, Sidney argues that poetry teaches virtue better than any other form. It presents examples of virtue and vice more clearly and attractively than philosophy or history. Therefore, poetry should not be banned but respected for its ability to educate and move people towards virtue.
An Apology for Poetry was written by the Elizabethan writer Philip Sidney in his defence of poetry from the accusation that was made by Stephen Gosson in his work "School of Abuse".
An Apology for Poetry was written by the Elizabethan writer Philip Sidney in his defence of poetry from the accusation that was made by Stephen Gosson in his work "School of Abuse".
On the Sublime (Greek: Περì Ὕψους Perì Hýpsous; Latin: De sublimitate) is a Roman-era Greek work of literary criticism dated to the 1st century AD. Its author is unknown, but is conventionally referred to as Longinus (/lɒnˈdʒaɪnəs/; Ancient Greek: Λογγῖνος Longĩnos) or Pseudo-Longinus. It is regarded as a classic work on aesthetics and the effects of good writing. The treatise highlights examples of good and bad writing from the previous millennium, focusing particularly on what may lead to the sublime.
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An Apology for Poetry[7] (also known as A Defence of Poesie and The Defence of Poetry) – Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defence is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage. from wikipidea
Ars Poetica, or "The Art of Poetry," is a poem written by Horace c. 19 BCE, in which he advises poets on the art of writing poetry and drama. The Ars Poetica has "exercised a great influence in later ages on European literature, notably on French drama..."and has inspired poets and writers through the ages
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On the Sublime (Greek: Περì Ὕψους Perì Hýpsous; Latin: De sublimitate) is a Roman-era Greek work of literary criticism dated to the 1st century AD. Its author is unknown, but is conventionally referred to as Longinus (/lɒnˈdʒaɪnəs/; Ancient Greek: Λογγῖνος Longĩnos) or Pseudo-Longinus. It is regarded as a classic work on aesthetics and the effects of good writing. The treatise highlights examples of good and bad writing from the previous millennium, focusing particularly on what may lead to the sublime.
Transitional Period & Ode to Evening by William CollinsRaniaAlghamdi3
this presentation was made for my poetry class. it contains information about the transitional period, William Collins, the poem "Ode to Evening", themes of the poem and the figures of speech.
An Apology for Poetry[7] (also known as A Defence of Poesie and The Defence of Poetry) – Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defence is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage. from wikipidea
Ars Poetica, or "The Art of Poetry," is a poem written by Horace c. 19 BCE, in which he advises poets on the art of writing poetry and drama. The Ars Poetica has "exercised a great influence in later ages on European literature, notably on French drama..."and has inspired poets and writers through the ages
biography of s.t coleridge
introduction to biographia literaria
synopsis of chap 14
critical analysis
literary devices
objections and defence
fancy and imagination
primary and secondary imagination
A presentation on epics and mock epics including summary of Beowulf and battle of the frogs and mice.You can also attach a video of the battle of the frogs and mice from you-tube and get the summary of Aeneid from Google.
An Apology for Poetry (or The
Defence of Poesy) is a work of
literary criticism by Elizabethan
poet Philip Sidney. It was written
in approximately 1580 and first
published in 1595, after his death .
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This presentation deals with Greek philosopher Plato's objections to poetry and Aristotle's clarification on the confusion created by Plato. It is said that Plato confused study of morals/ethics with that of aesthetics. Aristotle removed this confusion.
Running Head IMITATIVE ART1IMITATIVE ART3Imit.docxcowinhelen
Running Head: IMITATIVE ART 1
IMITATIVE ART 3
Imitation As the Specific Concept That Most Piqued My Interest in Art
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Imitation As the Specific Concept That Most Piqued My Interest in Art
The specific concept in the different art and poetry topics that most piqued my interest is “imitation”. As noted in Book X, Plato banishes the poets from his city simply because he says that they are imitators who cannot spread wisdom due to falsity of their pieces of art. Plato was unlike his ancient Greek counterparts who thought that drama, poetry, and other forms of fine art were imitations of reality, a reality that could be actual or potential. They in fact believed that fine art was imitative in nature and attached a great importance to poetry as an integral part of the Greek education. Further, the Greeks held art as an imitation of nature or reality. However, because Plato’s theory on nature and reality was widely different just like was his ideas on the mechanism of imitation from other theorists and poets, he banished the poets as liars (Plato 2015).
Similarly, Danto compares Socrates and Hamlet who describe art as a mirror meaning that art is an imitation of nature. From his point of view, the mirror perspective of both Socrates and Hamlet defining art as a mirror, makes art an imitation or mirror image that is meant to deceive because it is an imitation lacking reality or originality of craftsmanship. He therefore, demystifies Hamlet’s thinking of art as a mirror that shows people what we they cannot see for themselves, as well as Socrates thinking that art is like a mirror that reflects what people can already see (Danto 1964, 571-584). It is therefore evident that the topic of imitation in art is dominant in both Danto’s and Plato’s reading making it a topic that piques my interest in art.
How Art Imitation Is Analyzed By Plato and Danto
According Plato, art can never truly represent reality, for life itself, of which art is merely a copy, does not represent reality. This is why he says that the world, we experience it, is just an illusion or collection of mere appearances which are like reflections in a mirror or shadows on a wall (Muller, 1982, 229-247). Therefore, he believes that anything the artists produce is just an imitation that lacks reality. Further, any artistic representation is at best a third remove from reality according to Plato. He only asserts that only God is perfectly good, and therefore changeless and incapable of deceit, but artists are deceptive. On the other hand, Danto emphasizes the need for reality as opposed to imitation. He for instance explains that art is something that is original and distinguishable. Although it may look like the exact object it is however easily recognized and distinguished from all others.
Relevance of Imitation to Plato’s And Danto’s Overall Argument
Imitation is relevant to P ...
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2. Philip Sidney defends poetry in his essay
“Apology for Poetry” from the accusations
made by Stephen Gosson in his “School of
Abuse” dedicated to him. There, Gosson
makes some objections against poetry.
Sidney replies to the objections made by
Gosson very emphatically, defending
poetry in his essay. Sidney does this in a
very logical and scholarly way.
3. The major objections against poetry are:
(a) “that there being many other more fruitful
knowledges, a man might better spend his
time in them then in this”;
(b) that it is the mother of lies;
(c) that it is the nurse of abuse; infecting us
with many pestilent desires; and
(d) that Plato had rightly banished poets
from his ideal republic.
4. Defending poetry against the first charge, he
says that man can’t employ his time more
usefully than in poetry. He says that
“no learning is so good as that teacheth and
moveth to virtue, and that none can both teach
virtue, and thereto as much as poetry”.
5. His answer to the second objection that poets are
liars is that of all writers under the sun the poet is
the least liar. The poet creates something by
emotion or imagination against which no charge of
lying can be brought. The astronomer, the
geometrician, the historian and others, all make
false statements. But poet “nothing affirms, and
therefore never lieth”, his end being “to tell not
what is or what is not, but what should or should
not be”. The question of truth or falsehood would
arise only when a person insists on telling a fact.
The poet does not present fact but fiction
embodying truth of an ideal kind.
6. The third objection against poetry that it is the
nurse of abuse, “infecting us with many
pestilent desires or wits” may be partly
justified, but for this a particular poet may be
blamed but not poetry. To this charge, Sidney
replies that poetry does not abuse man’s wit
but it is man’s wit that abuses poetry. All arts
and sciences misused had evil effects, but
that did not mean that they were less valuable
when rightly employed. Abuse of poetry,
according to Sidney, is not the problem of
poetry but of the poet
7. The fourth objection that Plato had rightly banished
the poets from his ideal republic is also not tenable
because Plato sought to banish the amoral poets
of his time, and not poetry itself. Plato himself
believed that poetry is divinely inspired. Plato gives
high and rightly divine commendation to poetry. His
description of the poet as “a light-winged and
sacred thing” reveals his attitude to poetry. Sidney
concludes, “So as Plato banishing the abuse, not
the ‘Thing’, not banishing it, but giving due honour
unto it, shall be our patron and not adversary”.
8. In the promotion of virtue, both philosophy and history play their parts.
Philosophy deals with its theoretical aspects and teaches virtue by precepts.
History teaches practical virtue by drawing concrete examples from life. But
poetry gives both practical and precepts examples. Philosophy, being based
on abstractions, is “heard of utterance and mystery to be conceived.” It
cannot be a proper guide for youth. On the other hand, the historian is tied to
empirical facts that his example drags no necessary consequence. Poetry
gives perfect pictures of virtue which are far more effective than the mere
definitions of philosophy. It also gives imaginary examples which are more
instructive than the real examples of history. The reward of virtue and the
punishment of vice is more clearly shown in poetry than in 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
manner. Things which in themselves are horrible as cruel battles, monsters
are made delightful in poetic imitation. Poet is therefore the monarch of all
knowledge. “For he doth(does) not only show the way but giveth(gives) so
sweet a prospect into the way as will entice any man to enter into it.”