A history of criticism and literary taste in Europe from the earliest texts to the present day. Volume 2 (of 3), From the Renaissance to the decline of eighteenth century orthodoxySaintsbury, George
History
A history of criticism and literary taste in Europe from the earliest texts to the present day. Volume 2 (of 3), From the Renaissance to the decline of eighteenth century orthodoxy
Saintsbury, George
Criticism -- History; Literature -- History and criticism; Literature, Medieval
At this time, however, or not long after—the _Notes_ must have been
written between 1572 and 1575, and the correspondence of Spenser and
Harvey actually appeared in 1579—these other persons were thinking a
great deal about the classical metres. The _Five Letters_ (“Three” and
“Two”[233]—not to be confused with the _Four Letters_ which Harvey
issued long afterwards about Greene) are full of the subject, and of
poetical criticism generally. They, together with the controversy which
arose over Gosson’s _School of Abuse_, and which indirectly produced
Sidney’s _Apology for Poetry_, make the years 1579-1580 as notable in
the history of English criticism as the appearances of _Euphues_ and
_The Shepherd’s Calendar_ make them in that of creative literature.
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Footnote 233:
See Grosart’s _Works of Gabriel Harvey_, vol. i. pp. 6-150. Parts will
be found in the Globe edition of Spenser, pp. 706-710.
-----
Spenser’s first letter informs Harvey that “they [Sidney and Dyer] have
proclaimed in their ἀρειωπάγῳ[234] [the literary _cénacle_ of Leicester
House] a general surceasing and silence of bald rhymers, and also of the
very best too: instead whereof they have, by the authority of their
whole Senate, prescribed certain laws and rules of quantities of English
syllables for English verse, having had thereof already great practice,
and drawn me to their faction.” [Sidenote: _Spenser and Harvey._] And
later, “I am more in love with English versifying than with rhyming,
which I should have done long since if I would have followed your
counsel.” He hints, however, gently, that Harvey’s own verses (these
coterie writers always keep the name “verses” for their hybrid
abortions) once or twice “make a breach in Master Drant’s rules.” Which
was, of course, a very dreadful thing, only to be “condoned _tanto
poetæ_.” He requites Harvey with a few Iambics, which he “dare warrant
precisely perfect for the feet, and varying not one inch from the Rule.”
And then follows the well-known piece beginning—
“Unhappy verse, the witness of my unhappy state,”
where certainly the state must have been bad if it was as infelicitous
as the verse.
-----
Footnote 234:
I am not responsible for the eccentricities of this form.
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Public-domain text, read in full here on John Shaqi.
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