The second stage of English criticism--a period of classification and especially of metrical studies--commences with Gascoigne's _Notes of Instruction concerning the making of Verse_,[439] published in 1575, and modelled apparently on Ronsard's _Abrege de l'Art Poetique francois_ (1565). Besides this brief pamphlet, the first work on English versification, this stage also includes Puttenham's _Arte of English Poesie_, the first systematic classification of poetic forms and subjects, and of rhetorical figures; Bullokar's _Bref Grammar_, the first systematic treatise on English grammar; and Harvey's _Letters_ and Webbe's _Discourse of English Poetrie_, the first systematic attempts to introduce classical metres into English poetry. This period was characterized by the study and classification of the practical questions of language and versification; and in this labor it was cooperating with the very tendencies which Ascham had been attempting to counteract. The study of the verse-forms introduced into England from Italy helped materially to perfect the external side of English poetry; and a similar result was obtained by the crude attempts at quantitative verse suggested by the school of Tolomei. The Italian prosodists were thus, directly or indirectly, the masters of the English students of this era. The representative work of the third stage--the period of philosophical and apologetic criticism--is Sir Philip Sidney's _Defence of Poesy_, published posthumously in 1595, though probably written about 1583. Harington's _Apologie of Poetrie_, Daniel's _Defence of Ryme_, and a few others, are also contemporary treatises. These works, as their titles indicate, are all defences or apologies, and were called forth by the attacks of the Puritans on poetry, especially dramatic poetry, and the attacks of the classicists on English versification and rhyme. Required by the exigencies of the moment to defend poetry in general, these authors did not attempt to do so on local or temporary grounds, but set out to examine the fundamental grounds of criticism, and to formulate the basic principles of poetry. In this attempt they consciously or unconsciously sought aid from the critics of Italy, and thus commenced in England the influence of the Italian theory of poetry. How great was their indebtedness to the Italians the course of the present study will make somewhat clear; but it is certainly remarkable that this indebtedness has never been pointed out before. Speaking of Sidney's _Defence of Poesy_, one of the most distinguished English authorities on the Renaissance says: "Much as the Italians had recently written upon the theory of poetry, I do not remember any treatise which can be said to have supplied the material or suggested the method of this apology."[440] On the contrary, the doctrines discussed by Sidney had been receiving very similar treatment from the Italians for over half a century; and it can be said without exaggeration that there is not an