In the first of the replies to Gosson, Lodge's _Defence of Poetry, Musick, and Stage Plays_, written before either of the treatises of Webbe and Puttenham, are found the old principles of allegorical and moral interpretation,--principles which to us may seem well worn, but which to the English criticism of that time were novel enough. Lodge points out the efficacy of poetry as a civilizing factor in primitive times, and as a moral agency ever since. If the poets have on occasion erred, so have the philosophers, even Plato himself, and grievously.[455] Poetry is a heavenly gift, and is to be contemned only when abused and debased. Lodge did not perceive that his point of view was substantially the same as his opponent's; and indeed, throughout the Elizabethan age, there was this similarity in the point of view of those who attacked and those who defended poetry. Both sides admitted that not poetry, but its abuse, is to be disparaged; and they differed chiefly in that one side insisted almost entirely on the ideal perfection of the poetic art, while the other laid stress on the debased state into which it had fallen. A dual point of view was attempted in a work, licensed in January, 1600, which pretended to be "a commendation of true poetry, and a discommendation of all bawdy, ribald, and paganized poets."[456] This Puritan movement against the paganization of poetry corresponds to the similar movement started by the Council of Trent in Catholic countries. The theory of poetry during the second stage of English criticism was in the main Horatian, with such additions and modifications as the early Renaissance had derived from the Middle Ages. The Aristotelian canons had not yet become a part of English criticism. Webbe alludes to Aristotle's dictum that Empedocles, having naught but metre in common with Homer, was in reality a natural philosopher rather than a poet;[457] but all such allusions to Aristotle's _Poetics_ were merely incidental and sporadic. The introduction of Aristotelianism into England was the direct result of the influence of the Italian critics; and the agent in bringing this new influence into English letters was Sir Philip Sidney. His _Defence of Poesy_ is a veritable epitome of the literary criticism of the Italian Renaissance; and so thoroughly is it imbued with this spirit, that no other work, Italian, French, or English, can be said to give so complete and so noble a conception of the temper and the principles of Renaissance criticism. For the general theory of poetry, its sources were the critical treatises of Minturno[458] and Scaliger.[459] Yet without any decided novelty of ideas, or even of expression, it can lay claim to distinct originality in its unity of feeling, its ideal and noble temper, and its adaptation to circumstance. Its eloquence and dignity will hardly appear in a mere analysis, which pretends to give only the more important and fundamental of its principles; but such a summary--and this is quite as