A History of Literary Criticism in the Renaissance: With special reference to the influence of Italy in the formation and development of modern classicismSpingarn, Joel Elias
Philosophy
A History of Literary Criticism in the Renaissance: With special reference to the influence of Italy in the formation and development of modern classicism
Spingarn, Joel Elias
Criticism; Renaissance
This is the beginning of the apologetic side of Sidney's argument. The
ancient controversy--ancient even in Plato's days--between poetry and
philosophy is once more reopened; and the question is the one so often
debated by the Italians,--shall the palm be given to the poet, to the
philosopher, or to the historian? The gist of Sidney's argument is that
while the philosopher teaches by precept alone, and the historian by
example alone, the poet conduces most to virtue because he employs both
precept and example. The philosopher teaches virtue by showing what
virtue is and what vice is, by setting down, in thorny argument, and
without clarity or beauty of style, the bare rule.[469] The historian
teaches virtue by showing the experience of past ages; but, being tied
down to what actually happened, that is, to the particular truth of
things and not to general reason, the example he depicts draws no
necessary consequence. The poet alone accomplishes this dual task. What
the philosopher says should be done is by the poet pictured most
perfectly in some one by whom it has been done, thus coupling the
general notion with the particular instance. The philosopher, moreover,
teaches the learned only; the poet teaches all, and is, in Plutarch's
phrase, "the right popular philosopher,"[470] for he seems only to
promise delight, and moves men to virtue unawares. But even if the
philosopher excel the poet in teaching, he cannot move his readers as
the poet can, and this is of higher importance than teaching; for what
is the use of teaching virtue if the pupil is not moved to act and
accomplish what he is taught?[471] On the other hand, the historian
deals with particular instances, with vices and virtues so commingled
that the reader can find no pattern to imitate. The poet makes history
reasonable; he gives perfect examples of vices and virtues for human
imitation; he makes virtue succeed and vice fail, as history can but
seldom do. Poetry, therefore, conduces to virtue, the end of all
learning, better than any other art or science, and so deserves the palm
as the highest and the noblest form of human wisdom.[472]
Public-domain text, read in full here on John Shaqi.
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