Rice University Parody and Its Implications in Sydney's Defense of Poesie Author(s): Arthur F. Kinney Source: Studies in English Literature, 1500-1900, Vol. 12, No. 1, The English Renaissance (Winter, 1972), pp. 1-19 Published by: Rice University Stable URL: http://www.jstor.org/stable/449970 . Accessed: 22/12/2013 19:48 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Rice University is collaborating with JSTOR to digitize, preserve and extend access to Studies in English Literature, 1500-1900. http://www.jstor.org This content downloaded from 138.253.100.121 on Sun, 22 Dec 2013 19:48:21 PM All use subject to JSTOR Terms and Conditions Parodyand Its Implications inSydney's Defenseof Poesie A R TH UR F. KINNE Y Sir Philip Sidney's Defense of Poesie consciouslyparallels and bur- lesques Stephen Gosson's Schoole of Abuse (1579) in form (the classical oration), issues (listed in Sidney's reprehensio), authorities,and even illustrationsas well as in style, notably the use of euphuism.This was because Sidney recognized that-although he disagreed with Gosson's apparent position against all poetry and the simplicityand crudityof Gosson's work-his disagreementwith Gosson was not a substantial one; he resortedto parody to mask the similarityof his own argument in his "Defense." Since the comparison of texts demonstrateshow clearly this was the case, we must now redate the compositionand distributionof Sidney's treatise as late fall or early winter 1579/80. ALTHOUGH MANY SCHOLARS have com- mendedSir Philip Sidneyfor his pleasantexordium concerning the horsemasterJon Pietro Pugliano which opens his dis- tinguishedDefense of Poesie, no one has advanced any reason whySidney chose this particularanecdote to begin a carefully constructed and tightly reasoned aesthetic. Innumerable source studies have been unable to uncoverclassical sources or parallels; we generallyassume the incidentto be auto- biographicaland amusing, nothingmore. Yet the autobio- graphicaldimension is not a featureelsewhere in the Defense; it is more properlyviewed as a traditionalmeans of writing an exordium.A furtherhint, however, which sheds light on both Sidney's intentionand method,is supplied by Stephen Gosson'sSchoole of Abuse (1579), the attackon poetry,music, and drama which undoubtedlyprompted Sidney's defense.' 'Thomas Zouch maintained in 1808 that Gosson influencedSidney and in 1868 Arber,in his editionof Sidney's Apologie,flatly stated Sidney's work was "a carefullyprepared answer" to Gosson. Subsequent biog- raphers and editorsof Sidney have in the main agreed, leading William B. Wimsatt,Jr. and Cleanth Brooks to commentin Literary Criticism (New York, 1957) that "Largely from Gosson's dedication and from an allusion to this by Spenser in a letter . , but in part also from certain momentsin Sidney's argumentand certain snatches of parodied Euphuistic style which seem echoes of Gosson, Sidney's Defense of Poesie, though writtenperhaps as late as 1585, has been traditionally considereda retortto Gosson" (p. 169). See Zouch, Memoirsof the Life and Writingsof Sir Philip Sidney (York, 1808), p. 197; Edward Arber (London, 1868), p. 7; cf. George E. Woodbury,Studies of a Litterateur This content downloaded from 138.253.100.121 on Sun, 22 Dec 2013 19:48:21 PM All use subject to JSTOR Terms and Conditions 2 PAROD Y Gossonalso began with an autobiographicalaccount. Further, he assumed in his pamphleta numberof metaphoricalroles as critic,2one of which was that of the soldier who insists men keep up their guard against the subtle evil effectsof much poetry.At one point Gosson writes, "make much of Souldiers,that are redyto executethe same with swords . the least discontinuaunceof Martiall exercise give you the foyle" (D8v). Comparethis representativeremark to Sidney's textin whichit is said of Puglianothat He said souldierswere the noblestestate of mankind, and horsementhe noblest of souldiers.He said they were the maistersof warre, and ornamentsof peace, speedie goers, and strongabiders, triumphers both in Camps and Courts: nay to so unbeleeveda point he preceeded,as that no earthlything bred such wonder to a Prince,as to be a good horseman. thenwould he adde certaine praises by telling what a peerlesse beast the horse was, the onely serviceable Courtier withoutflattery, the beast of most bewtie, faithful- nesse, courage,and such more,that if I had not bene a peece of a Logician beforeI came to him,I thinkehe (New York, 1921), p. 297. See also Mona Wilson, Sir Philip Sidney (London, 1931), p. 156; the biographiesof J. AddingtonSymonds (Lon- don and New York-,1886); H. R. Fox Bourne (New York, 1891), p. 205; E. M. Dankinger, (London, 1932), p. 159; C. Henry Warren (London, 1936), pp. 118-119; AlfredH. Bill (New York, 1937), pp. 194-195; Fred- erick S. Boas (London, 1955), p. 45; Adele Biagi (Napoli, 1958), pp. 131-136; and the editionsof Sidney's Defense, ed. Albert S. Cook (Bos- ton, 1890), pi. xii; Evelyn S. Shuckburgh(Cambridge, 1891), p. xxxiii; G. Gregory Smith (London, 1904), p. 393 et passim; and J. Churton Collins (Oxford,1907), p. xxiii. See also Joel E. Spingarn,A History of Literary Criticismin the Renaissance (New York, 1899), p. 273; George Saintsbury,A History of CriticismII (Edinburgh and London, 1902), 171-176; and Cornell M. Dowlin ,'Sidney's Two Definitionsof Poetry," Modern Language Quarterly, III (1942), 573-581; J. W. H. Atkins, English Literary Criticism: The Renascance (London, 1951), pp. 113- 138. In The Poet's Defence (Cambridge,1939), Jacob Bronowskistudies the respective positions of Gosson and Sidney as a running debate (pp. 19-56). 'Gosson assigns four roles to the critic; besides that discussed here he treats the critic as a host who welcomes his reader to a nourishing argument,a teacher who instructsin virtue and its abuse, and a doctor who attemptsto amputate corruptioncaused by bad poetry.For a full discussion of these roles and the ways Gosson uses them to develop his argument,see my earlier essay, "Stephen Gosson's Art of Argumen- tation in The Schoole of Abuse," Studies in English Literature, VII (1967), 43-54. This content downloaded from 138.253.100.121 on Sun, 22 Dec 2013 19:48:21 PM All use subject to JSTOR Terms and Conditions ARTHUR F. KINNEY 3 would have perswaded me to have wished my selfe a horse.8 Along with a delightfulgeneral satire of the Court,Pugliano is made to burlesqueGosson's words by applyingthem to a horse ratherthan the rider and this mockeryin turn allows Sidney to satirize the credibilityof the foolish readers of Gosson's Schoole of Abuse. Implicationsin Sidney's exordium emerge: Gossonproceeds from scattered observations on Lon- don theatersto a theory"so unbeleeved";his praise and con- demnationare characterizedby extremelanguage; "a peece of a Logician" is able to respondto Gosson's argumentbut, since no one has, the need for a "defense" against Gosson's "attack"is now apparent. Of course this is not instantlyclear, and it may even seem forced.Sidney's Defense is generallysweet, subtle, and comic: a workof good humor.But if we add to this a line of parody on the hypothesisthat the work is throughouta sophisticated responseto Gosson,then the exordiumlogically and stylistic- ally coheres. Further we can trace conscious parallels and burlesque: in Sidney's use of the formof a judicial oration; in the massive array of classical authority(where Sidney frequentlychooses Gosson's authorities and even his sources); in the satire of (and parodyof) euphuism,the stylein which Gossonwrote The Schooleof Abuse. The parallelpresentations, in fact,continue to the pointwhere, in his reprehensio,Sidney answersprecisely those charges which Gosson alone had listed against poetry,and it is part of my purposeto examine some of those parallels here. But I am also interestedin the reason Sidneyused parody: I thinkhe did so because he was in many ways in agreementwith Gosson's position and so could not directlyoppose it. If this hypothesisis true,however, we need 'B1-Blv; I, 150. I have been aided in this study by William Elwood who furnishedme with an IBM printoutof Robert Sidney's ms., the Pon- sonby quarto, and the Olney 1914 edition of the Defense as parallel texts. Quotations are from the Ponsonby quarto as collated with the text in G. Gregory Smith, Elizabethan Critical Essays, I, (Oxford, 1904), 150-207,but these have also been collated with the Olney quarto and the ms. I have chosen Ponsonby for the reasons advanced by Feuillerat in his edition of Sidney's Prose Works, III, (Cambridge, 1912-1926),v-vi, a choicesupported by William Ringler who, in reading both quartos against the Penshurst ms. recently discovered,tells me that the Olney is a later text with sophisticatedinterpolations in all likelihoodnot in Sidney's originaltext. This content downloaded from 138.253.100.121 on Sun, 22 Dec 2013 19:48:21 PM All use subject to JSTOR Terms and Conditions 4 PARODY to redate Sidney's Defense to the winter of 1580, while the object of the parody was still fresh in his readers' minds. I shall conclude,therefore, with some additionalevidence sug- gesting a date of compositionfor the Defense considerably earlier than the one we have been persuadedto give it. I Stephen Gosson's Schoole of Abuse was entered in the Stationer'sRegister on 22 July1579; the pamphletwas dedi- cated to "the right noble Gentleman,Master Philip Sidney Esquier." On 5 and 16 October,1579, in a letterto Gabriel Harvey dated from Leicester House, the London home of Sidney's uncle,Edmund Spenser wrote "Newe Books I heare of none,but onlyof one, that writinga certaineBooke, called The School of Abuse, and dedicatingit to Maister Sidney, was for hys labor scorned: if at least it be in the goodnesse of that nature to scorne.