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In the Treatise Of Education he refers to the sublime art of poetry "which in Aristotle's poetics, in Horace, and the Italian commentaries of Castelvetro, Tasso, Mazzoni, and others, teaches what the laws are of a true Epic poem, what of a Dramatic, what of a Lyric, what decorum is, which is the grand master peece to observe."
Poetry as style does not interest him. Like Castelvetro and Sidney, he considers the vehicle of verse not essential to poetry, which, as a product of the imagination, he considers to be occupied with fiction. To Bacon, perhaps, the imagination seems to be too much the organ of make-believe, imaging things which never were on land or under the sea.
It was edited again by Maggi in 1550, by Vettori in 1560, by Castelvetro in 1570, and by Piccolomini in 1575. It had inspired the De Poeta of Minturno and the Poetics of Scaliger. But with all the changes which were worked in the literary criticism of the renaissance by the recovery of Aristotle's Poetics, renaissance theories of poetry were nevertheless tinged with rhetoric.
Castelvetro probably came nearest to Aristotle in asserting that Lucian and Boccaccio are poets though in prose, although verse is a more fitting garment for poetry than is prose. Vossius anticipates Prickard's explanation of Aristotle by defining poetry as the art of imitating actions in metrical language. To him verse alone does not make poetry.
In considering the vehicle of poetic Sidney parts company with Scaliger and agrees with Castelvetro that verse is but an ornament and not the characteristic mark of poetry.
The purpose of poetry, they thought, was to please, to instruct, or to combine pleasure and instruction. He goes further to show that with the notable exceptions of Bernardo Tasso and Castelvetro, who claimed no further function for poetry than delight and delight alone, the general conception was ethical.
It is said to have been about the beginning of the sixteenth century that the statue was discovered and dug up near the place where it now stands, and the earliest account of it seems to be that given by Castelvetro, in 1553, in his discourse upon a canzone by Annibal Caro.
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