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Updated: June 14, 2025
Dedicated to Sir P. Sidney, it was not well received by him, and is believed to have evoked his Apologie for Poetrie . G. entered the Church, and d. Rector of St. Botolph's, London. Antiquary, was b. in London, and studied at Camb. For many years he made journeys over England in pursuit of his antiquarian studies. Poet.
It was expressly designed to controvert the "damnable opinions of two principally in our age" Scot, who "is not ashamed in publick Print to deny that there can be such a thing as witchcraft," and Wierus, "a German physician," who "sets out a publicke apologie for all these craft-folkes whereby ... he plainly bewrayes himself to have been one of that profession."
A separate work from the Apologie pour Herodote Such was the exasperation of the French clerics at the bitter truths set forth in it, that the author had to flee the country.
The Arcadia furnished Shakespeare's King Lear with the auxiliary plot of Gloucester and his two sons and inspired Thomas Lodge to write his novel Rosalynde, which in turn suggested Shakespeare's As You Like It. To Sidney belongs the credit of having written the first meritorious essay on criticism in the English language, The Apologie for Poetrie.
An English translation, entitled "A World of Wonders; or, an introduction to a Treatise tovching the Conformitie of Ancient and Modern Wonders; or, a Preparative Treatise to the 'Apologie for Herodotus," etc., was published at London in 1607, folio, and at Edinburgh 1608, also folio. The Apologie pour Herodote was printed at the Hague.
It was written in 1580-81 but not pub. until 1590, and is a medley of poetical prose, full of conceits, with occasional verse interspersed. S. also made a translation of the Psalms. Poems ed. by Grosart, Apologie by Arber and others, Astrophel by Gray, Arber, and others. Lives by J.A. Symonds, Fox Bourne, and others.
A dainty bit in Sidney's "Apologie for Poetrie" seems to me aptly to characterize our author's prose: "The uttering sweetly and properly the conceits of the minde, which is the end of speech."
S. has always been considered as the type of English chivalry; and his extraordinary contemporary reputation rested on his personal qualities of nobility and generosity. His writings consist of his famous pastoral romance of Arcadia, his sonnets Astrophel and Stella, and his Apologie for Poetrie, afterwards called Defence of Poesie.
The book is opened by a would-be whimsical note, the guessing about the name of the book. The dependence upon Sterne, suggested by the motto, is clinched by reference to this quotation in the section “Apologie,” and by the following chapter, which is entitled “Yorick.” The latter is the most unequivocal and, withal, the most successful imitation of Yorick’s manner which the volume offers. The author is sitting on a sofa reading the Sentimental Journey, and the idea of such a trip is awakened in him. Someone knocks and the door is opened by the postman, as the narrator is opening his “Lorenzodose,” and the story of the poor monk is touching his heart now for the twentieth time as strongly as ever. The postman asks postage on the letter as well as his own trivial fee. The author counts over money, miscounts it, then in counting forgets all about it, puts the money away and continues the reading of Yorick. The postman interrupts him; the author grows impatient and says, “You want four groschen?” and is inexplicably vexed at the honesty of the man who says it is only three pfennigs for himself and the four groschen for the post. Here is a direct following of the Lorenzo episode; caprice rules his behavior toward an inferior, who is modest in his request. After the incident, his spite, his head and his heart and his “ich” converse in true Sterne fashion as to the advisability of his beginning to read Yorick again. He reasons with himself concerning his conduct toward the postman, then in an apostrophe to Yorick he condemns himself for failing in this little test. This conversation occupies so much time that he cannot run after the postman, but he resolves that nothing, not even the fly that lights on his nose, shall bring him so far as to forget wherefore his friend J
It may be compared with Sidney's Apologie on the one hand, and with Wordsworth's Preface to the Lyrical Ballads, or the more abstract parts of Carlyle's critical writings upon the other. The fundamental conceptions of Shelley are the same as those of the Elizabethan critic and of his own great contemporaries.
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