Sidney the critic expounds in his Apologie for Poetry his view that the novel of his time and of all anterior times, together indeed with all literature having an imaginative and idealistic tendency, was comprehended under his definition of poetry.
“For Xenophon,” says he, “who did imitate so excellently as to give us the portraiture of a just Empire under the name of Cyrus, made therein an absolute heroical poem. So did Heliodorus in his sugared invention of that picture of love in Theagines and Cariclea. And yet both writ in prose: which I speak to show, that it is not riming and versing that maketh a poet, no more than a long gowne maketh an Advocate.”
What his theory of poetry was may be gathered from his description of the poet, who,
“disdayning to be tied to any such subjection (as the natural rules of things), lifted up with the vigor of his owne invention, dooth growe in effect another nature, in making things either better than Nature bringeth forth, or, quite anewe, formes such as never were in Nature, as the Heroes, Demigods, Cyclops, Chimeras, Furies, and such like; so as hee goeth hand in hand with Nature, not inclosed within the narrow warrant of her gifts, but freely ranging onely within the Zodiack of his owne wit. Nature never set the earth in so rich tapestry, as divers Poets have done, neither with so pleasant rivers, fruitful trees, sweet smelling flowers, nor whatsoever els may make the too much loved earth more lovely. Her world is brasen, the Poets only deliver a golden.”
This corresponds to Bacon’s famous account of the nature of poetry, in the Advancement of Learning:—
“Poesy is a part of learning in measure of words for the most part restrained, but in all other points extremely licensed, and doth truly refer to the imagination; which, not being tied to the laws of matter, may at pleasure join that which nature hath severed, and sever that which nature hath joined; and so make unlawful matches and divorces of things; Pictoribus atque poetis, etc. It is taken in two senses in respect of words and matter. In the first sense it is but a character of style, and belongeth to arts of speech, and is not pertinent for the present. In the latter it is (as hath been said) one of the principal parts of learning, and is nothing else but feigned history, which may be styled as well in prose as in verse.
“The use of this feigned history hath been to give some shadow of satisfaction to the mind of man in those points wherein the nature of things doth deny it, the world being in proportion inferior to the soul; by reason whereof there is, agreeable to the spirit of man, a more ample greatness, a more exact goodness, and a more absolute variety, than can be found in the nature of things. Therefore, because the acts or events of true history have not that magnitude which satisfieth the mind of man, poesy feigneth acts and events greater and more heroical. Because true history propoundeth the successes and issues of actions not so agreeable to the merits of virtue and vice, therefore poesy feigns them more just in retribution, and more according to revealed providence. Because true history representeth actions and events more ordinary and less interchanged, therefore poesy endueth them with more rareness, and more unexpected and alternative variations. So as it appeareth that poesy serveth and conferreth to magnanimity, morality, and to delectation. And therefore it was ever thought to have some participation of divineness, because it doth raise and erect the mind, by submitting the shows of things to the desires of the mind; whereas reason doth buckle and bow the mind unto the nature of things. And we see that by these insinuations and congruities with man’s nature and pleasure, joined also with the agreement and consort it hath with music, it hath had access and estimation in rude times and barbarous regions, where other learning stood excluded.”
These definitions are too broad for poetry, and too narrow for imaginative literature in general, though that is what they aimed to define. It was as difficult for Sidney and Bacon as for Aristotle to propound a theory embracing literary forms that were not yet invented; and furthermore it is probable that had they witnessed the birth of naturalism in Defoe, or its ultimate developments in our own age, they would have denied to it the name of literature or art. But there is no place in such a definition for many works that neither Sidney nor Bacon would have hesitated to admit, the novels of George Eliot, for instance, or those of Fielding. Yet a modern explanation of poetry, that of Newman, would not exclude even such prose works as these. He says,
“Moreover, by confining the attention to one series of events and scene of action, it bounds and finishes off the confused luxuriance of real nature; while, by a skilful adjustment of circumstances, it brings into sight the connexion of cause and effect, completes the dependance of the parts one on another, and harmonises the proportions of the whole.”
A stricter analysis, however, demands of poetry not only a distinctive mode of conceiving its subject, but a distinctive mode of utterance. If poetry is the fine art of words, and its aim to give all the sensuous, emotional, and intellectual delight of which words are capable, it is clear that Sidney and Bacon gave full weight to only one side of the truth, and that they included far too much. The poetic novel, to which their definition applied so aptly, is a case in point, since it was a hybrid and transitional form, a thing that was just ceasing to be poetry, but had not yet become the new form of art to which it was the harbinger.
The Arcadia, and the same may be said of the Elizabethan novel generally, shows its near relationship to poetry in both ways, in its style and in the purely imaginative nature of the story, the characters, and the life depicted. In the introduction to Defoe’s Roxana and Moll Flanders, published in this series, I compared the opening of Defoe’s stories, Robinson Crusoe, for instance, so definite as to time and place, so particular in the mention of names and the exact circumstances in which the events occur, with the beginning of the Arcadia, which carries us at once away in imagination to a flowery meadow in a land of Arcady that has no existence save in the fancy of the poets and those under their spell. There is no effort to make the story credible, or the characters real, by attaching them with the bands of verisimilitude to the world of familiar things. Musidorus and Pyrocles, Pamela and Philoclea, Zelmane and Amphialus, are in no way studies from life, but embodiments of Sidney’s chivalrous energy and thirst for action, and of the craving for a life of pastoral simplicity and ideal love, strengthened by his enforced existence amidst the pomps and unrealities of a court. While he was living in retirement at Wilton, where the Arcadia was begun, he gave vent to this feeling in the following lines:—