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An apology of poetry critical analysis
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An “Apology for Poetry” is a compelling essay refuting the attack on poetry by Puritan and fundamentalist Stephen Gosson. This complex article written by Sir Phillip Sidney represents the decisive rebuttal defending poetry. His strong emotive passages defend the uncongenial comments of poetry from Gosson. Although, his justification for the rebuttal is alluded to Gosson’s durable attacks on poetry; it is known Gosson’s remarks prompt Sidney’s attitude to defend not only against Gosson but as well as Plato. Stephen Gosson’s Puritan credentials, disregards him as the primary source for submitting the essay.
Sidney addresses the poetic contributions and principles demonstrated by Aristotle, Plato, and other European scholars. Plato’s Republic implements most of the poetic knowledge Sidney reinforces in his defense. The abundance of sciences portrays significant purposes in life; Sidney concedes poetry as a superior subject. Sidney conveys several rational ideologies to sustain the defense of poetic theory. Poetics is subjected through the emphasis of imitation, generates purposes of learning, objects history and philosophy, and educates observers on knowledge, virtue and practical conceptions of poetry.
The influence of Plato and Aristotle on Sir Philip Sidney’s concise essay reinforces a substantial argument defending poetry. His advocacy on poetry is primarily constituted on the theories of Aristotle’s poetics, as well as the acceptance on Plato’s poetic contribution. The function and form of poetry according to the theories of Platonism is defended and reconciled by Sidney. Further words and sanctions from Aristotle provide ammunition in support of the defense. Plato’s considerable concern had been with the education of men a...
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...eral concepts from other authors. He maintains the concept to all knowledge is religious: “to restore the soul as much of its lost perfection as is possible”, a condition of enlightenment that aspires the soul into a state of felicity. The soul is lifted up from the boundaries of moral consciousness:
Learning, under what name soever it come forth, or to what immediate end soever it be directed, the final end is to lead and draw us to as high a perfection as our degenerate souls, made worse by their clay lodgings, can be capable of. For some that thought this felicity principally to be gotten by knowledge, and no knowledge to be so high and heavenly as acquaintance with the stars, gave themselves to Astronomy… (An Apology for Poetry ).
Sidney’s final recommendation to end education is soul searching, finding the inner happiness that leads to perfection.
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Everett, Nicholas From The Oxford Companion to Twentieth-century Poetry in English. Ed. Ian Hamiltong. Oxford: Oxford University Press, 1994. Copyright 1994 by Oxford University Press.
Strand, Mark and Evan Boland. The Making of a Poem: A Norton Anthology of Poetic Forms. New
Aristotle’s Appeals — Discuss the song’s logos, pathos, and ethos separately (in subsections, if you wish); which of these is the most effective in the song, and stating why you think so. Remember, “why” is the big question in this paper – for every opinion you give, you must tell why you believe it.
Meinke, Peter. “Untitled” Poetry: An Introduction. Ed. Michael Meyer. 6th ed. Boston: Bedford/ St. Martin’s 2010. 89. Print
“Billy Collins' “Introduction to Poetry” isn’t an ars poetica poem about writing poetry, but about reading poetry. The speaker is a teacher who tells his students that they should experience a poem, rather than dissect it. The f...
Edgar Allan Poe and Ralph Waldo Emerson, the two giants of early American professional writing and poetry, while considered bitter rivals and often opposed in mindsets, still held some common beliefs about what poetry and creativity were. Despite Poe’s dark motifs and desire to unearth the deep and hidden emotions of man clashing with Emerson’s desire to speak for all and to make mankind see what it meant to be part of the Whole, the two men were still both poets, and this mix of difference yet similarity persists in their theories on writing and poetry. Their theories on poetry are both different and similar at once.
Raphael’s School of Athens is the first art work to represent the epitome of Greek philosophy in a unique manner. The fundamental conception of The School of Athens is without precedent in the tradition of European art. Before Raphael, artists depicted philosophy allegorically. (Most, 145). School of Athens depicts the whole complex product of Greek thought. Greek philosophy may be divided in three phases: the material, the speculative and the scientific. These three phases are depicted in Raphael's work, the material and the scientific are purely physical and occupy the lower level, whereas the speculative is depicted on the upper platform (Garigues, 409). In this paper we will analyze how the three phases of Greek philosophy are illustrated so skillfully in Raphael’s work The School of Athens.
Aristotle. "Poetics." In The Critical Tradition: Classic Texts and Contemporary Trends. Ed. David H. Richter. New York: St. Martin's Press, 1990.
In order to establish free thought as one of the principal characteristics of his class, Mr. Keating begins the semester by having each student tear from his textbook the introduction, determining the analysis of a Dr. J. Evans Pritchard, Ph.D, on the assessment of poetic value to be absolute “excrement.” After declaring that the students shall once again think for themselves—as if they had ever done so in the first place—the class concludes. He later continues to tell his students that their opinions and perspectives matter and are equal to those of others. His words, in some way or another, affect each of the students over the subsequent weeks; and they, as a consequence, begin to forgo the rules of others for their own. The students, specifically Neil Perry and his study group, begin the Transcendentalist experiment by reconvening the intellectual, albeit illicit, Dead Poets Society, where they read and appreciate the poetic devotions of over five centuries. However, ...
Mr. Keating teaches his English class in an unconventional fashion which is reflective of the principles in Emerson’s “Self-reliance”. During the first class, he tells his class to rip out the page that introduces in the English textbook. On this page, the author of the textbook, Dr. Pritchard, says that a poem’s greatness can be measured based upon two criteria: the importance and the perfection of the poem. However, measuring the greatness of a poem using a rubric is ridiculous and as a result, he has the students rip out the page. He wants the students to measure the greatness of poetry based upon their thoughts on the poetry and to trust their feelings. Poems were written to express emotions and passion which people should interpret on their own without a quantitative scale. This reflects Emerson’s principle that people should trust themselves and ...
Plato and Sidney had some of the same ideas but yet different ideas for poetry at the same time. They may not have the same ideas because of the times that they each lived in. If you think about it, Plato’s time of living was 427-347 B.C. and Sidney lived in the 1500’s. Therefore, each philosopher had a different view of poetry and what it could possible do for their community. Neither one is right nor wrong but, if we, as people, took both of their perceptions to heart, we would probably live in a world that wasn’t so tainted and corruptive.
Mimesis, the ‘imitative representation of the real world in art and literature’ , is a form that was particularly evident within the governance of art in Ancient Greece. Although its exact interpretation does vary, it is most commonly used to describe artistic creation as a whole. The value and need for mimesis has been argued by a number of scholars including Sigmund Freud, Philip Sydney and Adam Smith, but this essay will focus on the arguments outlined by Plato in The Republic and Aristotle in Poetics, attempting to demonstrate the different features of imitation (mimesis) and what it involves for them both. In Plato’s The Republic, he discusses what imitation (mimesis) signifies to him and why he believed it was not worthy of the credit or appreciation it was so often given. In Aristotle’s Poetics on the other hand, he highlights the importance of imitation not just in art, but also in everyday life and why imitation within tragedy is necessary for human development.
One fish, two fish, red fish, blue fish, this is the basic tales written by Dr. Seuss. Not only are these enjoyable children’s novels, but it is often times people’s first known exposure to the literary style of poetry. Poetry can be written in many different styles, with changing messages, tone, stanzas, rhyme, and length. Whether or not the difficulty level is low for a beginning reader, or written as an epic poem for a top level scholar, there is always a specific style and message that is being interpreted in the writing. These styles are studied and the most mysterious and inspirational poets are studied in literature classes; two academic individuals who have had a large impact on the poetic community are Aristotle and Alexander Pope.
For the canonical version of this critique, we have to go back to the ancient Greeks. In one of Plato’s great dialogues, the philosopher Socrates enters into a debate with Ion, a rhapsodist or reciter of poetry, and a great admirer of Homer in particular. At stake in the debate between these two is what the poet (and by extension the rhapsodist) knows, what knowledge they draw on for their art. As Socrates compels Ion to acknowledge, the poet does not know much of any thing at all: early on, he tells Ion, “not from art and knowledge comes your power to speak concerning Homer” (532c). If Ion’s rhapsodizing were an art, Socrates reasons, Ion would be able to speak just as passionately and eloquently on all poets. But Ion can speak authoritatively only about Homer. (“Art” might be understood here as synonymous with “craft,” or a practice with a clearly established set of rules...
During the time-period when they authored this essay, the commonly held notion amongst people was that “In order to judge the poet’s performance, we must know what he intended.”, and this notion led to what is termed the ‘Intentional fallacy’. However, Wimsatt and Beardsley argue that the intention, i.e., the design or plan in the author’s mind, of the author is neither available nor desirable for judging the success of a work of literary art. It is not available because the author will most certainly not be beside the reader when he/she reads the text, and not desirable because intention as mentioned already is nothing but the author’s attitude towards his work, the way he felt while writing the text and what made him write that particular piece of writing and these factors might distract the reader from deciphering the meaning from the text. This method of reading a text without any biographical or historical background of either the poem or the poet practiced by the New Critics was known as ‘Closed Reading’. This stemmed from their belief in the autonomy of the text.