A Defence of Poesie and Poems | Page 4

Corporation of the City of London to the acting of plays by servants of Sidney's uncle, the Earl of Leicester, who had obtained a patent for them, obliged the actors to cease from hiring rooms or inn yards in the City, and build themselves a house of their own a little way outside one of the City gates, and wholly outside the Lord Mayor's jurisdiction. Thus the first theatre came to be built in England in the year 1576. Shakespeare was then but twelve years old, and it was ten years later that he came to London.
In February, 1577, Philip Sidney, not yet twenty-three years old, was sent on a formal embassy of congratulation to Rudolph II. upon his becoming Emperor of Germany, but under the duties of the formal embassy was the charge of watching for opportunities of helping forward a Protestant League among the princes of Germany. On his way home through the Netherlands he was to convey Queen Elizabeth's congratulations to William of Orange on the birth of his first child, and what impression he made upon that leader of men is shown by a message William sent afterwards through Fulke Greville to Queen Elizabeth. He said "that if he could judge, her Majesty had one of the ripest and greatest counsellors of State in Philip Sidney that then lived in Europe; to the trial of which he was pleased to leave his own credit engaged until her Majesty was pleased to employ this gentleman, either amongst her friends or enemies."
Sidney returned from his embassy in June, 1577. At the time of his departure, in the preceding February, his sister Mary, then twenty years old, had become the third wife of Henry Herbert, Earl of Pembroke, and her new home as Countess of Pembroke was in the great house at Wilton, about three miles from Salisbury. She had a measure of her brother's genius, and was of like noble strain. Spenser described her as
"The gentlest shepherdess that lives this day,?And most resembling, both in shape and spright,?Her brother dear."
Ben Jonson, long after her brother had passed from earth, wrote upon her death the well-known epitaph:-
"Underneath this sable herse?Lies the subject of all verse,?Sidney's sister, Pembroke's mother.?Death, ere thou hast slain another,?Learn'd, and fair, and good as she,?Time shall throw a dart at thee."
Sidney's sister became Pembroke's mother in 1580, while her brother Philip was staying with her at Wilton. He had early in the year written a long argument to the Queen against the project of her marriage with the Duke of Anjou, which she then found it politic to seem to favour. She liked Sidney well, but resented, or appeared to resent, his intrusion of advice; he also was discontented with what seemed to be her policy, and he withdrew from Court for a time. That time of seclusion, after the end of March, 1580, he spent with his sister at Wilton. They versified psalms together; and he began to write for her amusement when she had her baby first upon her hands, his romance of "Arcadia." It was never finished. Much was written at Wilton in the summer of 1580, the rest in 1581, written, as he said in a letter to her, "only for you, only to you . . . for severer eyes it is not, being but a trifle, triflingly handled. Your dear self can best witness the manner, being done in loose sheets of paper, most of it in your presence, the rest by sheets sent unto you as fast as they were done." He never meant that it should be published; indeed, when dying he asked that it should be destroyed; but it belonged to a sister who prized the lightest word of his, and after his death it was published in 1590 as "The Countess of Pembroke's Arcadia."
The book reprinted in this volume was written in 1581, while sheets of the "Arcadia" were still being sent to Wilton. But it differs wholly in style from the "Arcadia." Sidney's "Arcadia" has literary interest as the first important example of the union of pastoral with heroic romance, out of which came presently, in France, a distinct school of fiction. But the genius of its author was at play, it followed designedly the fashions of the hour in verse and prose, which tended to extravagance of ingenuity. The "Defence of Poesy" has higher interest as the first important piece of literary criticism in our literature. Here Sidney was in earnest. His style is wholly free from the euphuistic extravagance in which readers of his time delighted: it is clear, direct, and manly; not the less, but the more, thoughtful and refined for its unaffected simplicity. As criticism it is of the true sort; not captious or formal, still less engaged, as nearly