@article {RN12322,
	title = {Poetry and Horseplay in Sidney\&$\#$39;s <em>Defence of Poesie</em>},
	journal = {Journal of the Warburg and Courtauld Institutes},
	volume = {79},
	year = {2016},
	pages = {149-182},
	type = {Journal Article},
	abstract = {The playful discussion of {\textquoteright}horsemanship{\textquoteright} that opens Sir Philip Sidney{\textquoteright}s Defence of Poesie has been variously interpreted as a straightforward anecdote about the chivalric arts, or an oblique rhetorical flourish, or something in between. This essay suggests a new context for Sidney{\textquoteright}s exordium by focusing primarily on its affiliation to the genre of the {\textquoteright}Art of Poetry{\textquoteright}. In Horace{\textquoteright}s Ars poetica and other classical, scholastic and Renaissance treatises, horse-men and other unnatural hybrids embody the tension between decorum and poetic liberty. Three major traditions inform this trope: by the Renaissance the centaur could be an allegory of reason{\textquoteright}s struggle with the passions, an emblem of the poetic imagination, or a figure for compositional hybridity associated, especially, with Lucianic satire. Reading Sidney in the light of these traditions, finally, this essay explores aspects of the centaur{\textquoteright}s significance in the Defence and the Arcadia, and suggests that this kind of attention to metaphor might provide a bridge between critical and creative modes of Renaissance poetic thought.},
	url = {https://www.ingentaconnect.com/content/warburg/jwci/2016/00000079/00000001/art00007 https://www.jstor.org/stable/26322522},
	author = {Lazarus, Micha}
}
