Abstract
Abstract Even before a full translation existed, there were diverse English responses to Du Bartas’ insistence that divine verse should peg human creativity to the mind of the Creator. William Scott’s Model of Poesy sets this pessimistic view against more positive, socially engaged arguments closer to Sir Philip Sidney’s Defence of Poesy. Scott and Sidney both translated Du Bartas, as did Robert Barret, whose verse chronicle The Sacred Warr is an early poem that faithfully follows Du Bartas’ ‘paterne’. Despite Edmund Spenser’s reported interest in Du Bartas, his poems (especially The Faerie Queene) suggest that human ignorance requires poets to write about non-fictional truths using allegorical structures. Those who did not read French might have encountered Du Bartas in Elizabethan drama, as a character in Christopher Marlowe’s Massacre at Paris, or in paraphrased extracts in George Peele’s David and Bethsabe and the anonymous Taming of a Shrew.
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