A history of criticism and literary taste in Europe, from the earliest texts to the present day. Volume 1 (of 3), Classical and mediæval criticismSaintsbury, George
History
A history of criticism and literary taste in Europe, from the earliest texts to the present day. Volume 1 (of 3), Classical and mediæval criticism
Saintsbury, George
Criticism -- History; Literature -- History and criticism; Literature, Medieval
Quintilian adds _quæstio_ and _quod in quæstione appareat_ to these,
and explains στάσις itself as so called _vel ex eo quod ibi sit primus
causæ congressus vel quod in hoc causa consistat_. The kinds and
sub-kinds of στάσεις were luxuriously wallowed in: and ὁρικὴ, and
στοχαστικὴ, _negotialis_ and _comparativus_, with a dozen others, can
be investigated by those who choose.
Εὑρέσις again may be “for thoughts.” Again we can find no single word
for them, how much less for such niceties as _procatastasis_ and
_prodiegesis_? The term covers the additions to the case introduced by
the speaker’s own invention, and ranges over a vast variety of
subtleties, ending with a treatment of some Figures. The examination of
“Ideas”[139] shifts to the qualities of the speech or speaker—clearness,
purity, dignity, energy, brilliancy, and very many others, ending with
that survey of great speakers and writers which has been noted. And
finally the treatise on “Cleverness of method” contains, not only more
figures, but a profusion of mostly brief and rather desultory cautions.
Throughout the book the author seems in a sort of paroxysm of
distinction and nomenclature: he is always striving to make out some one
thing to be at least two things, and to fit each of the two with some
technological form.
Footnote 139:
In the sense, of course, of “kind,” not of “notion.” Indeed one
Scholiast on Hermogenes defines it as ποιότης λόγου τοῖς ὑποκειμένοις
ἁρμόδιος προσώποις τε καὶ πράγμασιν.
We turn, naturally enough, to the dealings with great writers mentioned
above to see what this method, of analysis pushed to the verge of mania,
will give us. They are very short—not in all filling twenty pages—and,
as we might have expected, they contain little more than simple
reference to the technicalities on which so much time has been spent.
Literary criticism, in short, becomes a form of chemical analysis. We
all know how this runs, as posted up, say, outside the walls of a
pump-room. The water contains iron so many grains, sulphur so much,
chlorine so much, nitrates a trace, and so forth. So here. Lysias has
moderate ἐπιμέλια, only a trace of γοργότης, a certain amount of
περιβολή κατ’ ἔννοιαν, but hardly any of it κατὰ μέθοδον, very little
that is axiomatic, but a great deal of cleverness of method. On the
other hand, Isæus has a great deal of γοργότης,[140] more abundant
ἐπιμέλεια, and so with other things. He is not so good as Demosthenes
(who, be it observed, is Hermogenes' ideal), but much better than
Lysias, though he has not so much clearness of method, yet still a good
deal. Of the historians, Xenophon is very particularly ἀφελὴς and also
“sweet,” &c., &c.
Footnote 140:
Public-domain text, read in full here on John Shaqi.
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