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
For the three centuries between Aristotle and Dionysius we are but ill
provided with original texts. But both from what we have, and from such
notices as are trustworthy, we can be tolerably sure that attention was
almost entirely devoted, on the one side to the verbal or material
criticism of the Alexandrian and Pergamene schools, on the other to
technical Rhetoric. Now the former, though a most necessary ancilla to
literary appreciation proper, is always to be kept in proper
subordination to her mistress; and the conditions of the latter, though
in one sense favourable to criticism (inasmuch as the stock of actual
literature was always increasing, and the temptation to turn to it from
mere declamation-making might at least be expected to be always
stronger), was in itself becoming more and more a futile technique.
Symbouleutic oratory (above vestry rank) was killed and kept dead by the
petty tyrants, the less successors of Alexander, and lastly the Roman
rule. Judicial Rhetoric tended to confine itself to minor causes. Only
Epideictic, the most dangerous of the kinds, began to flourish more and
more, and resulted by degrees, as we have seen, in the creation of a
singular profession or pseudo-profession, the members of which had about
them something of the travelling lecturer, something of the popular
preacher, something—nay, a good deal—of the hack book-maker, and not a
little of the journalist pure and simple. Their own study of literature,
unless they kept to the stock passages of the textbooks, must have been
fairly thorough; but literature was to them partly what Burton’s
_Anatomy_ was to Captain Shandon, a mere dictionary of quotations,
partly a collection of patterns. Very rarely did they take it by itself
even for the canvas of one of their show-orations, and when they did it
was seldom or never from the point of view of appreciation of strictly
literary beauty.
Public-domain text, read in full here on John Shaqi.
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