A history of criticism and literary taste in Europe from the earliest texts to the present day. Volume 2 (of 3), From the Renaissance to the decline of eighteenth century orthodoxySaintsbury, George
History
A history of criticism and literary taste in Europe from the earliest texts to the present day. Volume 2 (of 3), From the Renaissance to the decline of eighteenth century orthodoxy
Saintsbury, George
Criticism -- History; Literature -- History and criticism; Literature, Medieval
The intrinsic importance of Patrizzi’s criticism may be matter of
opinion; but it will hardly be denied that both its system and its
conclusions are widely different from those of nearly all the Italian
critics whom we have yet considered, though there may be approaches to
both in Cinthio on the one hand and in Castelvetro on the other.
[Sidenote: _Remarkable position of Patrizzi._] The bickering with
Aristotle on particular points is of much less importance than the
constant implicit, and not rare explicit, reliance on the historic
method—on the poets and the poems that exist, the ideas of poetry
conveyed by common parlance, the body of the written Word in short, and
not the letter of the written Rule. I am not sure that Patrizzi ever
lays down the doctrine that “Rules follow practice, not practice rules,”
with quite the distinctness of Bruno in the passage cited above.[137]
But he makes a fight for it in a passage of the _Trimerone_,[138] and
his entire critical method involves it more or less. If he does not
quote modern literature much, it is obviously because the controversy in
which he was mixing took its documents and texts mainly from the
ancients; but he is so well acquainted with the modern literature, not
merely of his own language, that he actually cites[139] Claude Fauchet’s
_Origines de la Poésie Française_, which had appeared in 1581. That his
interest in the whole matter may have been philosophical rather than
strictly, or at least exclusively, literary is very possible—he was
actually a Professor of Philosophy; but however this may be, he has hit
on the solid causeway under the floods, and has held his way steadily
along it for as far as he chose to go. Nay, in the sentence which has
been chosen for the epigraph of this Book, he has kept it open for all
to the end of Poetry and of Time.
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Footnote 137:
P. 95.
Footnote 138:
Pp. 221, 222. Of course it is possible to take exception even to
_poeticamente_—to ask “Yes; but what is this?” But the demurrer is
only specious. The very adverbial form shifts the sovereignty from the
_subject_ to the _treatment_.
Footnote 139:
Ibid., p. 235.
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Public-domain text, read in full here on John Shaqi.
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