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 _Examens_ are of still greater importance; for we have had plenty of
inquiries in general into the qualities and requirements of Kinds,
though few from persons like Corneille. [Sidenote: _The_ Examens.] The
system of elaborate critical reviews—for that is what it comes to—of his
past work, by a great poet who has taken pains to acquaint himself with
critical method, and is almost too respectful of its utterances, is
practically a new one. There is a certain flavour of it in Spenser and
Ronsard, much more than a flavour in Tasso; but it was not till the
seventeenth century, when the critic was abroad in earnest, that it
could be done on such a scale as this. For Corneille, though he never
issued any _Examens_ till 1660, applied them to all but his very latest
plays. To the mere general reader they may be rendered distasteful by
the elaborate and most pathetic pains which Corneille takes to adjust
himself to the theories which his reason docilely accepted, but to which
his faith was always secretly recalcitrant. To the student of him, and
to the student of criticism, they must always have a great attraction.
But for the latter, if he have but a little of the “rascally
comparative” spirit, they have an attraction greater still. There is no
doubt at all that they served as pattern, at a very brief interval, to
the critical exercises of Dryden, and thereby opened a way which
criticism is treading still. And there is more in them besides this
accidental and extrinsic attraction. Corneille, though he really shows
extraordinary impartiality as well as great acumen in his examinations,
was by the mere force of nature driven to stick close to his actual
work, to observe it narrowly, if only so as to put the best face on it.
And, as we have seen, the great fault both of ancient and of mediæval
criticism was the omission or the refusal to consider individual works
of art minutely and exactly—the constant breaking off and escape to the
type. The natural partiality of authors for their own work has not
always been fortunate in its results. Here it was so.
Public-domain text, read in full here on John Shaqi.
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