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
If I have seemed, or may seem, too bitter in any remarks on Boileau,
let me here observe that few things in literary history are more
pathetic than these last years of his, when, _ultimus suorum_, amid
the ruins of the political glories which he had celebrated, and in a
transition period between the great literature of the seventeenth
century and that of the eighteenth, with no one but his foolish
Boswell-Eckermann, Brossette, to comfort him, and no one at all to
whom to look as his successor, he held—unconquered and
unconquerable—to his principles, and died, as one of the poets to whom
he was so unjust had said,
“Sans bouger, debout et dans son rang.”
-----
The dominance of the literary subject in the _Satires_ is well known,
though it is equally notorious that illiberal personality too often
takes the place of liberal criticism. [Sidenote: _The_ Satires.]
Colletet’s poverty and parasitism; Saint-Amant’s death from fever,
brought on by his ill-success (he would have died of hunger anyhow, says
the satirist good-naturedly)—these are the subjects that interest him in
the First. In the Second to Molière, with oblique censure of, or at
least surprise at the easy versification of the dramatist, he bewails
(being evidently proud of it) his own studious “difficulty”[373] in
rhyming, jests at the stock phrases and _chevilles_ of others from
Ménage to Scudéry. Even in the Third—the old bad-dinner satire of Horace
and Regnier—he brings in a literary quarrel about Théophile and Ronsard
and Quinault. The Fifth, to Dangeau, is one of the few which have hardly
any literary touches. But he will drag the luckless Abbé de Pure into
the Sixth on the noises and nuisances of Paris, while the Seventh is
wholly literary, and is one of the earliest (1663) of his explosions at
bad poets, and the Eighth, on the follies of humanity, naturally takes
shots at the old target.
-----
Footnote 373:
That he had taught Racine _rimer difficilement_ is the well-known
boast in that uncomplimentary comparison of his pupil with Corneille,
by which he appears to have administered a sort of private unction to
his soul to atone for his public injustice.
-----
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Elsewhere in the archive
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account