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
In the critical handling of these editors and commentators we find, as
we should expect, much of the old rhetorical trifling. [Sidenote:
_Robortello_, _Segni_, _Maggi_, _Vettori_.] For all their scorn,
expressed or implied, of the Middle Ages, they repeat the distinctions
of _poetica_, _poesis_, _poeta_, and _poema_[59] as docilely as
Martianus, or a student of Martianus, could have done a thousand or five
hundred years before, and they hand it on too as a sort of charmed
catchword to Scaliger[60] and Jonson.[61] But brought face to face as
they are with the always weighty, though by no means always
transparently clear, doctrines of Aristotle, and self-charged with the
duty of explaining and commenting them, they cannot, if they would,
escape the necessity of grappling with the more abstract and less merely
technological questions. Robortello,[62] like Maggi, though less
elaborately, has a theory of the ludicrous. Both, and others,
necessarily grapple with that _crux_ of the _katharsis_ which has not
yet ceased to be crucial. Both, with Segni, discuss the Unity of Time
and differ about it; though none of the three has yet discovered (as
indeed it is not discoverable in Aristotle or Aristotle’s literary
documents) the yet more malignant Unity of Place. Vettori would extend
the cramp in time (not of course with the twenty-four hours’ limit) from
tragedy to epic. Most of them have arrived at that besotment as to
“verisimilitude” which is responsible for the worst parts of the
Neo-Classic theory, and which, in the pleasant irony common to all
entanglements with Duessas of the kind, makes the unfortunate lovers
guilty of the wildest excesses of artificial improbability. And in all,
whether they project their reflections on their text into more general
forms or not, we can see the gradual crystallising of a theory of
poetry, heroic, or dramatic, or general.
-----
Footnote 59:
Maggi in his commentary. See Spingarn, p. 27.
Footnote 60:
_V. infra_, p. 71.
Footnote 61:
_Discoveries_, _sub fin._ (iii. 419 of Cunningham’s 3 vol. ed.)
Footnote 62:
On him see also note _infra_, pp. 49, 50.
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