A History of Literary Criticism in the Renaissance: With special reference to the influence of Italy in the formation and development of modern classicismSpingarn, Joel Elias
Philosophy
A History of Literary Criticism in the Renaissance: With special reference to the influence of Italy in the formation and development of modern classicism
Spingarn, Joel Elias
Criticism; Renaissance
The observance of the unity of time could not be demanded in clearer or
more forcible terms than this. But it is a mistake to construe this
passage into a statement of the unity of place.[186] When Scaliger says
that the poet should not move any one of the characters from Delphi to
Thebes, or from Thebes to Athens, in a moment's time, he is referring to
the exigencies, not of place, but of time. In this, as in many other
things, he is merely following Maggi, who, as we have seen, says that it
is ridiculous for a dramatist to have a messenger go to Egypt with a
message and return in an hour. The characters, according to Scaliger,
should not move from Delphi to Thebes in a moment, not because the
action need necessarily occur in one single place, but because the
characters cannot with any appearance of truth go a great distance in a
short space of time. This is an approach to the unity of place, and had
Scaliger followed his contention to its logical conclusion, he must
certainly have formulated the three unities. But by requiring the action
to be disposed with the greatest possible approach to the actual truth,
or, in other words, by insisting that the action must coincide with the
representation, Scaliger helped more than any of his predecessors to the
final recognition of the unity of place.
In Minturno[187] and in Vettori[188] we find a tendency to restrict the
duration of the epic as well as the tragic action. It has been seen that
Aristotle distinctly says that while the action of tragedy generally
endeavors to confine itself within a period of about one day, that of
epic poetry has no determined time. Minturno, however, alludes to the
unity of time in the following words: "Whoever examines well the works
of the most esteemed ancient writers, will find that the action
represented on the stage is terminated in one day, or does not pass
beyond the space of two days; while the epic has a longer period of
time, except that its action cannot exceed one year in duration."[189]
This limitation Minturno deduces from the practice of Homer and
Virgil.[190] The action of the _Iliad_ begins in the tenth year of the
Trojan war, and lasts one year; the action of the _AEneid_ begins in the
seventh year after the departure of AEneas from Troy, and also lasts one
year.
Public-domain text, read in full here on John Shaqi.
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