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
These forms are therefore to be regarded as three distinct and
legitimate species of heroic poetry, the first of them being an epic
poem in the strict Aristotelian sense, and the two others coming under
the general head of _romanzi_. Of the two forms of _romanzi_, the
biographical deals preferably with an historical subject, whereas the
noblest writers of the more purely romantic form, dealing with many
actions of many men, have invented their subject-matter. Horace says
that an heroic poem should not commence at the very beginning of the
hero's life; but it is difficult to understand, says Giraldi, why the
whole life of a distinguished man, which gives us so great and refined a
pleasure in the works of Plutarch and other biographers, should not
please us all the more when described in beautiful verse by a good
poet.[222] Accordingly, the poet who is composing an epic in the strict
sense should, in handling the events of his narrative, plunge
immediately _in medias res_. The poet dealing with many actions of many
men should begin with the most important event, and the one upon which
all the others may be said to hinge; whereas the poet describing the
life of a single hero should begin at the very beginning, if the hero
spent a really heroic youth, as Hercules for example did. The poem
dealing with the life of a hero is thus a separate _genre_, and one for
which Aristotle does not attempt to lay down any laws. Giraldi even goes
so far as to say that Aristotle[223] censured those who write the life
of Theseus or Hercules in a single poem, not because they dealt with
many actions of one man, but because they treated such a poem in exactly
the same manner as those who dealt with a single action of a single
hero,--an assertion which is of course utterly absurd. Giraldi then
proceeds to deal in detail with the disposition and composition of the
_romanzi_, which he rates above the classical epics in the efficacy of
ethical teaching. It is the office of the poet to praise virtuous
actions and to condemn vicious actions; and in this the writers of the
_romanzi_ are far superior to the writers of the ancient heroic
poems.[224]
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