Medieval rhetoric and poetic to 1400 : $b Interpreted from representative worksBaldwin, Charles Sears
History
Medieval rhetoric and poetic to 1400 : $b Interpreted from representative works
Baldwin, Charles Sears
Literature, Medieval -- History and criticism; Poetics -- History -- To 1500; Rhetoric, Medieval
As for Paolo and Francesca, Ugolino, and a hundred other passages, with
those single lines that enrich memory,[16] no better praise can be
compassed than Matthew Arnold’s word “touchstones.” They tell us, better
than any definition, what poetry is. But the mere historical significance
of Dante’s luminous precision is its vindication of that true theory
of poetic diction which was formulated in the _De sublimitate_.[17]
The essential character of poetic style is not dilation, which belongs
to rhetoric; it is sublimation. Dante’s extraordinary conciseness,
austere, ascetic, is never bare; it is surcharged. For style too, as
well as for composition, he must have discerned that ancient critic’s
fine distinction: rhetoric and poetic must never be confused; but at high
temperatures they can be welded together.
Poetry conveyed vision oftener, perhaps, in the middle age than in any
other period. _Piers Plowman_ and _Pearl_ carry on in the next century a
persistent medieval preoccupation. The _Divina Commedia_, fulfilling this
aspiration, reveals man’s need, his quest, his attainment, of vision.
“Blessed are the pure in heart; for they shall see God.” Purity remains
negative to those who have no desire to see God. But Dante answers those
for whom it is positive and constructive.
Ye other few, who have lifted up your necks betimes to the
bread of angels, by which men live here, but with which none
cometh away sated. III. ii. 10.
The poetry of this “concreate and perpetual thirst” (III. ii. 19)
animates for all time a whole cosmogony antiquated merely as science, and
communicates the great philosophy of the middle age to the heart. The
_Divina Commedia_ achieved the high quest of the Grail romances. It is
_the_ vision poem.
The heaven of Dante’s vision transcends time and space.
And I was with him; but of my mounting I was no more aware
than is a man, ere his first thought, aware that it is coming.
Beatrice is she who thus discloses from good to better so
instantly that her act has no extent in time. III. x. 34.
Brother, thy high desire shall be fulfilled in the last sphere,
where all the rest are fulfilled, and mine.... For it is not in
space, nor hath it poles, and our ladder attains even so far.
III. xxii. 61.
But it is not reserved for rapt contemplatives.
Of the seraphim he who is most rapt, Moses, Samuel, or that
John whom thou choosest to take, nay, even Mary has not a seat
in another heaven than these spirits who but now appeared
to thee; nor have they to their being more or fewer years;
but all make beauteous the first circle, and have sweet life
differently as they feel more or less the eternal breath. III.
iv. 28.
Public-domain text, read in full here on John Shaqi.
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