TRANSCRIBER'S NOTES:
Minor spelling inconsistencies have been silently corrected. Apart from a few corrections listed at the end of the book, original spelling was retained. Footnotes were sequentially numbered and placed at the end of each chapter.
p. 300: in the words carpenter, majesty and merchaundise letters [e macron] and [u with breve] are encoded as plain [e and u] respectively. p. 303: in the words mournfully, mournfuly, royalty letters [u with breve], [u, a macron] are encoded as plain [u and a] respectively. p. 304: in the words Trumpington, love-sik and dangerus letters [i macron] and [i, u with breve] are encoded as plain [i and u] respectively. p. 321-322: superscripts are preceded by the [^] sign and enclosed in braces if more than one letter is in superscript. p. 354: in the word Pusan letters [u macron] and [s with cedilla] are encoded as plain [u and s] respectively. Ligature [oe] is encoded as oe.
Mark up: _italics_ =bold= *font change*
*Columbia University*
_STUDIES IN LITERATURE_
|===============================================================| |*Columbia University* | | | |STUDIES IN LITERATURE | | | | | | | |=A HISTORY OF LITERARY CRITICISM IN | | THE RENAISSANCE=: With Special Reference | | to the Influence of Italy in the Formation and | | Development of Modern Classicism. By JOEL | | ELIAS SPINGARN. | | | | | |_In Press:_ | | | | | |=ROMANCES OF ROGUERY=: An Episode in the | | Development of the Modern Novel, Part I. | | The Picaresque Novel in Spain. By FRANK | | WADLEIGH CHANDLER. | | | |=SPANISH LITERATURE IN ENGLAND UNDER | | THE TUDORS=. By JOHN GARRETT | | UNDERHILL. | | | | | | * * * * * | | | |***_Other numbers of this series will be issued from | |time to time, containing the results of literary research, | |or criticism by the students or officers of | |Columbia University, or others associated with them | |in study, under the authorization of the Department | |of Literature_, GEORGE EDWARD WOODBERRY _and_ | |BRANDER MATTHEWS, _Professors_. | |===============================================================|
Table of contents (by pages)
- 1: A History of Literary Criticism in the Renaissance
- 2: Berwick Smith Norwood Mass
- 3: Has been the main design of the essay
- 4: Introductory Romantic Elements
- 5: Both of which are unaesthetic criteria
- 6: 7 treats the AEneid after the manner of Fulgentius
- 7: 11 By this Bruni means that fiction as such
- 8: 17 it runs through Renaissance criticism
- 9: Poliziano dwells on the divine origin of poetry
- 10: It matters not whether Achilles or AEneas did this thing
- 11: In the Poetica of Daniello 1536
- 12: Like Minturno 38 and Fracastoro
- 13: Dante and his Early Biographers
- 14: Can be a poet unless he is a logician
- 15: In the Poetica of Daniello 1536
- 16: This marvellous element has the widest scope in epic poetry
- 17: Extraneous to the thing itself extra rem
- 18: In the public lectures of Varchi 1553
- 19: 60 But beyond and above the verisimile
- 20: Is for Fracastoro the test of poetic power
- 21: 74 The treatment of Castelvetro
- 22: That Castelvetro should differ not only from Aristotle
- 23: Which is one of the highest functions of poetry
- 24: By imitation or representation
- 25: 88 But Minturno goes even further than this
- 26: But is primarily beautiful in itself
- 27: 41 This analysis of Zabarella
- 28: In language embellished with each kind of artistic ornament
- 29: In his Discorso sulle Comedie e sulle Tragedie
- 30: And ascribed to Theophrastus also
- 31: The Aristotelian definition of tragedy
- 32: The definition of tragedy given by Minturno
- 33: Castelvetro openly differs with Aristotle
- 34: But makes no attempt to elucidate the doctrine of katharsis
- 35: 159 According to this interpretation of the katharsis
- 36: Minturno conceived of tragedy as having an ethical aim
- 37: In tragedy as unfaithful to their husbands
- 38: Were rhetorical and not aesthetic
- 39: But beyond everything in decorum
- 40: 180 Segni 1549 differs from Robortelli
- 41: The closer action and representation coincide
- 42: This notion of the verisimile
- 43: That of epic poetry has no determined time
- 44: The Scaligerian unities unites scaligeriennes
- 45: Of all the discussions on comedy during the Renaissance
- 46: In the prologue to L'Arzigoglio
- 47: Gelli's Lectures on the Divine Comedy
- 48: Also in Scaliger and Giraldi Cintio
- 49: Trissino seems to follow Cicero
- 50: For Minturno distinguishes three classes of narrative poets
- 51: Like Castelvetro twenty years later
- 52: And that Giraldi had adopted it as his own
- 53: Flawless as the Orlando Furioso is in its details
- 54: In his Discorsi dell' Arte Poetica
- 55: The Accademia della Crusca had been founded at Florence
- 56: Pigna's own words are cited in Giraldi
- 57: In Partenio's Della Imitatione Poetica 1560
- 58: Classic art is at bottom pagan
- 59: Quam si tute aliquid intactum inveneris ante
- 60: In Scaliger this principle is carried one stage farther
- 61: Continued the traditions of a modernized Aristotelianism
- 62: Baldini's Ars Poetica Aristotelis versibus exposita
- 63: Or concord of Aristotelianism with the Latin spirit
- 64: Gives as his authorities Minturno
- 65: And moreover the influence of Horace's Ars Poetica
- 66: The individual reason and the Aristotelian rules
- 67: Became more and more rationalistic
- 68: Bannissant de leurs vers ces ornemens recus
- 69: Author of Institutiones Poeticae
- 70: For the extreme romanticists of this period
- 71: For Giraldi the romanzi are Christian
- 72: In the dedication of the Sporta 1543
- 73: While Bruno was visiting England
- 74: The diverse opinions of Tiraboschi
- 75: The Rhetorique metrifiee of Gracien du Pont
- 76: Regards the Defense of Du Bellay
- 77: Exactly twenty years before the Defense
- 78: 324 The Quintil Horatian was first published in 1550
- 79: By 1549 the Italian Renaissance
- 80: Is undoubtedly derived from Minturno
- 81: Without learning and erudition
- 82: In the Art Poetique of Jacques Pelletier du Mans
- 83: And repeated by Minturno and others
- 84: Looked to the Aristotelian canons
- 85: Pelletier may have known Scaliger personally
- 86: 360 Vauquelin merely paraphrases Horace
- 87: De Laudun follows the Italian scholars
- 88: Who explicitly acknowledges his indebtedness to Minturno
- 89: Whom Chapelain seems in part to follow
- 90: E pero in se comprende Ogni stilo
- 91: In making these vital substitutions
- 92: The Quintil Horatian 1550 represents
- 93: Ronsard perhaps foresaw this danger
- 94: In forbidding both hiatus and enjambement
- 95: And accepted the phonetic reforms of Ramus
- 96: 407 The feeling for nature is even more intense in Ronsard
- 97: Vauquelin essentially Christian
- 98: Ronsard gives very much the same advice
- 99: Or rather classicists in theory
- 100: Lope de Vega writes in conformity with art
- 101: And in his own Commentaire sur Desportes
- 102: Malherbe wrote for learned and unlearned alike
- 103: Like the Accademia della Crusca
- 104: Daniel Heinsius was the pupil of Joseph Scaliger
- 105: The rules expounded by Boileau
- 106: Which literature dared not deviate from
- 107: The influence of the Italian humanists
- 108: The first work on English versification
- 109: Written while Davenant and Hobbes were at Paris
- 110: Colored critical theory in Elizabethan England
- 111: Obscenity is in no way essentially connected with poetic art
- 112: And is to be contemned only when abused and debased
- 113: Sidney apparently follows Minturno
- 114: For the poet does not publish his figments as facts
- 115: For the Orlando Furioso in particular
- 116: This conception of poetry Jonson finds in Aristotle
- 117: 3 which he has copied from Minturno's De Poeta
- 118: Jonson's distinction between poet poeta
- 119: Preferred Sophocles and Euripides to Seneca
- 120: Of comedy and tragedy are the same
- 121: First formulated together by Castelvetro in 1570
- 122: So Ariosto takes the story of Charlemagne
- 123: Such epics as Davenant's Gondibert
- 124: Chapter ivclassical elements in elizabethan criticism i
- 125: As in the penult of merchaundise
- 126: By accent regardless of Latin prosody
- 127: Thus Sidney may advocate the use of classical metres
- 128: 565 There we are told that Ascham
- 129: Of Renaissance Aristotelianism
- 130: The divine Julius Caesar Scaliger
- 131: Of Poetique
- 132: Is Parafrasi e Commento della Poetica d'Aristotile
- 133: Il comento del Sidenote Maggi
- 134: Et il Poema Heroico ricevono dalla Philosophia
- 135: Della Poetica La Deca Istoriale
- 136: Storia della Letteratura Italiana nel Secolo XVI
- 137: De Artibus Rhetoricae Rhythmicae
- 138: Storia della Letteratura Italiana
- 139: Observations in the Art of English Poesy
- 140: Great Assises holden in Parnassus
- 141: A History of Literary Criticism in the Renaissance
- 142: Buch von der deutschen Poeterei
- 143: A History of Literary Criticism in the Renaissance
- 144: Li livres du gouvernement des rois
- 145: Classical studiesin honour of henry drisler