[531] _Ibid._ p. 54._A History of Literary Criticism in the Renaissance With special reference to the influence of Italy in the formation and development of modern classicism

[532] _Defence_, p. 30.

[533] Haslewood, ii. 140 _sq._

[534] _Cf._ Minturno, _Arte Poetica_, p. 71; and Ronsard, _Oeuvres_,

iii. 19.

[535] _Cf._ Dryden, _Discourse on Satire_, in _Works_, xiii. 37.

CHAPTER IV

CLASSICAL ELEMENTS IN ELIZABETHAN CRITICISM

I. _Introductory: Romantic Elements_

IT were no less than supererogation to adduce evidences of the romantic

spirit of the age of Shakespeare. No period in English literature is

more distinctly romantic; and although in England criticism is less

affected by creative literature, and has had less effect upon it, than

in France, it is only natural to suppose that Elizabethan criticism

should be as distinctly romantic as the works of imagination of which it

is presumably an exposition. As early as Wilson's _Rhetoric_ we find

evidences of that independence of spirit in questions of art which seems

typical of the Elizabethan age; and none of the writers of this period

exhibits anything like the predisposition of the French mind to submit

instinctively to any rule, or set of rules, which bears the stamp of

authority. From the outset the element of nationality colors English

criticism, and this is especially noticeable in the linguistic

discussions of the age. At the very time when Sidney was writing the

_Defence of Poesy_, Spenser's old teacher, Mulcaster, wrote: "I love

Rome, but London better; I favor Italy, but England more; I honor the

Latin, but I worship the English."[536] It is this spirit which pervades

what may be called the chief expression of the romantic temper in

Elizabethan criticism,--Daniel's _Defence of Rhyme_ (1603), written in

answer to Campion's attack on rhyme in the _Observations in the Art of

English Poesy_. The central argument of Daniel's defence is that the use

of rhyme is sanctioned both by custom and by nature--"custom that is

before all law, nature that is above all art."[537] He rebels against

that conception which would limit

"Within a little plot of Grecian ground

The sole of mortal things that can avail;"

and he shows that each age has its own perfections and its own usages.

This attempt at historical criticism leads him into a defence of the

Middle Ages; and he does not hesitate to assert that even classical

verse had its imperfections and deficiencies. In the minutiae of metrical

criticism, also, he is in opposition to the neo-classic tendencies of

the next age; and his favorable opinion of _enjambement_ and his

unfavorable comments on the heroic couplet[538] drew from Ben Jonson an

answer, never published, in which the latter attempted to prove that the

couplet is the best form of English verse, and that all other forms are

forced and detestable.[539]

II. _Classical Metres_

Daniel's _Defence of Rhyme_ may be said to have dealt a death-blow to a

movement which for over half a century had been a subject of controversy

among English men of letters. In reading the critical works of this

period, it is impossible not to notice the remarkable amount of

attention paid by the Elizabethans to the question of classical metres

in the vernacular. The first organized attempt to introduce the

classical versification into a modern language was, as Daniel himself

points out,[540] that of Claudio Tolomei in 1539. The movement then

passed into France; and classical metres were adopted by Baif in

practice, and defended by Jacques de la Taille in theory. In England the

first recorded attempt at the use of quantity in the vernacular was that

of Thomas Watson, from whose unpublished translation of the _Odyssey_ in

the metre of the original Ascham has cited a single distich:--

"All travellers do gladly report great prayse of Ulysses,

For that he knew many mens maners, and saw many cities."[541]

This was probably written between 1540 and 1550; toward the close of the

preceding century, we are told, a certain Mousset had already translated

the _Iliad_ and the _Odyssey_ into French hexameters.

Ascham was the first critical champion of the use of quantity in English

verse.[542] Rhyme, he says, was introduced by the Goths and Huns at a

time when poetry and learning had ceased to exist in Europe; and

Englishmen must choose either to imitate these barbarians or to follow

the perfect Grecians. He acknowledges that the monosyllabic character of

the English language renders the use of the dactyl very difficult, for

the hexameter "doth rather trot and hobble than run smoothly in our

English tongue;" but he argues that English will receive the _carmen

iambicum_ as naturally as Greek or Latin. He praises Surrey's blank

verse rendering of the fourth book of the _AEneid_, but regrets that, in

disregarding quantity, it falls short of the "perfect and true

versifying." An attempt to put Ascham's theories into practice was made

by Thomas Blenerhasset in 1577; but the verse of his _Complaynt of

Cadwallader_, though purporting to be "a new kind of poetry," is merely

an unrhymed Alexandrine.[543]

In 1580, however, five letters which had passed between Spenser and

Gabriel Harvey appeared in print as _Three proper, and wittie, familiar

Letters_ and _Two other very commendable Letters_; and from this

correspondence we learn that an organized movement to introduce

classical metres into English had been started. It would seem that for

several years Harvey had been advocating the use of quantitative verse

to several of his friends; but the organized movement to which reference

has just been made seems to have been started independently by Thomas

Drant, who died in 1578. Drant had devised a set of rules and precepts

for English classical verse; and these rules, with certain additions and

modifications, were adopted by a coterie of scholars and courtiers,

among them being Sidney, Dyer, Greville, and Spenser, who thereupon

formed a society, the Areopagus,[544] independent of Harvey, but

corresponding with him regularly. This society appears to have been

modelled on Baif's Academie de Poesie et de Musique, which had been

founded in 1570 for a similar purpose, and which Sidney doubtless became

acquainted with when at Paris in 1572.

From the correspondence published in 1580, it becomes evident that

Harvey's and Drant's systems of versification were almost antipodal.

According to Drant's system, the quantity of English words was to be

regulated entirely by the laws of Latin prosody,--by position,

diphthong, and the like. Thus, for example, the penult of the word

_carpenter_ was regarded as long by Drant because followed by two

consonants. Harvey, who was unacquainted with Drant's rules before

apprised of them by Spenser in the published letters, follows a more

normal and logical system. To him, accent alone is the best of quantity,

and the law of position cannot make the penult of _carpenter_ or

_majesty_ long. "The Latin is no rule for us," says Harvey;[545] and

often where position and diphthong fall together, as in the penult of

_merchaundise_, we must pronounce the syllable short. In all such

matters, the use, custom, propriety, or majesty of our speech must be

accounted the only infallible and sovereign rule of rules.

It was not, then, Harvey's purpose to Latinize our tongue. His intention

was apparently twofold,--to abolish rhyme, and to introduce new metres

into English poetry. Only a few years before, Gascoigne had lamented

that English verse had only one form of metre, the iambic.[546] Harvey,

in observing merely the English accent, can scarcely be said to have

introduced quantity into our verse, but was simply adapting new metres,

such as dactyls, trochees, and spondees, to the requirements of English

poetry.

Drant's and Harvey's rules therefore constitute two opposing systems.

According to the former, English verse is to be regulated by Latin

prosody regardless of accent; according to the latter, by accent

regardless of Latin prosody. By neither system can quantity be

successfully attempted in English; and a distinguished classical scholar

of our own day has indicated what is perhaps the only method by which

this can be accomplished.[547] This method may be described as the

harmonious observance of both accent and position; all accented

syllables being generally accounted long, and no syllable which violates

the Latin law of position being used when a short syllable is required

by the scansion. These three systems, with more or less variation, have

been employed throughout English literature. Drant's system is followed

in the quantitative verse of Sidney and Spenser; Harvey's method is that

employed by Longfellow in _Evangeline_; and Tennyson's beautiful

classical experiments are practical illustrations of the method of

Professor Robinson Ellis.

In 1582, Richard Stanyhurst published at Leyden a translation of the

first four books of the _AEneid_ into English hexameters. From Ascham he

seems to have derived his inspiration, and from Harvey his metrical

system. Like Harvey he refuses to be bound by the laws of Latin

prosody,[548] and follows the English accent as much as possible. But in

one respect his translation is unique. Harvey, in his correspondence

with Spenser, had suggested that the use of quantitative verse in

English necessitated the adoption of a certain uniformity in spelling;

and the curious orthography of Stanyhurst was apparently intended as a

serious attempt at phonetic reform. Spelling reform had been agitated in

France for some time; and in Baif's _Etrennes de Poesie francoise_

(1574), we find French quantitative verse written according to the

phonetic system of Ramus.

Webbe's _Discourse of English Poetrie_ is really a plea in favor of

quantitative verse. His system is based primarily on Latin prosody, but

reconciled with English usage. The Latin rules are to be followed when

the English and Latin words agree; but no word is to be used that

notoriously impugns the laws of Latin prosody, and the spelling of

English words should, when possible, be altered to conform to the

ancient rules. The difficulty of observing the law of position in the

middle of English words may be obviated by change in spelling, as in the

word _mournfully_, which should be spelled _mournfuly_; but where

this is impossible, the law of position is to be observed, despite the

English accent, as in _royalty_. Unlike Ascham, Webbe regards the

hexameter as the easiest of all classical metres to use in English.[549]

Puttenham is not averse to the use of classical metres, but as a

conservative he considers all sudden innovations dangerous.[550] The

system he adopts is not unlike Harvey's. Sidney's original enthusiasm

for quantitative verse soon abated; and in the _Defence of Poesy_ he

points out that although the ancient versification is better suited to

musical accompaniment than the modern, both systems cause delight, and

are therefore equally effective and valuable; and English is more fitted

than any other language to use both.[551] Campion, like Ascham, regards

English polysyllables as too heavy to be used as dactyls; so that only

trochaic and iambic verse can be suitably employed in English

poetry.[552] He suggests eight new forms of verse. The English accent is

to be diligently observed, and is to yield to nothing save the law of

position; hence the second syllable of _Trumpington_ is to be

accounted long.[553] In observing the law of position, however, the

sound, and not the spelling, is to be the test of quantity; thus,

_love-sick_ is pronounced _love-sik_, _dangerous_ is pronounced

_dangerus_, and the like.[554]

III. _Other Evidences of Classicism_

With Campion's _Observations_ (1602) the history of classical metres in

England may be said to close, until the resuscitation of quantitative

verse in the present century. Daniel's _Defence of Rhyme_ effectually

put an end to this innovation; but the strong hold which the movement

seems to have had during the Elizabethan age is interesting evidence of

the classical tendencies of the period. Ben Jonson has usually been

regarded as the forerunner of neo-classicism in England; but long before

his influence was felt, classical tendencies may be observed in English

criticism. Thus Ascham's conservatism and aversion to singularity in

matters of art are distinctly classical. "He that can neither like

Aristotle in logic and philosophy, nor Tully in rhetoric and eloquence,"

says Ascham, "will from these steps likely enough presume by like pride

to mount higher to the misliking of graver matters; that is, either in

religion to have a dissentious head, or in the commonwealth to have a

factious heart."[555] His insistence that it is no slavery to be bound

by the laws of art, and the stress he lays on perfection of style, are

no less classical.[556]

Similar tendencies may be observed in the writers that follow Ascham.

Harvey's strictures on the _Faerie Queene_ were inspired by two

influences. As a humanist, he looked back with contempt on mediaeval

literature in general, its superstitions, its fairy lore, and the like.

As a classicist in art, he preferred the regular, or classic, form of

the epic to the romantic, or irregular form; and his strictures may be

compared in this respect with those of Bembo on the _Orlando_ or those

of Salviati on the _Gerusalemme_. So Harington attempts to make the

_Orlando_ chime with the laws of Aristotle, and Sidney attempts to force

these laws on the English drama. So also Sidney declares that genius,

without "art, imitation, and exercise," is as nothing, and censures his

contemporaries for neglecting "artificial rules and imitative

patterns."[557] So Webbe attempts to find a fixed standard or criterion

by which to judge good and bad poets, and translates Fabricius's summary

of the rules of Horace as a guide for English poetry.[558]

English criticism, therefore, may be said to exhibit classical

tendencies from its very beginning. But it is none the less true that

before Ben Jonson there was no systematic attempt to force, as it were,

the classic ideal on English literature. In Spain, as has been seen,

Juan de la Cueva declared that poetry should be classical and imitative,

while the drama should be romantic and original. Sidney, on the

contrary, sought to make the drama classical, while allowing freedom of

imagination and originality of form to the non-dramatic poet. Ben

Jonson was the first complete and consistent English classicist; and his

classicism differs from that of the succeeding age rather in degree than

in kind.

Bacon's assertion that poetry is restrained in the measure of words, but

in all other points extremely licensed,[559] is characteristic of the

Elizabethan point of view. The early critics allowed extreme license in

the choice and treatment of material, while insisting on strict

regularity of expression. Thus Sidney may advocate the use of classical

metres, but this does not prevent him from celebrating the freedom of

genius and the soaring heights of the imagination. There is nothing of

these things in Ben Jonson. He, too, celebrates the nobility and power

of poetry, and the dignity of the poet's office; but nowhere does he

speak of the freedom of the imagination or the force of genius.

Literature for him was not an expression of personality, not a creation

of the imagination, but an image of life, a picture of the world. In

other words, he effected what may be called an objectification of the

literary ideal.

In the second place, this image of life can be created only by conscious

effort on the part of the artist. For the creation of great poetry,

genius, exercise, imitation, and study are all necessary, but to these

art must be added to make them perfect, for only art can lead to

perfection.[560] It is this insistence on art as a distinct element,

almost as an end in itself, that distinguishes Jonson from his

predecessors; and nowhere is his ideal of art expressed as pithily as in

the address to the reader prefixed to the _Alchemist_ (1612):--

"In Poetry, especially in Plays, ... the concupiscence of

dances and of antics so reigneth, as to run away from nature,

and be afraid of her, is the only point of art that tickles the

spectators. But how out of purpose, and place, do I name art?

When the professors are grown so obstinate contemners of it,

and presumers on their own naturals, as they are deriders of

all diligence that way, and, by simple mocking at the terms,

when they understand not the things, think to get off wittily

with their ignorance. Nay, they are esteemed the more learned,

and sufficient for this, by the many, through their excellent

vice of judgment. For they commend writers as they do fencers

or wrestlers; who, if they come in robustiously, and put for it

with a great deal of violence, are received for the braver

fellows; when many times their own rudeness is the cause of

their disgrace, and a little touch of their adversary gives all

that boisterous force the foil. I deny not but that these men,

who always seek to do more than enough, may some time happen on

some thing that is good and great; but very seldom; and when it

comes it doth not recompense the rest of their ill.... But I

give thee warning, that there is a great difference between

those that, to gain the opinion of copy [_i.e._ copiousness],

utter all they can, however unfitly; and those that use

election and a mean[561] [_i.e._ selection and moderation]. For

it is only the disease of the unskilful to think rude things

greater than polished; or scattered more numerous than

composed."[562]

Literature, then, aims at presenting an image of life through the medium

of art; and the guide to art, according to Jonson, is to be found in

the rules of criticism. Thus, for example, success in comedy is to be

attained

"By observation of those comic laws

Which I, your master, first did teach the age;"[563]

and elsewhere, it will be remembered, Jonson boasts that he had swerved

from no "needful law." But though art can find a never-failing guide and

monitor in the rules of criticism, he does not believe in mere servile

adherence to the practice or theory of classical literature. The

ancients are to be regarded as guides, not commanders.[564] In short,

the English mind was not yet prepared to accept the neo-classic ideal in

all its consequences; and absolute subservience to ancient authority

came only with the introduction of the French influence.

This is, perhaps, best indicated by the history of Aristotle's influence

in English criticism from Ascham to Milton. The first reference to the

_Poetics_ in England is to be found in Ascham's _Scholemaster_.[565]

There we are told that Ascham, Cheke, and Watson had many pleasant talks

together at Cambridge, comparing the poetic precepts of Aristotle and

Horace with the examples of Euripides, Sophocles, and Seneca. In

Sidney's _Defence of Poesy_, Aristotle is cited several times; and in

the drama, his authority is regarded by Sidney as almost on a par with

that of the "common reason."[566] Harington was not satisfied until he

had proved that the _Orlando_ agrees substantially with Aristotle's

requirements. Jonson wrote a commentary on Horace's _Ars Poetica_, with

elucidations from Aristotle, in which

"All the old Venusine [_i.e._ Horace], in poetry,

And lighted by the Stagyrite [_i.e._ Aristotle], could spy,

Was there made English;"[567]

but the manuscript was unfortunately destroyed by fire in 1623. Yet

Jonson was aware how ridiculous it is to make any author a

dictator.[568] His admiration for Aristotle was great; but he

acknowledges that the Aristotelian rules are useless without natural

talent, and that a poet's liberty cannot be bound within the narrow

limits prescribed by grammarians and philosophers.[569] At the same

time, he points out that Aristotle was the first critic, and the first

of all men to teach the poet how to write. The Aristotelian authority is

not to be contemned, since Aristotle did not invent his rules, but,

taking the best things from nature and the poets, converted them into a

complete and consistent code of art. Milton, also, had a sincere

admiration for "that sublime art which [is taught] in Aristotle's

_Poetics_, in Horace, and the Italian commentaries of Castelvetro,

Tasso, Mazzoni, and others."[570] But despite all this, the English

independence of spirit never failed; and before the French influence we

can find no such thing in English criticism as the literary

dictatorship of Aristotle.[571]

To conclude, then, it would seem that by the middle of the sixteenth

century there had grown up in Italy an almost complete body of poetic

rules and theories. This critical system passed into France, England,

Spain, Germany, Portugal, and Holland; so that by the beginning of the

seventeenth century there was a common body of Renaissance doctrine

throughout western Europe. Each country, however, gave this system a

national cast of its own; but the form which it received in France

ultimately triumphed, and modern classicism therefore represents the

supremacy of the French phase, or version, of Renaissance

Aristotelianism. A number of modern writers, among them Lessing and

Shelley, have returned more or less to the original Italian form. This

is represented, in Elizabethan criticism, by Sidney; Ben Jonson

represents a transitional phase, and Dryden and Pope the final form of

French classicism.

FOOT-NOTES:

[536] Morley, _English Writers_, ix. 187.

[537] Haslewood, ii. 197.

[538] _Ibid._ ii. 217.

[539] Jonson, _Works_, iii. 470. _Cf._ Gascoigne's comments on

_enjambement_, in Haslewood, ii. 11.

[540] Haslewood, ii. 205.

[541] _Scholemaster_, p. 73.

[542] _Ibid._ p. 145 _sq._

[543] _Cf._ Haslewood, ii. p. xxii. The treatises of Gascoigne (1575)

and King James VI. (1584) contain no reference to quantitative verse.

[544] _Cf._ Pulci, _Morgante Maggiore_, xxv. 117.

[545] Haslewood, ii. 280.

[546] Haslewood, ii. 5.

[547] R. Ellis, _Poems and Fragments of Catullus translated in the

original metres_, London, 1871, p. xiv. _sq._

[548] Stanyhurst, p. 11 _sq._

[549] Haslewood, ii. 69.

[550] Puttenham, p. 126 _sq._

[551] _Defence_, p. 55.

[552] Haslewood, ii. 167.

[553] Haslewood, ii. 186.

[554] _Cf._ Ellis, _op. cit._, p. xvi.

[555] _Scholemaster_, p. 93.

[556] _Ibid._ pp. 118, 121.

[557] _Defence_, p. 46.

[558] Haslewood, ii. 19, 85 _sq._

[559] _Works_, vi. 202.

[560] _Discoveries_, p. 78.

[561] _Cf._ Scaliger, _Poet._ v. 3, where the highest virtue of a poet

is said to be _electio et sui fastidium_; and vi. 4, where it is said

that the "life of all excellence lies in measure."

[562] _Works_, ii. 3; _cf._ _Discoveries_, pp. 22-27.

[563] _Works_, iii. 297.

[564] _Discoveries_, p. 7.

[565] _Scholemaster_, p. 139.

[566] _Defence_, p. 48.

[567] _Works_, iii. 321; _cf._ i. 335, iii. 487.

[568] _Discoveries_, p. 66.

[569] _Ibid._ p. 78 _sq._

[570] _Works_, iii. 473.

[571] The chapter on poetry in Peacham's _Compleat Gentleman_ (1622) is

interesting chiefly because of its indebtedness to Scaliger, who is

called by Peacham (p. 91) "the prince of all learning and the judge of

judgments, the divine Julius Caesar Scaliger." This constitutes him a

literary arbiter if not dictator. In the _Great Assises holden in

Parnassus_ (1645), Scaliger is proclaimed one of the lords of Parnassus,

in company with Bacon, Sidney, Erasmus, Budaeus, Heinsius, Vossius,

Casaubon, Mascardo, Pico della Mirandola, Selden, Grotius, and others.

APPENDICES

APPENDIX A

CHRONOLOGICAL TABLE OF THE CHIEF CRITICAL WORKS OF THE SIXTEENTH CENTURY

=======================================================================

-----+-------------------+------+----------------+---------+-----------

| | | | |

1527 | Vida: _De Arte | | | c. 1524 | Cox:

| | | | |

1529 | Trissino: | | | |

| | | | |

1535 | Dolce: | | | |

| | | | |

1536 | Pazzi: transl. | | | |

| | | | |

1536 | Daniello: | | | |

| | | | |

1539 | Tolomei: | 1545 | Pelletier: | |

| | | | |

1548 | Robortelli: | 1548 | Sibilet: _Art | |

| | | | |

1549 | Segni: transl. | 1549 | Du Bellay: | |

| | | | |

1550 | Maggi: ed. of | | | 1553 | Wilson:

| | | | |

1551 | Muzio: _Arte | | | |

| | | | |

1554 | Giraldi | 1554 | Pelletier: | |

| Cintio: | | _Art | |

| | | | |

1559 | Minturno: _De | 1555 | Morel: ed. of | |

1560 | Vettori: ed. | | | 1567 | Drant:

1561 | Scaliger: | 1561 | [Scaliger: | 1570 | Ascham:

| | | | |

1563 | Trissino: | | | 1575 | Gascoigne:

| | | | |

1564 | Minturno: | | | |

| | | | |

1575 | Piccolomini: | 1572 | Jean de la | 1580 | Harvey and

| | | | c. 1583 | Sidney:

| | | | |

1586 | Patrizzi: | | | 1585 | James VI.:

| | | | |

1587 | T. Tasso: | 1573 | Jacques de la | |

| | | | |

1597 | Buonamici: | 1598 | De Laudun: | 1589 | Puttenham:

1598 | Ingegneri: | | | |

| Rappresentativa_. | | _Art | 1591 | Harington:

1600 | Summo: _Discorsi | | | | of

=======================================================================

APPENDIX B

SALVIATI'S ACCOUNT OF THE COMMENTATORS ON ARISTOTLE'S "POETICS."

THE following is Lionardo Salviati's account of the commentators on

Aristotle's _Poetics_ up to 1586. The passage is cited from an

unpublished Ms. at Florence (Cod. Magliabech. ii. ii. II.), beginning at

fol. 371. The title of the Ms. is _Parafrasi e Commento della Poetica

d'Aristotile_; and at fol. 370 it is dated January 28, 1586.

DELLI INTERPRETI DI QUESTO LIBRO DELLA POETICA

[Sidenote: =Averroes.=] Averroe primo di tutti quelli interpreti della

Poetica che a nostri tempi sono pervenuti, fece intorno a esso una breve

Parafrasi, nella quale come che pure alcune buone considerationi si

ritrovino, tutta via per la diversita e lontananza de costumi, che tra

greco havea, e tra gli arabi poca notizia havendone, pochissima ne pote

dare altrui. [Sidenote: =Valla.=] Appresso hebbe voglia Giorgio Valla di

tradur questo libro in latino, ma o che la copia del testo greco lo

ingannasse, o che verso di se fusse l'opera malagevole per ogni guisa

massimamente in quei tempi, egli di quella impresa picciola lode si

guadagno. [Sidenote: =Pazzi.=] Il che considerando poi Alessandro de

Pazzi, huomo delle lingue intendente, et ingegnoso molto, alla medesima

cura si diede, et ci lascio la latina traduzzione, che in tutti i

latini comenti fuorch'in quello del Vettorio si leggie. E per cio che

dotto huomo era, et hebbe copia di ottimi testi scritti a penna, diede

non poca luce a questa opera, e piu anche fatto havrebbe se da la morte

stato non fusse sopravenuto. [Sidenote: =Robortelli.=] Ma Francesco

Rubertello a tempi nostri, nelli studj delle lingue esercitatissimo,

conoscendo che di maggior aviso li faceva mestieri, non solamente purgo

il testo di molte macchie che accecato il tenevano, ma il primo fu

ancora, che con distese dichiarationi, et con innumerabili esempli di

poeti greci e latini, fece opera di illustrarlo. [Sidenote: =Segni.=]

Vulgarizzollo appresso Bernardo Segni in questo nostro Idioma, et con

alcune sue brevi annotationi lo diede in luce. E nella tradutione per

alcune proprie voci et ai greci vocaboli ottimamente corrisposero, non

se n' usci anche egli senza commendazione. Ma con molto maggior grido et

applauso, il comento del [Sidenote: =Maggi.=] Maggio, chiarissimo

filosopho, fu dal mondo ricevuto; percioche havendo egli con somma

gloria nella continua lettura della Philosophia i suoi anni trapassati,

con l' ordine principalmente giovo a questo libro, e col mostrarne la

continuatione et in non pochi luoghi soccorse il Rubertello. E se si

fusse alquanto meno ardente contro di lui dimonstrato, ne cosi vago

stato fusse di contrapporseli, sarebbe alcuna volta per avventura uscito

fuor piu libero il parer suo, e piu saldo. [Sidenote: =Vettori.=] A lato

a quel del Maggio fu la latina traduzione et comento di Pier Vettori

pubblicato, il quale essendo oltre ad ogni altro, delle antiche

scritture diligentissimo osservatore, e nella cognitione delle lingue

havendosi si come io stimo a tempi nostri, il primo luogo guadagnato,

hauta commodita, et in gran numero di preziosi et antichi esemplarj

scritti a mano, in ogni parte, ma nella correzzione del testo

spetialmente e nella traduzione, ha fatto si che poco piu avanti pare

che di lume a questo libro possa desiderarsi. [Sidenote:

=Castelvetro.=] Pur non di manco a questi anni di nuovo, da un dotto

huomo in questa lingua volgarizzato et esposto, et piu a lungo che alcun

altro che cio habbia fin qui adoprato ancor mai. Questo sara da me per

tutto ovunque mi convenga nominarlo, il comento vulgare appellato, e per

piu brevita con quelle due prime lettere C. V. in questa guisa lo

notero. Nel qual comento hanno senza alcun fallo di sottilissimi

avvedimenti, ma potrebb' essere, si come io credo, piu sincero. Percio

che io stimo, che dove egli dal vero si diparte, il faccia per

emulazione per lo piu per dimostrarsi di sottil sentimento e per non

dire come li altri. E la costui tradutione, fuorche in alcune parti dove

egli secondo che io avviso volontariamente erra, tra le toscane la

migliore. E sono le sue parole et in essa e nell' espositione molto

pure, et in puro volgare fiorentino, quanto comporta la materia l'una e

l'altra e dettata. Ultimamente la traduzzione, e con essa l'annotazione

di [Sidenote: =Piccolomini.=] Mgr. Alessandro Piccolomini sono uscite in

stampa, il quale havendosi con molte altre sue opere d' astrologia e di

filosofia e di rettorica parte composte, parte volgarizzate, non picciol

nome e molta riputazione acquistata, creder si puo altrettanto doverli

della presente faticha avvenire. Dietro a si chiari interpreti non per

emulatione, la quale tra me e si fatti huomini [Sidenote: =Salviati.=]

non potrebbe haver luogo, ma per vaghezza che io pure havrei di dover

ancor io, se io potessi a questa impresa, alcun aiuto arrecare dopo lo

studio di dieci anni che io ci ho spesi, scendo, quantunque timido, in

questo campo, piu con accesa volonta, che con speranza, o vigore

desideroso che avanti che venirmi gloria per false opinioni, sieno i

miei difetti discretamente da savio giudice gastigati.

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INDEX

Abu-Baschar, 16.

Academie de Poesie et de Musique, 224, 300.

Accademia della Crusca, 123.

Accademia della Nuova Poesia, 222, 224.

Addison, 295.

AEschylus, 96.

Agricola, 132.

Agrippa, Cornelius, 7, 273, 275.

Alamanni, Luigi, 222.

Alberti, Leon Battista, 221.

Alexander of Aphrodisias, 78.

Ambrose of Milan, 7.

Aneau, Barthelemy, 182 _sq._

Aphthonius, 27.

Aquinas, Thomas, 6, 15.

Areopagus, 300.

Aretino, 106, 163.

Ariosto, 109, 112 _sq._, 115 _sq._, 123, 162, 222, 293 _sq._

Aristophanes, 11.

Aristotle, _passim_, especially 16 _sq._, 136 _sq._, 164 _sq._, 183

_sq._, 308 _sq._; _Poetics_, _passim_; _Rhetoric_, 86.

Ascham, 254 _sq._, 283 _sq._, 298 _sq._, 302 _sq._; _Scholemaster_, 254.

Aubignac, Abbe d', 210, 223, 236, 245 _sq._; _Pratique du Theatre_, 210,

245.

Averroes, 16, 24, 26, 314.

Bacon, Francis, 276 _sq._, 306; _Advancement of Learning_, 276.

Bacon, Roger, 16.

Baif, J. A. de, 224 _sq._, 298, 300.

Baldini, _Ars Poetica Aristotelis_, 140.

Balzac, Guez de, 139, 239 _sq._

Bartas, Salluste du, 130, 161, 197, 227, 230.

Beaubreuil, Jean de, 208.

Bellay, Joachim du, 172 _sq._, 182 _sq._, 199 _sq._, 210 _sq._; _Defense

et Illustration_, 172, 177 _sq._

Bembo, 117, 126, 153, 161, 180, 255, 305.

Beni, Paolo, 36, 92, 123, 140, 244.

Bernays, 80.

Berni, _Dialogo contra i Poeti_, 9, 153.

Beza, 230.

Binet, 192, 219.

Blackmore, 295.

Blenerhasset, Thomas, 299.

Boccaccio, 8, 13, 16, 35, 165, 193, 261; _De Genealogia Deorum_, 9.

Boccalini, _Ragguagli di Parnaso_, 258.

Boileau, 39, 48, 108, 130 _sq._, 153, 208 _sq._, 245 _sq._, 286; _Art

Poetique_, 108, 249.

Bossuet, 7, 238.

Bouteauville, Michel de, 223.

Breitinger, H., 90.

Brunetiere, 93, 176.

Bruni, Lionardo, 10, 12; _De Studiis et Literis_, 10.

Bruno, Giordano, 165 _sq._

Buchanan, 230.

Budaeus, 173, 310 _n._

Bullokar, 256.

Buonamici, _Discorsi Poetici_, 140, 167.

Butcher, S. H., 26 _n._, 40, 64, 75.

Calcagnini, 162 _sq._

Cammillo, Giulio, 32, 176.

Campanella, 26 _sq._

Campion, _Observations in the Art of English Poesy_, 297, 304.

Capriano, 83, 87, 120; _Della Vera Poetica_, 42, 211.

Caro, Annibal, 222.

Cascales, 146.

Castelvetro, 44 _sq._, 55, 316, _et passim_.

Castiglione, 103, 161, 180.

Cavalcanti, 127.

Cecchi, 106.

Cervantes, 36, 104, 258 _n._, 290 _n._

Chamberlayne, 295.

Chapelain, 139, 186, 210, 239 _sq._

Cheke, Sir John, 254, 308.

Chretien Le Gouais, 264.

Cicero, 16, 30, 54, 104, 164, 178.

Coleridge, 54, 56, 142.

Corneille, 75, 84, 90, 101, 139, 206, 210, 229, 245.

Council of Trent, 15, 130, 142, 160, 224, 268, 292.

Coxe, Leonard, 254.

Cueva, Juan de la, 146, 233, 305; _Egemplar Poetico_, 146, 234.

Dacier, 63, 70, 75.

Daniel, _Defence of Rhyme_, 257, 297 _sq._, 304.

Daniello, 20, 28, 48, 61, 82, 137, 196.

Dante, 8, 16, 51, 66, 109, 138, 180 _sq._

Dati, Leonardo, 221.

Davenant, 259, 295.

Deimier, 216.

Denores, 151.

Descartes, 249.

Deschamps, Eustache, 174.

Desportes, 237.

Diomedes, 64 _sq._

Dolce, Lodovico, 126, 171, 196.

Dolet, 173, 227.

Donatus, 104.

Drant, Thomas, 171, 300 _sq._

Dryden, 53, 75, 100, 142, 231, 259, 295, 310.

Duval, 227.

Dyer, 300.

Ellis, Robinson, 301 _sq._

Equicola, 58, 127.

Erasmus, 173, 184.

Espinel, 171.

Estienne, Henri, 181, 217.

Euanthius-Donatus, 65.

Euripides, 284, 308.

Fabri, Pierre, 174 _sq._

Fabricius, 147, 305.

Fanucci, 127.

Farquhar, 292.

Fichte, 157.

Ficino, 160.

Filelfo, 32, 136.

Fioretti, Benedetto, 167.

_Fleur de Rhetorique_, 174.

Fontaine, Charles, 181 _sq._

Fracastoro, 22, 31 _sq._, 40 _sq._, 141, 157, 258; _Naugerius_, 31.

Fulgentius, 7, 8.

Gabrielli, Trifone, 138.

Gambara, _De Perfecta Poeseos Ratione_, 161.

Garnier, 230.

Gascoigne, 256, 301.

Gelli, 106, 163.

Giraldi Cintio, 49, 62, 67, 76, 83, 91, 110 _sq._, 123, 138, 146, 162,

211, 235, 284.

Goldoni, 167.

Gosson, 7, 266 _sq._, 273.

Gracien du Pont, 174 _sq._

_Great Assises holden in Parnassus_, 258, 310 _n._

Gregory the Great, 8.

Greville, Fulke, 300.

Grevin, 201 _sq._, 228, 232.

Grynaeus, 184.

Guarini, _Pastor Fido_, 164.

Guarino, _De Ordine Docendi_, 10.

Hardy, Alexandre, 232, 235 _sq._

Harington, 275, 293, 305, 308; _Apologie of Poetrie_, 257, 275, 293.

Harvey, Gabriel, 117, 255, 299 _sq._, 303 _sq._

Heinsius, Daniel, 147, 185, 245, 292; _De Tragoediae Constitutione_, 245.

Heliodorus, 36, 196.

Hermann, 16.

Hermogenes, 32; _Idea_, 32.

Hilary of Poitiers, 7.

Hobbes, 103 _n._, 259.

Homer, 4, 6, 18, _et passim_.

Horace, 11, 16, _et passim_; _Ars Poetica_, _passim_.

Howard, Sir Robert, 292.

Isidore of Seville, 5, 11, 65.

James VI. of Scotland, 262.

Jodelle, 173, 206.

Johannes Januensis de Balbis, 66.

John of Salisbury, 11.

Johnson, Samuel, 79, 260.

Jonson, Ben, 54, 88 _sq._, 104, 142, 246, 258, 278 _sq._, 288 _sq._,

297, 304 _sq._

La Bruyere, 241, 248.

Lamartine, 48.

La Mesnardiere, 245.

Landi, Ortensio, 164, 165; _Paradossi_, 164.

Lasca, Il, 104, 106, 163.

Laudun, Pierre de, 188, 204, 221, 233; _Art Poetique_, 208.

Le Bossu, 246, 294.

Lemoyne, 244.

Leo X., 126, 154, 160.

Le Roy, 227.

Lessing, 75, 79, 142, 147, 310.

Lionardi, Alessandro, 43, 127.

Livy, 29, 37.

Lodge, _Defence of Poetry, Musick, and Stage Plays_, 267.

Lombardi, 138.

Longfellow, 302.

Lucan, 195, 275.

Lucian, 35.

Lucretius, 45.

Luisino, 138.

Luther, 147 _n._

Macrobius, 244.

Maggi, 27, 49, 63, 78, 314, _et passim_.

Mairet, 210.

Malherbe, 216, 220, 231, 236 _sq._; _Commentaire sur Desportes_, 237.

Mambrun, 244, 246, 294.

Mantinus of Tortosa, 16.

Mantuan, 9.

Maranta, 108, 146.

Marguerite de Navarre, 227.

Marino, 241.

Marot, 175, 216, 238.

Mascardo, 310 _n._

Maximus of Tyre, 6.

Mazzoni, Jacopo, 309; _Difesa di Dante_, 124 _n._

Melanchthon, 132, 254.

Mellin de Saint-Gelais, 175, 206.

Menage, 241.

Metastasio, 167.

Michele, A., 36.

Milton, 54, 70 _n._, 80 _sq._, 142, 147, 280, 287, 292, 308 _sq._

Minturno, 21, 52, 269, _et passim_; _Arte Poetica_, 119;

_De Poeta_, 21.

Mirandola, Pico della, 160, 310 _n._

Moliere, 217.

Montaigne, 173, 194, 226 _sq._, 240.

Montchrestien, 230.

Montemayor, 196.

Morel, Guillaume, 184.

Mousset, 223, 298.

Mulcaster, 296.

Musaeus, 88.

Muzio, 38, 58, 87, 104, 129, 144, 161, 213; _Arte Poetica_, 50.

Nisieli, Udeno, _v._ Fioretti, Benedetto.

Nores, J. de, _v._ Denores.

Ogier, Francois, 235.

Opitz, _Buch von der deutschen Poeterei_, 147.

Ovid, 179, 263.

Palingenius, 39.

Partenio, 127, 134, 141, 147; _Della Imitatione Poetica_, 128.

Pasquier, 223 _n._

Patrizzi, 165 _sq._, 222; _Della Poetica_, 165.

Pazzi, Alessandro de', 17, 137, 314.

Peacham, _Compleat Gentleman_, 310 _n._

Pellegrino, Camillo, 122 _sq._

Pelletier, 171, 175, 182, 191, 199 _sq._, 205, 211, 217, 225.

Petrarch, 8, 16, 58, 138, 261.

Philo Judaeus, 7.

Pibrac, Guy du Faur de, 225.

Piccolomini, AEneas Sylvius, 12.

Piccolomini, Alessandro, 139 _sq._, 244, 316.

Pierre Bercuire, 264.

Pigna, G. B., 115 _sq._, 123, 235, 284.

Pinciano, 146.

Pindar, 211.

Pisani, Marquise de, 241.

Plato, 4 _sq._, 14, 78, _et passim_, especially 156 _sq._

Plautus, 85, 102, 285, 291.

Plutarch, 27, 42, 114.

Poliziano, 13 _sq._, 188; _Sylvae_, 13.

Pomponazzi, 137.

Pontano, G., 103 _n._, 146 _n._, 153.

Pontano, P., 146 _n._

Pontanus, J., 146 _n._, 147.

Pope, Alexander, 260, 310; _Essay on Criticism_, 108.

Prynne, 7.

Puttenham, 264 _sq._, 284, 293; _Arte of English Poesie_, 256, 264.

_Quintil Horatian_, 181 _sq._, 216 _sq._

Quintilian, 16, 54, 132, 164.

Racan, 237.

Racine, 75, 139, 238, 245.

Rambouillet, Marquise de, 241.

Ramus, 137, 164, 223 _sq._, 227.

Rapin, 75, 106, 245, 292, 294; _Reflexions sur l'Art Poetique_, 139.

Regolo, 108.

Rengifo, 145.

_Rhetores Graeci_, 17.

Rhodiginus, 136.

Ricci, B., 138.

Riccoboni, 140, 146, 244.

Richelieu, 209 _sq._

Robortelli, 17, 25, 29 _sq._, 63, 77, 91, 103, 139, 244, 315.

Ronsard, 54, 147, 173, 187 _sq._, 206, 211, 218 _sq._, 226 _sq._, 231,

256.

Rucellai, 136.

Ruscelli, 58, 127.

Sackville, _Gorboduc_, 284, 290.

Saint-Amant, 244.

Sainte-Beuve, 152.

Salviati, Lionardo, 88 _sq._, 123 _sq._, 139 _n._, 140, 162, 181, 305,

314, 316.

Sanchez, Alfonso, 234.

Sannazaro, 35, 153, 160, 179, 234.

Savonarola, 6, 13 _sq._, 24, 27, 130, 160.

Scaliger, Joseph Justus, 245.

Scaliger, Julius Caesar, 14, 36 _sq._, 43, 58, 131 _sq._, 310 _n._, _et

passim_; _Poetics_, 150, 176, _et passim_.

Schelandre, J. de, 235.

Schelling, 157.

Schlegel, 157.

Schosser, _Disputationes de Tragoedia_, 147 _n._

Scudery, 244.

Segni, A., 42 _n._

Segni, B., 17, 92, 139, 315.

Selden, 310 _n._

Seneca, 62, 69, 85, 201, 232, 284 _sq._, 308.

Shaftesbury, 54.

Shakespeare, 46, 56, 79, 104 _sq._, 205, 296.

Shelley, 12, 54, 128, 142, 147, 188, 192, 310.

Sibilet, 174 _sq._, 223; _Art Poetique_, 175.

Sidney, Sir Philip, 34, 51, 104, 142, _et passim_; _Defence of Poesy_,

268 _sq._, _et passim_.

Silius Italicus, 195.

Simonides, 42.

Sophocles, 62, 284, 308.

Spenser, 117, 161, 296, 299, 302, 305.

Speroni, Sperone, 75, 81, 116 _sq._, 242.

Stanyhurst, Richard, 302.

Strabo, 24, 27, 47, 54, 193.

Sturm, John, 132, 254.

Suckling, _Session of the Poets_, 258.

Suetonius, _De Poetis_, 65.

Summo, Faustino, 36, 167.

Surrey, 299.

Symonds, J. A., 257.

Taille, Jacques de la, 223 _sq._, 298.

Taille, Jean de la, 185 _sq._, 201 _sq._, 290; _Art de Tragedie_, 201,

206.

Tasso, Bernardo, 17, 22, 55, 119.

Tasso, Torquato, 8, 34, 37, 56, 117, 119 _sq._, 128, 130, 139, 151,

192, 309; _Discorsi dell'Arte Poetica_, 119, 213; _Apologia_, 123.

Tempo, Antonio di, 174.

Tennyson, 302.

Terence, 85, 106, 287, 291.

Tertullian, 5.

Theocritus, 179.

Theophrastus, 64 _sq._

Tibullus, 179.

Tolomei, Claudio, 126, 161, 222, 256, 298.

Tomitano, 43.

Toscanella, 108.

Tottel's _Miscellany_, 255.

Trincaveli, 137.

Trissino, 58, 92 _sq._, 102, 106, 112, 126, 136, 176, 206, 288;

_Poetica_, 76, 92, 109, 140, 150.

Turnebus, 184.

Twining, 80.

Valla, Giorgio, 17, 314.

Varchi, 27, 34, 41, 50, 124 _n._, 138, 141, 150, 161, 180.

Vauquelin de la Fresnaye, 48, 176 _sq._, 186, 196, 203, 207, 212, 219,

227 _sq._

Vega, Lope de, 233 _sq._, 258 _n._

Vettori, 37 _n._, 77, 97, 139, 315.

Vida, 13, 87, 106, 126 _sq._, 131 _sq._, 148, 160, 183, 187, 215, 218,

244, 247.

Viperano, 146 _n._, 188, 204.

Virgil, 18, 30, 87, 106, _et passim_.

Voltaire, 95.

Vossius, 185, 244 _sq._, 292, 294, 310 _n._

Warton, Joseph, 143.

Warton, Thomas, 254.

Watson, Thomas, 298, 308.

Webbe, William, 268, 284, 293, 302, 305; _Discourse of English Poetrie_,

256, 263, 283.

Wilson, _Rhetoric_, 254, 261, 296.

Wither, 258.

Woodberry, G. E., 12 _n._

Xenophon, 30, 275.

Zabarella, 26 _sq._

Zapata, 171.

LI LIVRES DU GOUVERNEMENT DES ROIS.

_Being a Thirteenth Century French Version of EGIDIO COLONNA'S treatise,

"De Regimine Principium." From the Kerr MS._

EDITED BY

SAMUEL PAUL MOLENAER, A.M.,

_Instructor in the University of Pennsylvania; Sometime Fellow of

Columbia University._

8vo. Cloth. $3.00, net.

* * * * *

This treatise, "On the Education of Princes," was prepared in Latin

about the year 1285, by the preceptor of the boy prince Philip the Fair

(afterward Philip IV. of France), and on the accession of the youthful

king was by him ordered translated into French for the benefit of the

general public. Numerous editions in the original Latin were published

in the fifteenth and sixteenth centuries, but the French version has

never before appeared in print. The work covers a wide range of topics,

educational and social, discussed in the spirit of enlightened mediaeval

scholarship. It is believed that, in its present accessible form, it

will be found to constitute an interesting chapter in the history of

educational ideas.

BOSTON TRANSCRIPT.

"To professional scholars and to those interested in the study of

political science in the Middle Ages it will have unusual interest."

SAN FRANCISCO ARGONAUT.

"The work will appeal not only to the limited number of professional

scholars for whom the edition is primarily intended, but beyond that to

the wider circle of those interested in the study of the Middle Ages and

in the evolution of pedagogy and of political economy."

ANNALS OF THE AMERICAN ACADEMY.

"The edition of Colonna's 'De Regimine Principium,' of which Dr.

Molenaer has given us an excellent thirteenth-century French version,

will interest students of widely differing tastes."

* * * * *

THE MACMILLAN COMPANY,

66 FIFTH AVENUE, NEW YORK.

PUBLICATIONS OF THE COLUMBIA UNIVERSITY PRESS.

CLASSICAL STUDIES

IN HONOUR OF HENRY DRISLER.

_A volume of Essays on Classical Subjects contributed by a number of Dr.

Drisler's former pupils, in commemoration of the fiftieth year of his

official connection with Columbia College._

8vo. Cloth. $4.00, net.

* * * * *

THE TITLES OF THE CONTRIBUTIONS ARE AS FOLLOWS:

On the Meaning of 'Nauta' and 'Viator' in Horace, Sat. i. 5. 11-23.

Anaximander on the Prolongation of Infancy in Man. A Note on the

History of the Theory of Evolution.

Of Two Passages in Euripides' Medea.

The Preliminary Military Service of the Equestrian Cursus Honorum.

References to Zoroaster in Syriac and Arabic Literature.

Literary Frauds among the Greeks.

Henotheism in the Rig-Veda.

On Plato and the Attic Comedy.

Herodotus vii. 61, or the Arms of the Ancient Persian Illustrated from

Iranian Sources.

Archaism in Aulus Gellius.

On Certain Parallelisms between the Ancient and the Modern Drama.

Ovid's Use of Colour and Colour-Terms.

A Bronze of Polyclitan Affinities in the Metropolitan Museum.

Geryon in Cyprus.

Hercules, Hydra, and Crab.

Onomatopoetic Words in Latin.

Notes on the Vedic Deity Pusan.

The So-Called Medusa Ludovisi.

Aristotle and the Arabs.

Iphigenia in Greek and French Tragedy.

Gargettus: an Attic Deme.

* * * * *

"The circumstances of the issue of this handsome volume give it an

emotional interest which makes it a volume separate and distinct among

the collected records of the investigations of scholars. The studies

themselves, for the most part, appeal in the first instance to

specialists, but many of them have a much wider interest. The book is a

credit to American scholarship, as well as a fit tribute to the honored

name of Professor Drisler."--_The Outlook_.

* * * * *

THE MACMILLAN COMPANY,

66 FIFTH AVENUE, NEW YORK.

* * * * *

CORRECTIONS:

Footnote 30: ad nostras was changed to ad nostra ("Jacuit liber hic

neglectus, ad nostra").

Page 26: [Greek: ton euantion] was changed to [Greek: ton enantion].

Page 218: Postero was changed to Postera (Postera Phoebea lustrabat

lampade terras).

Page 229: sulutaires was changed to salutaires (sous les loix

salutaires).

REMARKS:

Part I, Chapter IV:

Trissino (1561): Appendix A does not list Trissino in 1561.

Part II, Chapter I:

The two subsections listed in the Table of Contents do not

appear in the text.

A History of Literary Criticism in the Renaissance With special reference to the influence of Italy in the formation and development of modern classicism · 第 8 / 8 章