A History of Literary Criticism in the Italian Renaissance

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A history of literary criticism in the Italian Renaissance. Weinberg, Bernard, 1909-1973. [Chicago] University of Chicago Press [1961] https://hdl.handle.net/2027/uc1.c081044511

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A HISTORY OF LITERARY CRITICISM IN THE ITALIAN RENAISSANCE

A HISTORY of

LITERARY CRITICISM IN THE

ITALIAN RENAISSANCE VOLUME I

By Bernard

Weinberg

TO

THE UNIVERSITY OF

G

CHICAGO PRESS

MAIN

01436320x

Library of Congress

Repl

Catalog Card Number : 60-5470

The University of Chicago Press , Chicago & London The University of Toronto Press , Toronto 5 , Canada Published 1961 ALL RIGHTS RESERVED

425

Second Impression 1963 Printed by The University of Chicago Press Chicago, Illinois , U.S.A.

РP

Q

4031

‫اب‬

196 / a

vil

MAIN

Το

RONALD CRANE RICHARD

MCKEON

ELDER OLSON

PREFACE HE

HISTORY OF LITERARY CRITICISM in the Italian Renaissance has been written several times . It is the subject of a volume by Ciro Trabalza

T:

La Critica letteraria ( Dai primordi dell'Umanesimo all'Età published in Milan ( 1915 ) in the series “ Storia dei generi nostra ) and letterari italiani.” Inside and outside Italy the most widely read and in entitled

fluential treatment of the subject is to be found in Joel Elias Spingarn's History of Literary Criticism in the Renaissance (New York : Macmillan , form in 1904. The 1899 ) , published in Italian in a somewhat expanded various works of Marvin T. Herrick have provided much useful informa tion on the development of the theory of the genres during the Renais sance ,

The present attempt to rewrite that history has two justifications . The first of these lies in the limited bibliography upon which the earlier histories were based . Spingarn discussed , in the briefest fashion , only some thirty documents in the original edition , a few more in the Italian translation . Trabalza and Herrick dealt with a considerably larger number of docu ments , but they fell far short of an adequate representation of the numerous texts that actually constitute the vast bibliography of literary criticism in Renaissance . This bibliography comprises, besides the major printed works , a great quantity of manuscript materials preserved in the libraries of Italy ; these were left untouched by the earlier historians . It also includes many texts that are “ minor ” only in the sense that they are short the Italian

or relatively unknown ; they are frequently “ major " because of their ideas or because of the contribution they have made to the development of literary criticism . The second , and more important , justification derives from the way in which Spingarn and Trabalza used their materials . Their methods were those of the literary historians of an earlier generation . They tended rather to summarize texts than to analyze them , rather to disrupt texts ( by isolat ing terms and passages ) than to discover their structures , rather to con struct chronologies than to write histories . What one learns from them , essentially

,

is the order and

the content

of

a certain

number of works ;

but even here one cannot be sure , since the content as they state it is often philosophically unconvincing . One cannot be sure , from the evidence they

others

that

a

will convince

it is

it , his

,

its

is

for

present, that their reading is a proper one . Such cautions , of course , attach to any reading of any text ; the only recourse for the reader is his own reading of the text , and the only hope the historian that reading through consistency and through the citations that support tenable hypothesis about the particular the writing

of

experiment

in

an

have attempted

is

what

I

sense

,

a

In

.

text

viii

PREFACE

intellectual history . What is experimental is not the extension of the bibliography through the addition of hundreds of items not hitherto considered : this is merely the normal effect of the growth of biblio graphical knowledge and the continued pursuit of the subject. It is rather the organization of the materials and the elaboration of the historical statement . I have not sought to follow any author through his career or any term or concept through the century . Instead , I have tried to dis tinguish the main intellectual traditions of the century as they relate to literary criticism and to trace them , year by year and text by text , up through the sixteenth century to the final, arbitrary date of 1600. These traditions were of two kinds : they were ways of regarding the art of poetry ( a theoretical approach ) and ways of judging poetic works (a practical approach ) . This distinction accounts for the two major divisions

of my book . With respect

to the theoretical traditions , it has seemed to me useful to distinguish and identify them as developments and continuations of three great critical positions of the classical past : those of Plato , Aristotle , and Horace . These were the positions that provided Italians of the Renais sance with the greater part of their ideas on the art course , that any one of them appears , purely and

of poetry . It

is rare ,

of

of

those tendencies

be

one

of its

to

at

or

bear some resemblance

the major is

It

,

.

is a

it

completely eclectic work the texts indeed that we discover the existence unless

.

only through the reading

;

of

expected

the century

,

tendencies

of — to

or

of

be

may

dencies

,

its

simply , in any single text ; the Renaissance was not a period of intellectual purity and order entirety should liness . But any individual text , taken in classifiable major ten under one another the major traditions least

of of

,

at

is ,

,

in

.

It

its

a

or

,

;

of

to

I

.

its

it

,

, to

of

of

in

of

of

A

of

entirety should constitute consideration each the texts my approach the experimental aspects least one the first principles that approach have attempted the reading each work discover essential position discern what basically particular poetry about was saying about the art and peculiarly another

its

to

I

to

to

,

its

,

.

or

,

discover the method a

,

,

of

.

I

to

I

have frequently found

it

the texts themselves

,

Given the nature

of

.

a

conclusions and

have not undertaken conclusions guide any reading text but instead for the

passed from premises

which provide substitute that reading it

its

its

of

premises and

to to by an to to its

to

to

no

;

I

,

epitome

of

.

I

I

in

terms

of

methodological

the

is

define

in its

determine to

statements

;

;

to

and the logical bases for terms the whole complex relation should point out that what have said the work and concepts present represent the totality not intended about any individual text every report have tried idea than tried more have contents My inconsistency rather has been every aim failure account for give position economy possible greatest central state with the poem

PREFACE

ix

to discuss certain of them at two or three or four points in my commentary on Aristotle's Poetics , for example , might also make A significant contribution to the study of Horace's Ars poetica, another to a development of Platonic ideas , still another to the criticism of a con the temporary author . For the most part , though , each work is given major necessary study .

-

consideration only once . In a few cases I have had to deal with texts whose broad philo main subjects were not directly pertinent to my inquiry sophical treatises , works on other arts -- but which did contain useful materials . Here I have been obliged , contrary to my general practice , 10 isolate passages or sections rather than to study entire texts . I have limited my inquiry to literary criticism in the Italian Renaissance .

The temptation was present , constantly , to associate with literary criti cism such related fields as rhetorical theory and the criticism of the other arts, for the problems are the same or nearly so , and the documents them from one discipline to another . But I have had to sternly . The materials on literary criticism are them temptation resist this selves so abundant that to add others to them would have made the subject completely unmanageable . Moreover , the virtues of limitation to a

selves readily lead

of inquiry seemed to me obvious . Hence , the reader will find history here no of the important rhetorical documents of the century , even though there is much discussion of rhetorical ideas which appear in the treatises on poetry . Nor will he find any discussion of the quarrel over the

single line

Italian language , of the theory of painting or sculpture or architecture , in of the many resemblances of this theory to literary theory . I have taken " Italian " in a fairly broad sense , including the works not only of Italians publishing in Italy but of foreigners publishing there and

spite

century , except

those few cases

in

have limited it to the sixteenth

the

I

for

of Italians publishing abroad ; the criterion for inclusion is the direct relationship of any given document to the Italian tradition . On the other hand , I have given to the term “ Renaissance " a highly restricted meaning :

the

of

of

movement

by

a

to

trace

,

necessary

.

.

I

have found Here again

it

back into Quattro cento the decision was determined the nature the major development and full materials The Cinquecento was the century which

criticism had run

its

the renaissance

in

of

,

of

in

of

;

in

in

1600

,

century

.

preceding

By

,

a

,

its

all

,

in

poetic theory and practical criticism realization both Quattro overwhelming importance for other phases the Renais literary criticism sance provided only minor impetus the domain and the Seicento did little more than repeat and reorder the ideas the cento

full

sixteenth

to

.

all

In

to

of

.

.

century usage many terms had multiple meanings

-

Because

in

a

.

,

I

in

or

a

as

as

A

in

I

,

at

course and that date have ended my investigation my text provide word about the translations included order possible continuous text nearly one language have translated quoted passages from Latin make the Italian into English The effort translations both accurate and literate has been task full difficulties

and

PREFACE

х

because syntax and construction , in both the Italian and the Latin texts , are frequently loose and inaccurate , it has been necessary at every point to decide upon the particular meaning intended . I present these transla

tions with the usual reservations of the translator , urging the reader — if he thinks that I may have gone astray or if he wishes to follow the terminology in the original languages — to check them against the original texts , given in the footnotes . Among other technical matters , I have sometimes pro within the chapters for authors or subjects ; but this is consistently not done for every text - merely from time to time in order to help with the chronology and to call attention to the most important documents . I have regularly reproduced original texts exactly , in spite of vided subheadings

I

thought it necessary to make emenda all

obvious errors ; only rarely have tions .

materials are concerned , I have attempted in cases consult the best manuscripts and the earliest printed editions single Bibliography arranged alphabetically All documents are listed

As far

of

by

a

,

in

.

to

as the source

,

I

is

I

all

.

of

,

a

),

in

in of

.

of I

by

in

as

as

is

to

a

of

as

sulted freely such bibliographical

C.

I

tries show how those ideas are Renaissance thought have con

of . R.

to

.

,

writer obtained his ideas Rather related the developing currents

of it

,

in

. It

,

,

( to or of a at

a

of of

fresh history the subject lay the rereading pertinent many single the materials least could find My according analysis history reader and constant method therefore excludes some the approaches common the writing intellectual and literary history not concerned with sources and given fluences the usual sense with the discovery where and how

of

only possibility

on

on

to

by

,

I

of

of

.

no

.

;

a

is

given work author where more than one edition described study virtually have indicated the edition used for and citation There secondary bibliography Except for light bibliography itself and the dating works have chosen discuss works themselves rather than interpretations the those works others was convinced that the

;

I

of

of

.

of

,

in -

,

L.

instruments the lists Williams Bullock the Cooper Gudeman bibliography Aristotle's Poetics the bibliographies found earlier histories the subject and have also made use various biographies and separate studies concerning the authors themselves and W.

-

of

to

.

I

to

a

,

I

to

discharge those institutions which have both have many debts subsidized and furthered my work over period some twenty five years and those individuals who have counseled and helped me can dis

of

to

to

,

to

its

,

,

to

at

of

.

;

of

;

of

in

,

to

them

University

:

of

only through the simplest kind Washington thanks Chicago Northwestern University and the University my research for grants aid the John Simon Guggenheim Memorial Foundation and the administrators the Fulbright Program for generous fellowships Princeton for the Institute for Advanced Study and hospitality Many friends have been unsparing time wisdom charge

PREFACE

I

of

all

material assistance ; would thank especially Donald Bryant , Ronald Phillip , DeLacy , Crane Edward Kaufmann , Paul Kristeller , and Peter Riesenberg for their reading of parts or the manuscript and for

.

of

,

of in

at

,

to

;

of

,

;

useful suggestions Mrs. Anne McDonnell Heisler for help the prepara Chicago too the manuscript and colleagues the University their erudition and advice name for the generous giving numerous tion

,

-o

,

,

in

,

of

,

all

;

in

,

at

all

I

to

co

peration should wish also thank many librarians for their kind University Chicago Newberry above those The Libraries the Library the Harvard University Library the British Museum the Biblio Italy but mostly thèque Nationale Paris the Biblioteche Nazionali ;

.

all

;

in

that Florence the other great Florentine libraries and the Vatican provincial libraries over Italy

and

CONTENTS PART ONE

POETIC

:

THEORY

I. The Classification of Poetics among the Sciences / The Methodology of the Theorists / 38

1

The Confusion with

/

I.

II .

Ars poetica

:

Horace's

The Earliest Commentaries

Aris

The Application

Practical

to

201

:

II .

Aristotle's Poetics

and Exegesis

/

/

Discovery

I.

Aristotle's Poetics

:

The Tradition tions 424 The Tradition

/

IV .

of

of of

The Tradition

Theory

/

of

:

of

II .

I.

Platonism

Horace's Ars poetica The Return Poetry The Defence 250 Christianity 297 The Triumph

349

Applica

The First Theoretical

of

Aristotle's Poetics

:

IV .

The Effect

V.

Theory

/

819 /

|

/

)

991

/

)

/

(

1113

/

on

1159

/

:

of

CRITICISM

Quarrel over Ariosto and Tasso Concluded The Quarrel over Guarini's Pastor Fido 1074 Conclusions Practical Criticism 1106 /

.

.

.

/

Index

the Genres

The Quarrel over Dante Concluded 877 The Quarrel over Speroni's Canace and Dramatic Poetry The Quarrel over Ariosto and Tasso 954

Bibliography

the Literary

797

PRACTICAL

(

. .

. .

The Quarrel over Dante

XX The

XXI XXII

Commen

715

Poetic Theory

PART TWO

XIX

/

Poetry

:

. .

Aristotle's Poetics

of

564

XIV The New Arts XV Conclusions on

XVI XVII XVIII

.

The Vernacular

:

III

/

The Tradition

/

XIII

.

The Tradition

.

Aristotle's Poetics

478

XII

Quarrels

of

taries

of of

.

XI

/

/

X. IX . .

VIII

The Tradition Platonism

:

.

VII

:

VI .

/

:

of

The Tradition Horace's Ars poetica Criticism 156

to

111

III .

/

IV .

totle

:

of

The Tradition

71

V.

Horace's Ars poetica

The Tradition

of

III .

II .

912

635

PART ONE POETIC THEORY

CHAPTER ONE . THE CLASSIFICATION OF POETICS AMONG THE SCIENCES

A

beginning a series of lessons on a topic or a text , almost invariably devoted the first lecture — the prolusio explaining his subject's place in the whole scheme of arts and

RENAISSANCE

,

PROFESSOR

-to

sciences . This was not merely an academic

by

to

its

by

of

of

of

the mind

possibilities belonged

,

means and

what faculty

it

ends and

its

;

neighboring sciences determining

were discovered

to its

from

by

its

it

.

or

as a

to

or

.

, it on

his

It fulfilled an intellectual expectation of auditors which had been passed them their medieval and humanist forebears For some centuries had been custom ary part regard each art science the great complex Phil osophy The individual science was defined distinguishing delimited gesture .

of

of

,

of

.

of

by

,

be

.

.

it

to

be it

what human need served under which the major branches human activity All subsequent thinking about the science subsumed was flowed from these initial and fundamental presuppositions To sure the time the Cinquecento the logical tightness these systematic attitudes had been considerably weakened The stern syllogistic ,

in

byan

by

,

of

of

.

,

as

-

—

to

of

it

in

the Schools had some cases been openly attacked others degenerate had been allowed almost imperceptibly into the rhe they did torical loquacity the universities The academies attracting great numbers aristocrats and bourgeois and providing them with essentially lay instruction frequently replaced the old severity method

of

discipline

a ,

,

to

of

.

of

to

,

,

a

of

fostering enthusiasm for new fields study and questioning even disparaging approach thought Nevertheless the traditional modes supply the usual points the old framework continued reference and

of

of

its

of

at a

a

to

to to

no

to of

to

.

it

be to

of

philo thinking continued inform the major part sophical discussion Perhaps say that the habit would correct systematic approach time when the the sciences was still cultivated analysis were longer adequate pursuing instruments the task the old habits

. as

a

,

,

an

.

—

of

-

of

an

.

it

,

of

,

of

by

last consequences

as , a

the science

of

For

its

and distinction final implications poetics one the old sciences made new fresh practical need and the rediscovery interest ancient texts this was true for other sciences Perhaps was especially true For poetics formerly considered auxiliary grammar and rhetoric auxiliary speech whose particular concern was with versification and figures but classification

of

,

,

.

a

”

of of

to

“

as a

,

on

.

of

of

guide now given new dignity the greatest the arts had special justification poesy need Witness the defenses which from the literary expression One fourteenth century were standard form

( 1 )

.

all

or

in

—

of

,

,

,

of

a

in

science

to

of

supplying that justification was place the means position dignity honor and utility among the others But even where justification was not the motive the theorists followed the exposition and somewhere traditional pattern the prolusio later the most effective

POETIC

-provided for poetics

THEORY

,

or

,

a

of

to

of of

or

of

of

it

"

"

or

”

to

example

were

classify

his

,

for

he

it .

it of

of

say about poetics would necessity great importance Hence the

.

in

a

to

Much what theorist was later derive from his original classification this initial step the critical process

If , of

of

.

,

“

.

of

,

or

to

be

.

its

proper place among the other sciences The family large which poetics was assigned might small incomplete complete depending upon the cast mind the theorist the neces sities his argument But always was sufficient magnitude throw upon the science light which for man the art the kind the Cinquecento could come only from classification and distinction

,

in

,

a

he

;

if

,

of

of

an

he

-

-

in

of

.

,

to

be

as

if in of

tendency would with rhetoric one the instrumental disciplines then poems consider terms their probable specific effects upon specific poems audiences He would were Aristotelian rhetorician think poet relationships poem terms audience were Ciceronian

,

.

,

of

an

or

as a

he

of

,

,

of

or his by do of to

,

of

invention disposition and elocution and what the poet must gain the acclaim begin his listeners On the other hand should defining poetry philosophy branch instrument moral then

terms

to

in

-

.

in

of

all

its

,

of

to

,

or

or

.

of

a

in

of

.

it to

of

be

produce whole theory must oriented toward the ability the poet Any judge change the critic the desired ethical effect classifica consequent shift tion brings with the whole conception the poetic beauty art The relationship the parts within the poem the criteria for hierarchy goodness poetic genres success the the various poetics these varied with the place assigned the total family sciences

.

.

of

its

all

, as

as to

,

,

its

we

a

of

THE ARTS OF DISCOURSE The Cinquecento inherited from the immediate past method classi may characterize fying poetry which the traditional system Poetics place according discourse this method among the arts took

.

or to

.

to (

to

on

,

a

in

),

of

all

—

,

it

,

of

as

,

,

—

belonged with Since poetry used words medium the logical disciplines with logic dialectic rhetoric and sophistic and with such grammar and history which also used words This meant that arts poetry was joined on the one hand Aristotle's group the trivium history instrumental sciences the other hand Renaissance theorists sense never abandoned this classification although the

in

different groupings and combina with poetry appear tions Throughout the sixteenth century find systems modeled this essentially medieval pattern on

.

.

we

sciences associated

to

),

,

In

of

on

hierarchy

their the basis definitely among the discursive

a

,

and sophistic and arranged with them relationship the truth.1 This placed

it in

,

,

.

so

(

as

For some Renaissance theorists such Bartolomeo Lombardi the classifying poetry was Averroës Averroës source and authority for they found poetry grouped with demonstrative logic dialectic rhetoric

[ 2 ]

.

,

,

se of

in

”,

;

so

in in

: "

,

Pt .

), 1,

,

(

“

in

.

I

of 1

no

single passage Averroës making this complete association and hierarchy have found combined various scattered places individual arts are the various arts mentioned But Aristotle trans Mantinus the Venice edition libros posteriorum cf. the Prooemium IIA 9-9v Ad reliquas vero quinque artes habet verè veluti dominus luntas 1574

AMONG

POETICS

SCIENCES

THE

sciences . Such early humanists as Coluccio Salutati had also , in passing , placed it among these sciences ; in his De laboribus Herculis , begun between 1383 and 1391 and left unfinished at his death in 1406 , Salutati character

ized poetics as a “ sermocinalis philosophie pars ,” a part of the branch of philosophy concerned with words.2 By the time we come to the later humanists , this particular branch has been fitted into more comprehensive views of the whole of philosophy . Thus Angelo Poliziano in the Panepiste , sets out to find a general scheme for doctrine into three the sciences treated in Aristotle's works . He divides philosophy and the mixed the invented kinds the inspired theology Philosophy the following way then subdivided divination Spectativa

De Anima Mathematicae

all

:

).

is

in (

(

,

(

1498

),

of

),

mon , printed in the Opera

Actualis

Rationalis

Mores Ethica

Grammatica

Historia Dialectica

Economica

Arithmetica Musica

Rhetorica

Politica Agricultura

Geometria Sphaerica

Poetica

Pastio Venatio

Calculatoria Geodesia Canonice

Architectura Grafice

Astrologia

Coquinaria

Optica

Teatricae

Mecanica

Etc.

to

is

" )

is

)

"

("

("

is

.”

as

. "

it is

“

,

to

:

be

is

is

)

"

,

,

,

to

as

,

music which comes under mathematics and graphics which belong the practical sciences and

,

)

);

(

"

to

such

architecture and

(

arts

"

"

creative

"

,

"

"

or

res

,

as

"

"

,

“

to

"

a

(“

,

In

spectativa one which science this system the contemplative given considers materia the practical actualis one which leads useful activity and the rational rationalis one which iudicat narrat demonstrat suadet oblectat Apparently one take referring specifically poetics the oblectat Poetica Insofar dissociated from other first noted two things need concerned

II,

" ; :

:

:

in

,

sit

,

,

, & 13 : “

, , .p

.

,

,

ad

, ac in

I

.

&

,

in

sic

,

& &

"

est

,

In

."

on ,

,

vt

,

&

ad

proportio illius cui subministratur ipsum seruum adinuentae enim suos subiectos quam hçc pars nobis tradit nempe sunt illae artes inseruiant scientiae demonstratiuae quod per persuasionem dialecticam vel rhetoricam persuadetur aut per fictionem poeticam fingitur Also the commentary Bk the same edition Potest tamen haec genera definitionum partes definitionum enuntiatio complecti quinque artes logicas and the libros rhetoricorum Aristotelis paraphrases trans Balmes same edition 73v quòd vnoquoque istorum generum orationis species rhetorica species manifestum topica species demonstratiua species sophistica qui sicut reperiuntur his artibus de

), is “

to a

.

by a '

". A

& :

( ,

by

[ 3 ]

.

viii

-

vii

.pp

also Introduction

,

17 ;

Ullman

, I,

B.

ed .

26 ).

De laboribus Herculis

,

2

” ( .p

,

)

(

to of

,

'

of

of

of in

syllogismus enthymema rhetorica reperiuntur exemplum 1522 volume logical works Averroës paraphrases Aristotle containing also Abram Balmes translation the Averroës paraphrase the Poetics Venice De Sabio followed separate section dated 1523 devoted the Epithoma Auerroys omnium librorum logice After treating other logical works the Epithoma passes section entitled De orationibus poeticis inductio

POETIC

THEORY

with the three members of the medieval trivium logic , grammar , and rhetoric — and with history . In a later passage , Poliziano places the poet close to the orator : " For the poet is very close to second , it is associated

Mathematica

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1531

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).

Quippe finitimus oratori poeta Cicero uoted from Cicero uerbis licentior Oratore xvi Analytica licet moralis philosophie instrumentum : “

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Accademia degl'Infiammati Padua the the Poetics Lombardi died soon there Maggi but the first lecture was printed after and the series was given preface by Maggi Aristotelis librum his and Lombardi's Lombardi exordium

POETICS

AMONG

THE SCIENCES

his authority for placing poetry among the logical and rational sciences ; it logic , dialectic , sophistic , and rhetoric certain shares with demonstrative

common qualities :

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,

,

its

.

all .

neither do they have a specific thing as their subject matter , but only words and discourse , nor do they consist in one specific genus but introduce themselves into These are their common characteristics As for the particular and distinct ones demonstration and two companions dialectic and sophistic are called

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:

;

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POETIC

THEORY

Robortello's In librum Aristotelis de arte poetica ( 1548 ) we return to the position of Lombardi ( whose preface was published two years later ) ; the classification is the same , although some of the reasons are different . Robortello's point of view is stated in his own preface , before the commentary on Aristotle actually begins :

With Francesco

is

,

it

material

all

Discourse is placed under the poetic faculty as

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.