A History of Literary Criticism in the Renaissance Part 3

III. _The Function of Poetry_

According to Strabo, it will be remembered, the object or function of poetry is pleasurable instruction in reference to character, emotion, action. This occasions the inquiry as to what is the function of the poetic art, and, furthermore, what are its relations to morality. The starting-point of all discussions on this subject in the Renaissance was the famous verse of Horace:--

"Aut prodesse volunt aut delectare poetae."[80]

This line suggests that the function of poetry may be to please, or to instruct, or both to please and instruct; and every one of the writers of the Renaissance takes one or other of these three positions.

Aristotle, as we know, regarded poetry as an imitation of human life, for the purpose of giving a certain refined pleasure to the reader or hearer. "The end of the fine arts is to give pleasure ([Greek: pros hedonen]), or rational enjoyment ([Greek: pros diagogen])."[81] It has already been said that poetry, in so far as it is an imitation of human life, and attempts to be true to human life in its ideal aspects, must fundamentally be moral; but to give moral or scientific instruction is in no way the end or function of poetry. It will be seen that the Renaissance was in closer accord with Horace than with Aristotle, in requiring for the most part the _utile_ as well as the _dulce_ in poetry.

For Daniello, one of the earliest critical writers of the century, the function of the poet is to teach and delight. As the aim of the orator is to persuade, and the aim of the physician to cure, so the aim of the poet is equally to teach and delight; and unless he teaches and delights he cannot be called a poet, even as one who does not persuade cannot be called an orator, or one who does not cure, a physician.[82] But beyond profitableness and beauty, the poet must carry with him a certain persuasion, which is one of the highest functions of poetry, and which consists in moving and affecting the reader or hearer with the very pa.s.sions depicted; but the poet must be moved first, before he can move others.[83] Here Daniello is renewing Horace's

"Si vis me flere, dolendum est Primum ipsi tibi,"--

a sentiment echoed by poets as different as Vauquelin, Boileau, and Lamartine.

Fracastoro, however, attempts a deeper a.n.a.lysis of the proper function of the poetic art. What is the aim of the poet? Not merely to give delight, for the fields, the stars, men and women, the objects of poetic imitation themselves do that; and poetry, if it did no more, could not be said to have any reason for existing. Nor is it merely to teach and delight, as Horace says; for the descriptions of countries, peoples, and armies, the scientific digressions and the historical events, which const.i.tute the instructive side of poetry, are derived from cosmographers, scientists, and historians, who teach and delight as much as poets do. What, then, is the function of the poet? It is, as has already been pointed out, to describe the essential beauty of things, to aim at the universal and ideal, and to perform this function with every possible accompaniment of beautiful speech, thus affecting the minds of men in the direction of excellence and beauty. Portions of Fracastoro's argument have been alluded to before, and it will suffice here to state his own summing up of the aim of the poet, which is this, "Delectare et prodesse imitando in unoquoque maxima et pulcherrima per genus dicendi simpliciter pulchrum ex convenientibus."[84] This is a mingling of the Horatian and Platonic conceptions of poetic art.

By other critics a more practical function was given to poetry. Giraldi Cintio a.s.serts that it is the poet's aim to condemn vice and to praise virtue, and Maggi says that poets aim almost exclusively at benefiting the mind. Poets who, on the contrary, treat of obscene matters for the corruption of youth, may be compared with infamous physicians who give their patients deadly poison in the guise of wholesome medicine. Horace and Aristotle, according to Maggi, are at one on this point, for in the definition of tragedy Aristotle ascribes to it a distinctly useful purpose, and whatever delight is obtainable is to be regarded as a result of this moral function; for Maggi and the Renaissance critics in general would follow the Elizabethan poet who speaks of "delight, the fruit of virtue dearly loved." Muzio, in his versified _Arte Poetica_ (1555), regards the end of poetry as pleasure and profit, and the pleasurable aim of poetry as attained by variety, for the greatest poems contain every phase of life and art.

It has been seen that Varchi cla.s.sed poetry with rational philosophy.

The end of all arts and sciences is to make human life perfect and happy; but they differ in their modes of producing this result.

Philosophy attains its end by teaching; rhetoric, by persuasion; history, by narration; poetry, by imitation or representation. The aim of the poet, therefore, is to make the human soul perfect and happy, and it is his office to imitate, that is, to invent and represent, things which render men virtuous, and consequently happy. Poetry attains this end more perfectly than any of the other arts or sciences, because it does so, not by means of precept, but by means of example. There are various ways of making men virtuous,--by teaching them what vice is and what virtue is, which is the province of ethics; by actually chastising vices and rewarding virtues, which is the province of law; or by example, that is, by the representation of virtuous men receiving suitable rewards for their virtue, and of vicious men receiving suitable punishments, which is the province of poetry. This last method is the most efficacious, because it is accompanied by delight. For men either can not or will not take the trouble to study sciences and virtues--nay, do not even like to be told what they should or should not do; but in hearing or reading poetic examples, not only is there no trouble, but there is the greatest delight, and no one can help being moved by the representation of characters who are rewarded or punished according to an ideal justice.

For Varchi, then, as for Sir Philip Sidney later, the high importance of poetry is to be found in the fact that it teaches morality better than any other art, and the reason is that its instrument is not precept but example, which is the most delightful and hence the most efficacious of all means. The function of poetry is, therefore, a moral one, and it consists in removing the vices of men and inciting them to virtue. This twofold moral object of poetry--the removal of vices, which is pa.s.sive, and the incitement to virtue, which is active--is admirably attained, for example, by Dante in his _Divina Commedia_; for in the _Inferno_ evil men are so fearfully punished that we resolve to flee from every form of vice, and in the _Paradiso_ virtuous men are so gloriously rewarded that we resolve to imitate every one of their perfections. This is the expression of the extreme view of poetic justice; and while it is in keeping with the common sentiment of the Renaissance, it is of course entirely un-Aristotelian.

Scaliger's point of view is in accord with the common Renaissance tradition. Poetry is imitation, but imitation is not the end of poetry.

Imitation for its own sake--that is, art for art's sake--receives no encouragement from Scaliger. The purpose of poetry is to teach delightfully (_docere c.u.m delectatione_); and, therefore, not imitation, as Aristotle says, but delightful instruction, is the test of poetry.[85] Minturno (1559) adds a third element to that of instruction and of delight.[86] The function of poetry is not only to teach and delight, but also to move, that is, beyond instruction and delight the poet must impel certain pa.s.sions in the reader or hearer, and incite the mind to admiration of what is described.[87] An ideal hero may be represented in a poem, but the poem is futile unless it excites the reader to admiration of the hero depicted. Accordingly, it is the peculiar office of the poet to move admiration for great men; for the orator, the philosopher, and the historian need not necessarily do so, but no one who does not incite this admiration can really be called a poet.

This new element of admiration is the logical consequence of the Renaissance position that philosophy teaches by precept, but poetry by example, and that in this consists its superior ethical efficacy. In Seneca's phrase, "longum iter per praecepta, breve per exempla." If poetry, therefore, attains its end by means of example, it follows that to arrive at this end the poet must incite in the reader an admiration of the example, or the ethical aim of poetry will not be accomplished.

Poetry is more than a mere pa.s.sive expression of truth in the most pleasurable manner; it becomes like oratory an active exhortation to virtue, by attempting to create in the reader's mind a strong desire to be like the heroes he is reading about. The poet does not tell what vices are to be avoided and what virtues are to be imitated, but sets before the reader or hearer the most perfect types of the various virtues and vices. It is, in Sidney's phrase (a phrase apparently borrowed from Minturno), "that feigning notable images of virtues, vices, or what else, with that delightful instruction, which must be the right describing note to know a poet by." Dryden, a century later, seems to be insisting upon this same principle of admiration when he says that it is the work of the poet "to affect the soul, and excite the pa.s.sions, and above all to move admiration, which is the delight of serious plays."[88]

But Minturno goes even further than this. If the poet is fundamentally a teacher of virtue, it follows that he must be a virtuous man himself; and in pointing this out, Minturno has given the first complete expression in modern times of the consecrated conception of the poet's office. As no form of knowledge and no moral excellence is foreign to the poet, so at bottom he is the truly wise and good man. The poet may, in fact, be defined as a good man skilled in language and imitation; not only ought he to be a good man, but no one will be a good poet unless he is so.[89] This conception of the moral nature of the poet may be traced henceforth throughout modern times. It is to be found in Ronsard[90] and other French and Italian writers; it is especially noticeable in English literature, and is insisted on by Ben Jonson,[91] Milton,[92]

Shaftesbury,[93] Coleridge,[94] and Sh.e.l.ley.[95] In this idea Plato's praise of the philosopher, as well as Cicero's and Quintilian's praise of the orator, was by the Renaissance transferred to the poet;[96] but the conception itself goes back to a pa.s.sage in Strabo's _Geography_, a work well known to sixteenth-century scholars. This pa.s.sage is as follows:--

"Can we possibly imagine that the genius, power, and excellence of a real poet consist in aught else than the just imitation of life in formed discourse and numbers? But how should he be that just imitator of life, whilst he himself knows not its measures, nor how to guide himself by judgment and understanding? For we have not surely the same notion of the poet's excellence as of the ordinary craftsman's, the subject of whose art is senseless stone or timber, without life, dignity, or beauty; whilst the poet's art turning princ.i.p.ally on men and manners, he has his virtues and excellence as poet naturally annexed to human excellence, and to the worth and dignity of man, insomuch that it is impossible he should be a great and worthy poet who is not first a worthy and good man."[97]

Another writer of the sixteenth century, Bernardo Ta.s.so, tells us that in his poem of the _Amadigi_ he has aimed at delight rather than profitable instruction.[98] "I have spent most of my efforts," he says, "in attempting to please, as it seems to me that this is more necessary, and also more difficult to attain; for we find by experience that many poets may instruct and benefit us very much, but certainly give us very little delight." This agrees with what one of the sanest of English critics, John Dryden (1668), has said of verse, "I am satisfied if it caused delight, for delight is the chief if not the only end of poesie; instruction can be admitted but in the second place, for poesie only instructs as it delights."[99]

It is this same end which Castelvetro (1570) ascribes to poetic art. For Castelvetro, as in a lesser degree for Robortelli also, the end of poetry is delight, and delight alone.[100] This, he a.s.serts, is the position of Aristotle, and if utility is to be conceded to poetry at all, it is merely as an accident, as in the tragic purgation of terror and compa.s.sion.[101] But he goes further than Aristotle would have been willing to go; for poetry, according to Castelvetro, is intended not merely to please, but to please the populace, in fact everybody, even the vulgar mob.[102] On this he insists throughout his commentary; indeed, as will be seen later, it is on this conception that his theory of the drama is primarily based. But it may be confidently a.s.serted that Aristotle would have willingly echoed the conclusion of Shakespeare, as expressed in _Hamlet_, that the censure of one of the judicious must o'erweigh a whole theatre of others. At the same time, Castelvetro's conception is in keeping with a certain modern feeling in regard to the meaning of poetic art. Thus a recent writer regards literature as aiming "at the pleasure of the greatest possible number of the nation rather than instruction and practical effects," and as applying "to general rather than specialized knowledge."[103] There is, then, in Castelvetro's argument this modic.u.m of truth, that poetry appeals to no specialized knowledge, but that its function is, as Coleridge says, to give a definite and immediate pleasure.

Torquato Ta.s.so, as might be expected, regards poetry in a more highly ideal sense. His conception of the function of poets and of the poetic art may be explained as follows: The universe is beautiful in itself, because beauty is a ray from the Divine splendor; and hence art should seek to approach as closely as possible to nature, and to catch and express this natural beauty of the world.[104] Real beauty, however, is not so called because of any usefulness it may possess, but is primarily beautiful in itself; for the beautiful is what pleases every one, just as the good is what every one desires.[105] Beauty is therefore the flower of the good (_quasi un fiore del buono_); it is the circ.u.mference of the circle of which the good is the centre, and accordingly, poetry, as an expression of this beauty, imitates the outward show of life in its general aspects. Poetry is therefore an imitation of human actions, made for the guidance of life; and its end is delight, _ordinato al giovamento_.[106] It must essentially delight, either because delight is its aim, or because delight is the necessary means of effecting the ethical end of art.[107] Thus, for example, heroic poetry consists of imitation and allegory, the function of the former being to cause delight, and that of the latter to give instruction and guidance in life. But since difficult or obscure conceits rarely delight, and since the poet does not appeal to the learned only, but to the people, just as the orator does, the poet's idea must be, if not popular in the ordinary sense of the word, at least intelligible to the people. Now the people will not study difficult problems; but poetry, by appealing to them on the side of pleasure, teaches them whether they will or no; and this const.i.tutes the true effectiveness of poetry, for it is the most delightful, and hence the most valuable, of teachers.[108]

Such, then, are the various conceptions of the function of poetry, as held by the critics of the Renaissance. On the whole, it may be said that at bottom the conception was an ethical one, for, with the exception of such a revolutionary spirit as Castelvetro, by most theorists it was as an effective guide to life that poetry was chiefly valued. Even when delight was admitted as an end, it was simply because of its usefulness in effecting the ethical aim.

In concluding this chapter, it may be well to say a few words, and only a few, upon the cla.s.sification of poetic forms. There were during the Renaissance numerous attempts at distinguis.h.i.+ng these forms, but on the whole all of them are fundamentally equivalent to that of Minturno, who recognizes three _genres_,--the lyric or melic, the dramatic or scenic, and the epic or narrative. This cla.s.sification is essentially that of the Greeks, and it has lasted down to this very day. With lyric poetry this essay is scarcely concerned, for during the Renaissance there was no systematic lyric theory. Those who discussed it at all gave most of their attention to its formal structure, its style, and especially the conceit it contained. The model of all lyrical poetry was Petrarch, and it was in accordance with the lyrical poet's agreement or disagreement with the Petrarchan method that he was regarded as a success or a failure. Muzio's critical poem (1551) deals almost entirely with lyrical verse, and there are discussions on this subject in the works of Trissino, Equicola, Ruscelli, Scaliger, and Minturno. But the real question at issue in all these discussions is merely that of external form, and it is with the question of principles, in so far as they regard literary criticism, that this essay is primarily concerned. The theory of dramatic and epic poetry, being fundamental, will therefore receive almost exclusive attention.

FOOT-NOTES:

[40] Robortelli, p. 1 _sq._

[41] This a.n.a.lysis of Zabarella, _Opera Logica, De Natura Logicae_, ii.

13-23, I owe to the kindness of Professor Butcher of Edinburgh.

Zabarella probably derived his knowledge of Aristotle's _Poetics_ from Robortelli, under whom he studied Greek. _Cf._ Bayle, _Dict._ s. v.

Zabarella.

[42] Maggi, p. 28 _sq._ _Cf._ B. Ta.s.so, _Lettere_, ii. 514; Scaliger, _Poet._ i. 2; Castelvetro, _Poetica_, p. 7; Salviati, Cod. Magliabech.

ii. ii. 11, fol. 384 v.; B. Jonson, _Timber_, p. 74.

[43] Daniello, p. 41 _sq._

[44] Robortelli, p. 86 _sq._

[45] Robortelli, p. 90 _sq._

[46] Fracastoro, i. 340.

[47] Fracastoro, i. 357 _sq._

[48] _Poet._ vi. 2.

[49] Varchi, p. 578.

[50] _E.g._ Piccolomini, p. 27 _sq._

[51] Tiraboschi, vii. 1331.

[52] Summo, pp. 61-69.

[53] _Poet._ iii. 95.

[54] _Poet._ i. 1.

[55] Another critic of the time, Vettori, 1560, pp. 14, 93, attacks poetic prose on the ground that in Aristotle's definition of the various poetic forms, verse is always spoken of as an essential part. It is interesting to note that the phrase "poetic prose" is used, perhaps for the first time, in Minturno, _Arte Poetica_, 1564, p. 3, etc.

[56] _Opere_, x. 254. _Cf._ Minturno, _Arte Poetica_, p. 33.

[57] _Poet._ iii. 96.

[58] Muzio, p. 69.

[59] Giraldi Cintio, i. 61.

[60] _Art Poet._ iii. 50. _Cf._ Horace, _Ars Poet._ 188.

[61] _Zodiac. Vitae_, i. 143.

[62] Butcher, pp. 117, 118.

[63] _Poet._ i. 8.