A History of Literary Criticism in the Renaissance - LightNovelsOnl.com
You're reading novel online at LightNovelsOnl.com. Please use the follow button to get notifications about your favorite novels and its latest chapters so you can come back anytime and won't miss anything.
[64] Fracastoro, i. 335 _sq._
[65] _Cf._ Castelvetro, _Poetica_, p. 27 _sq._
[66] _Rhet._ i. 11.
[67] _Cf._ A. Segni, 1581, cap. i.
[68] Varchi, p. 227 _sq._
[69] Capriano, cap. ii.
[70] Lionardi, p. 43 _sq._
[71] _Lettere_, ii. 525.
[72] Scaliger, _Poet._ i. 2.
[73] _Defense_, pp. 10, 11.
[74] _De Poeta_, p. 53 _sq._
[75] Castelvetro, _Poetica_, p. 23 _sq._
[76] _Ibid._ p. 190.
[77] _Cf._ T. Ta.s.so, xi. 51.
[78] _Poetica_, p. 158.
[79] _Poetica_, p. 191.
[80] _Ars Poet._ 333.
[81] Butcher, p. 185.
[82] Daniello, p. 25.
[83] _Ibid._ p. 40.
[84] Fracastoro, i. 363.
[85] Scaliger, _Poet._ vi. ii. 2.
[86] _De Poeta_, p. 102. _Cf._ Scaliger, _Poet._ iii. 96.
[87] _De Poeta_, p. 11.
[88] _Essay of Dramatic Poesy_, p. 104.
[89] _De Poeta_, p. 79.
[90] _Oeuvres_, vii. 318.
[91] _Works_, i. 333.
[92] _Prose Works_, iii. 118.
[93] _Characteristicks_, 1711, i. 207.
[94] H. C. Robinson, _Diary_, May 29, 1812, "Coleridge talked of the impossibility of being a good poet without being a good man."
[95] _Defence of Poetry_, p. 42.
[96] Minturno plainly says as much, _De Poeta_, p. 105.
[97] _Geog._ i. ii. 5, as cited by Shaftesbury.
[98] _Lettere_, ii. 195.
[99] _Essay of Dramatic Poesy_, p. 104.
[100] _Cf._ Piccolomini, p. 369.
[101] Castelvetro, _Poetica_, p. 505. _Cf._ Twining, ii. 449, 450.
[102] _Poetica_, p. 29.
[103] Posnett, cited by Cook, p. 247.
[104] _Opere_, viii. 26 _sq._
[105] _Ibid._ ix. 123.
[106] _Ibid._ xii. 13.
[107] _Ibid._ xi. 50.
[108] _Ibid._ xii. 212.
CHAPTER III
THE THEORY OF THE DRAMA
ARISTOTLE'S definition of tragedy is the basis of the Renaissance theory of tragedy. That definition is as follows: "Tragedy is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narration; through pity and fear effecting the proper _katharsis_ or purgation of these emotions."[109]