Ancient Literary Criticism (Oxford Readings in Classical by Andrew Laird

By Andrew Laird

The amount makes broadly on hand a few vital scholarship at the canonical texts of old rhetoric and poetics. whereas there are various experiences of normal tendencies in classical feedback, this assortment deals direct discussions of fundamental assets, which supply an invaluable better half to the Russell and Winterbottom anthology, historic Literary feedback. the quantity incorporates a chronology, feedback for additional examining, a brand new translation of Bernays' 1857 essay on katharsis, and a massive introductory bankruptcy addressing the stress in historic literary feedback among its position within the classical culture and its position in modern endeavors to reconstruct old tradition.

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G. R. E. M. Harding, An Anatomy of Inspiration¤ (Cambridge, 1942); B. Ghiselin, The Creative Process (Berkeley, 1952); J. Press, The Fire and the Fountain (London, 1966); P. E. ), Creativity (London, 1970), 53–88; K. ), Writers at Work (Penguin, 1972). g. C. Day Lewis’s account in The Listener, 28 April, 1966: ‘For me, at any rate, “inspiration” is the moment when some phrase comes to me out of the blue and oVers itself as a seed from which a poem may grow. ’ 40 Penelope Murray subsequent composition of the poem depends on conscious eVort and hard work.

It may well seem as if any attempt to systematize criticism is bound to be doomed from the start. However, the totality of theories that can be distilled from the divergent practices of critics ever since antiquity may actually be reduced to four basic conceptions of literature. This schema is very rough of course; it is meant to be practically helpful rather than theoretically watertight:flfl (i) Representational: Literary productions can be conceived, and evaluated, in terms of the world or reality they presuppose, represent, or construct.

W. Lee, Ut Pictura Poesis: The Humanistic Theory of Painting (New York, 1967); N. Schweizer, The Ut Pictura Poesis Controversy in Eighteenth-Century England and Germany (Frankfurt am Main, 1972). °‹ Cicero, Orator 8–9. The Value of Ancient Criticism 35 Neoplatonic doctrine that poetry imitates a divine archetype, and not a material model, came to elevate the status of poetry (and, by implication, the status of literature in general). °› Consider, too, the following observation by a Renaissance humanist.

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