Abstract

The series of norms and considerations about the historiographic work established by Lucian in his How to Write History exercised a great influence on the genre of the ars historica in Renaissance. If Cicero’s De oratore is the main literary source for the recovery of the exemplum, Lucian’s work is often called into question in regard to issues related to the writing of the historical account, such as diction and style, brevity, syntax, as well as the qualities of a good historian. The crisis of this model of humanist historiography will be criticized by Francesco Patrizi da Cherso, in his “Della historia diece dialoghi”, published in 1560 in Venice. In the opening dialogues, Patrizi condemns the early humanists’ diligent affiliation to the auctoritates, in an endeavor to bring down the basis from which the whole preceding historiography was built. Thus, this article aims at: evincing the presence of Lucian’s work in humanist historiography; and 2) examining the sense of Patrizi’s criticism of the principles given by the “beffardo” Luciano.

Highlights

  • The series of norms and considerations about the historiographic work established by Lucian in his How to Write History exercised a great influence on the genre of the ars historica in Renaissance

  • If Cicero’s De oratore is the main literary source for the recovery of the exemplum, Lucian’s work is often called into question in regard to issues related to the writing of the historical account, such as diction and style, brevity, syntax, as well as the qualities of a good historian

  • The crisis of this model of humanist historiography will be criticized by Francesco Patrizi da Cherso, in his “Della historia diece dialoghi”, published in 1560 in Venice

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Summary

Introduction

O escrito de Luciano é também fonte de outra premissa que se tornará comum principalmente nas reflexões do segundo humanismo: a de que o fim do relato historiográfico é sua utilidade política, e não simplesmente o prazer.[7] Isso se vincula à defesa da veracidade da narração histórica por parte do autor, o que, consequentemente, o leva a estabelecer limites entre história e poesia, linguagem histórica e linguagem poética, a liberdade sóbria do historiador face à pura liberdade do poeta,[8] tornando clara a acusação que faz na primeira parte do tratado às desmedidas retóricas dos historiadores de seu tempo.

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