Poetry and Poetic Theory in the Italian Renaissance

Abstract

Literary criticism in the Italian Renaissance is so vast, so rich, and so fascinating a subject in literary history that one might conceivably devote oneself extensively and exclusively to its study, without considering any related literary problems. Its vastness, in fact, residing in the many hundreds of books and pamphlets and manuscripts that constitute its bibliography, could profitably engage many experts for many years. Its richness would be completely satisfying: any curiosity about poetic theory or practical criticism, about attitudes towards the art, or about judgements of works would be abundantly rewarded. And its fascination would lie in the discovery that during this sixteenth century in Italy, and in the seemingly parochial area of literary criticism, we encounter one of those rare moments in intellectual history when every aspect of an important question is investigated—even if all the useful answers may not be found. I mean merely that we may discern, here, the source and the bases not only of all those critical postures that were to be taken by Europeans during the succeeding centuries, but also of many of our own ways of thinking about literature.