Imitation (11-13) is common, natural, even necessary, in spite of objectors and of Pico’s assertion that what we should follow is the idea, not the form. We may imitate a whole subject (17), or particular sententiae, or words, changing the order, amplifying or restricting, modifying. So did the ancients (24); so Bembo imitated Petrarch (25); and Terence defended his use of Menander (28). Camillo’s topics (34) for poetical inventio are set forth with many examples. Partenio’s application seems to amount to (1) mere periphrasis, (2) concrete specification, (3) amplification.
II. The next book makes plainer that imitation is dilation, especially in the direction of sophistic show-pieces (as in the use of Catullus, 73). The book is not really distinct from I. Perhaps that explains the padding (80 seq.) with discussion of poetic diction: compounds, polysyllables, figures. It closes with a survey of Sannazaro, Pontano, Fracastoro, Vida, Navagero, and the chief of vernacular poets, Bembo (86).
III. Imitation may mean the expression of human life; but specifically it is directed toward elegance of diction (93-95), and may involve the lifting of phrases (98). The awareness of style which comes from reading should be so confirmed by imitation (105) as to insure a poetic fund (copia). Imitation of style has always been legitimate (106), but with variations (110). Boccaccio’s Ser Ciapeletto is dilated by a list of specifications (119), and concludes, as it should, with a sententia. But dilation demands also the use of topics (assontioni). These are exhibited in tabular view (123) and exemplified from Vergil, Horace, Catullus, and Petrarch.
IV. Further examples lead into mythology. Order of items in the encomium recipe may be varied (155). Imitation of passions is exemplified in Vergil’s Turnus.
V. discusses appropriateness of style (decoro) under the seven ideas of Hermogenes (175), the nine sensi, and the eight instruments.
We have also learned earlier in this confusion that art not only comes from nature, but is a surer and more definite guide (35). Better take epithets from the ancient poets than hunt for them (162). Orators must use common speech; not so poets. Poetic diction should be not only appropriate and sonorous, but remote from daily speech (80).
Partenio’s main significance is the propagation of Camillo’s doctrine of topics derived from Hermogenes[55] and transferred to poetic. Thus it exhibits the common confusion both of poetic with rhetoric and of composing with writing a theme. Its abundant examples are misapplied to show how poetry may be brought on by dilation, which belongs not to poetry, but to oratory. The whole treatise might be called an art of dilation. It has hardly anything to do with writing poetry, almost everything to do with poetifying themes.
9. SCALIGER
Julius Caesar Scaliger achieved the longest Renaissance Latin poetic (Julii Caesaris Scaligeri viri clarissimi poetices libri septem ... 1561).[56] Its complacency must have been sometimes startling even to the Renaissance. The prefatory letter to his son Sylvius is magisterial.
To this art we have applied the sanctions of philosophy, which are the executives of all nature. That for lack of them it has hardly been an art before us is evident from our discussion (iii).