The beginnings[19]
Savonarola[20]
Pico, &c.[22]
Politian[23]
The Manto[24]
The Ambra and Rusticus[25]
The Nutricia[25]
Their merits[26]
And danger[26]
Petrus Crinitus: his De Poetis Latinis[27]
Augustinus Olmucensis: his Defence of Poetry[27]
Paradoxical attacks on it by Cornelius Agrippa, Landi, Berni[28]
Vida[29]
Importance of the Poetics[30]
Analysis of the piece[30]
Essential poverty of its theory[34]
Historical and symptomatic significance[34]
The alleged appeal to reason and Nature[35]
The main stream started[37]
Trissino[38]
Division of his Poetic[39]
His critical value[40]
Editors, &c., of the Poetics[41]
Pazzi[41]
Robortello, Segni, Maggi, Vettori[42]
Theorists: Daniello[42]
Fracastoro[44]
Formalists: Mutio. Tolomei and classical metres[46]
Others: Tomitano, Lionardi, B. Tasso, Capriano[47]
Il Lasca[48]
Bembo[49]
Caro[49]
Varchi[49]
Minturno[51]
The De Poeta[52]
The Arte Poetica[55]
Their value[57]
Giraldi Cinthio’s Discorsi[58]
On Romance[58]
On Drama[59]
Some points in both[59]
On Satire[61]
Pigna[62]
Lilius Giraldus: his De Poetis Nostrorum Temporum[63]
Its width of range[64]
But narrowness of view[64]
Horror at preference of vernacular to Latin[64]
Yet a real critic in both kinds[65]
Short précis of the dialogues[66]
Their great historic value[68]

CHAPTER III.

SCALIGER, CASTELVETRO, AND THE LATER ITALIAN CRITICS OF THE SIXTEENTH CENTURY.

Julius Cæsar Scaliger[69]
The Poetic[70]
Book I.: Historicus[71]
Book II.: Hyle[72]
Books III. and IV.: Idea and Parasceve[73]
Books V. and VI.: Criticus and Hypercriticus[73]
Book VII.: Epinomis[75]
General ideas on Unity and the like[76]
His Virgil-worship[77]
His solid merits[78]
Castelvetro[80]
The Opere Varie[81]
The Poetica[82]
On Dramatic conditions[83]
On the Three Unities[83]
On the freedom of Epic[84]
His eccentric acuteness[84]
Examples: Homer’s nodding, prose in tragedy, Virgil, minor poetry[86]
The medium and end of Poetry[86]
Uncompromising championship of Delight[87]
His exceptional interest and importance[88]
Tasso and the controversies over the Gerusalemme[89]
Tasso’s Critical writings[92]
And position[93]
Patrizzi: his Poetica[94]
The Deca Istoriale[95]
The Deca Disputata[96]
The Trimerone on Tasso[100]
Remarkable position of Patrizzi[101]
Sed contra mundum[101]
The latest group of sixteenth-century Critics[102]
Partenio[102]
Viperano[103]
Piccolomini[103]
Gilio[104]
Mazzoni[105]
Denores[106]
Zinano[107]
Mazzone da Miglionico, &c.[107]
Summo[108]

CHAPTER IV.

THE CRITICISM OF THE PLÉIADE.

The Rhetorics of the Transition[109]
Sibilet[111]
Du Bellay[112]
The Défense et Illustration de la Langue Française[113]
Its positive gospel and the value thereof[114]
The Quintil Horatien[116]
Pelletier’s Art Poétique[117]
Ronsard: his general importance[119]
The Abrégé de l’Art Poétique[120]
The Prefaces to the Franciade[122]
His critical gospel[125]
Some minors[127]
Pierre de Laudun[127]
Vauquelin de la Fresnaye[128]
Analysis of his Art Poétique[129]
The First Book[130]
The Second[130]
The Third[132]
His exposition of Pléiade criticism[133]
Outliers: Tory, Fauchet, &c.[134]
Pasquier: The Recherches[135]
His knowledge of older French literature[136]
And criticism of contemporary French poetry[137]
Montaigne: his references to literature[138]
The Essay On Books[140]