This classification survived in the Aristotelian schools at Padua and elsewhere as late as Zabarella and Campanella. Zabarella, a professor of logic and later of philosophy at Padua from 1564 to 1589, explains at length Averroës's theory that poetics is a form of logic, in a treatise on the nature of logic, published in 1578.[41] He concludes that the two faculties, logic and poetics, are not instruments of philosophy in general, but only of a part of it, for they refer rather to action than to knowledge; that is, they come under Aristotle's category of efficient philosophy. They are not the instruments of useful art or of moral philosophy, the end of which is to make one's self good; but of civil philosophy, the end of which is to make others good. If it be objected that they are τῶν ἐναντίων, that is, of both good and evil, it may be answered that their proper end is good. Thus, in the Symposium, the true poet is praised; while in the Republic the poets who aim at pleasure and who corrupt their audiences are censured; and Aristotle in his definition of tragedy says that the end of tragedy is to purge the passions and to correct the morals of men (affectiones animi purgare et mores corrigere).
Even later than Zabarella, we find in the Poetica of Campanella a division of the sciences very similar to that of Savonarola and Varchi. Theology is there placed at the head of all knowledge, in accordance with the mediæval tradition, while poetics, with dialectic, grammar, and rhetoric, is placed among the logical sciences. Considering poetica as a form of philosophy, another commentator on Aristotle, Maggi (1550), takes great pains to distinguish its various manifestations. Poetica is the art of composing poetry, poesis, the poetry composed according to this art, poeta, the composer of poetry, and poema, a single specimen of poetry.[42] This distinction is an elaboration of two passages in Plutarch and Aphthonius.
II. Poetry as an Imitation of Life
In the second place, according to the passage from Strabo cited at the beginning of this chapter, poetry introduces us early to life, or, in other words, its subject is human action, and it is what Aristotle calls it, an imitation of human life. This raises two distinct problems. First, what is the meaning of imitation? and what in life is the subject-matter of this imitation?
The conception of imitation held by the critics of the Renaissance was that expressed by Aristotle in the ninth chapter of the Poetics. The passage is as follows:—
"It is evident from what has been said that it is not the function of the poet to relate what has happened, but what may happen,—what is possible according to the law of probability or necessity. The poet and the historian differ not by writing in verse or in prose. The work of Herodotus might be put into verse, and it would still be a species of history, with metre no less than without it. The true difference is that one relates what has happened, the other what may happen. Poetry, therefore, is a more philosophical and a higher thing than history; for poetry tends to express the universal, history the particular. The universal tells us how a person of given character will on occasion speak or act, according to the law of probability or necessity; and it is this universality at which poetry aims in giving expressive names to the characters."
In this passage Aristotle has briefly formulated a conception of ideal imitation which may be regarded as universally valid, and which, repeated over and over again, became the basis of Renaissance criticism.
In the Poetica of Daniello (1536), occurs the first allusion in modern literary criticism to the Aristotelian notion of ideal imitation. According to Daniello, the poet, unlike the historian, can mingle fictions with facts, because he is not obliged, as is the historian, to describe things as they actually are or have been, but rather as they ought to be; and it is in this that the poet most differs from the historian, and not in the writing of verses; for even if Livy's works were versified, they would still be histories as before.[43] This is of course almost a paraphrase of the passage in Aristotle; but that Daniello did not completely understand the ideal element in Aristotle's conception is shown by the further distinction which he draws between the historian and the poet. For he adds that the poet and the historian have much in common; in both there are descriptions of places, peoples, laws; both contain the representation of vices and virtues; in both, amplification, variety, and digressions are proper; and both teach, delight, and profit at the same time. They differ, however, in that the historian, in telling his story, recounts it exactly as it happened, and adds nothing; whereas the poet is permitted to add whatever he desires, so long as the fictitious events have all the appearance of truth.
Somewhat later, Robortelli treats the question of æsthetic imitation from another point of view. The poet deals with things as they ought to be, but he can either appropriate actual fact, or he can invent his material. If he does the former, he narrates the truth not as it really happened, but as it might or ought to happen; while if he invents his material, he must do so in accordance with the law of possibility, or necessity, or probability and verisimilitude.[44] Thus Xenophon, in describing Cyrus, does not depict him as he actually was, but as the best and noblest king can be and ought to be; and Cicero, in describing the orator, follows the same method. From this it is evident that the poet can invent things transcending the order of nature; but if he does so, he should describe what might or ought to have been.
Here Robortelli answers a possible objection to Aristotle's statement that poets deal only with what is possible and verisimilar. Is it possible and verisimilar that the gods should eat ambrosia and drink nectar, as Homer describes, and that such a being as Cerberus should have several heads, as we find in Virgil, not to mention various improbable things that occur in many other poets? The answer to such an objection is that poets can invent in two ways. They can invent either things according to nature or things transcending nature. In the former case, these things must be in keeping with the laws of probability and necessity; but in the latter case, the things are treated according to a process described by Aristotle himself, and called paralogism, which means, not necessarily false reasoning, but the natural, if quite inconclusive, logical inference that the things we know not of are subject to the same laws as the things we know. The poets accept the existence of the gods from the common notion of men, and then treat all that relates to these deities in accordance with this system of paralogism. In tragedy and comedy men are described as acting in accordance with the ordinary occurrences of nature; but in epic poetry this is not entirely the case, and the marvellous is therefore admitted. Accordingly, this marvellous element has the widest scope in epic poetry; while in comedy, which treats of things nearest to our own time, it ought not to be admitted at all.