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The charge was refuted, but not until his papers had been seized and himself imprisoned. This disgusted him with Bologna, and he returned to Padua in 1564. There he applied all his faculties to the accomplishment of his epic poem; collected immense materials from the chronicles of the Crusades; and wrote, to exercise his critical powers, the "Discorsi" and the "Trattato sulla Poesia."
It cannot well be maintained that Cervantes had been impressed by Luis de Leon's Latin treatises, by De los nombres de Cristo, and by La perfecta casada. The Canto de Caliope records the names of those only whom Cervantes considered to be eminent poets masters en la alegre sciencia dela poesia and hence it is to the poet that he refers when he writes in his 84th stanza: IV Luis sin pena.
"Non fu sì santo nè benigno Augusto Come la tuba di Virgilio suona: L'aver avuto in poesia buon gusto La proscrizion iniqua gli perdona. Nessun sapria se Neron fosse ingiusto, Nè sua fama saria forse men buona, Avesse avuto e terra e ciel nimici, Se gli scrittor sapea tenersi amici.
Now it may be hoped that the self-indulgent sprawlers of Poesia have put a name once and for all to their philosophy. In the case of their philosophy, to put a name to it is to put an end to it. Yet their philosophy has been very widespread in our time; it could hardly have been pointed and finished except by this perfect folly. Now, it is entirely weak and half-witted to appeal to the future.
We must not be misled by his exclusive references to poesia, as closer observation shows that he means thereby the whole mental activity of the poet-scholars.
So set fire to the shelves of libraries! Deviate the course of canals to flood the cellars of museums! Seize pickaxes and hammers! Sap the foundations of the antique cities! "We stand upon the summit of the world and once more we cast our challenge to the stars." Thus F. T. Marinetti, editor of Poesia.
"Non fu si santo ni benigno Augusto, Come la tuba di Virgilio suona; L'haver havuto in poesia buon gusto, La proscrittione iniqua gli pardona." But heroic poetry is not of the growth of France, as it might be of England if it were cultivated. Spenser wanted only to have read the rules of Bossu, for no man was ever born with a greater genius or had more knowledge to support it.
That the aim of the artist was not a very high one, or this poesia very near to his heart, is demonstrated by the amusingly material fashion in which he recommends it to his royal patron. He says that "if in the Danaë the forms were to be seen front-wise, here was occasion to look at them from a contrary direction a pleasant variety for the ornament of a Camerino."
When, in 1546, Cosimo, Duke of Florence, ordered all prostitutes to wear a yellow veil or handkerchief as a public badge of their profession, Tullia appealed to the Duchess, a Spanish lady of high character, and received permission to dispense with this badge on account of her "rara scienzia di poesia et filosofia." She dedicated her Rime to the Duchess.
These two treatises of Guarini's were reprinted with alterations as the Compendio della poesia tragicommica, in the 1602 edition of the play, and together with the notes to the same edition form Guarini's own share of the controversy . But in 1600, before these had appeared, a Paduan, Faustino Summo, published a set attack on and dissection of the play; while a certain Giovan Pietro Malacreta of Vicenza illustrated the attitude of the age with regard to literature by putting forward a series of critical dubbî, that is, doubts as to the 'authority' of the form employed.
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