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Updated: May 28, 2025
It was to save the poets from such attacks that Aristotle asserts that poetry deals with the universal, not with the particular. Or, as Spingarn explains his meaning, "Poetry has little regard for the actuality of specific event, but aims at the reality of an eternal probability." The Influence of Rhetoric
The Thomistic philosophy which included rhetoric and poetic in logic, whereas Aristotle had classified the three arts as coördinate within the same category, seems, says Spingarn, "to have been accepted by the scholastic philosophers of the middle ages."
"The first stage of English Criticism," say Spingarn, "was entirely given up to rhetorical study." In his period he includes Cox and Wilson, the rhetoricians, and Ascham, the scholar.
a faculty of finding out whatsoever is accommodated to the imitation of actions, passions, customs, in rhythmical language, for the purpose of correcting the vices of men and causing them to live good and happy lives. The same definition, derived as Spingarn has shown from the same sources, was formulated by Varchi.
Spingarn has carefully traced the introduction of the theories of poetry formulated by the Italian critics into England at the end of the sixteenth century.
Now in the English middle ages, prosody had consistently been treated as a part of grammar, following the classical tradition; but in France prosody had regularly been discussed in treatises bearing the name of rhetoric. As Spingarn has shown, this tradition of the French middle ages persisted in the works of Du Bellay and Ronsard, whose works in turn inspired Gascoigne.
J.E. Spingarn, once belonged to some eighteenth century owner, who wrote Defoe's name upon it. I was led by the advertisement mentioned above to seek the pamphlet, thinking it might be Defoe's; but I failed to secure a sight of it until Professor Spingarn asked me whether in my opinion the ascription to Defoe was warranted, and produced his copy.
Spingarn as much as we please on his general dogmatic principle of the identity of genius and taste; here we have so admirable an example of what he means by creative criticism, that it is a pity he did not think of it himself. "For it still remains true," says Mr.
Spingarn calls attention to a similar distinction in the Lezione of Benedetto Varchi.
Moreover, as Spingarn has pointed out, there was a tendency in the renaissance for the classical theories of poetry to be accepted as rules which must be followed by those who would compose poetry. If a poet followed these rules and modeled his poem on great poems of classical antiquity, some critics suggested, he could not go far wrong.
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