The <i>Ars Poetica</i>

Laird, Andrew

doi:10.1017/ccol0521830028.011

Cited by 21 publications

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“…Calboli (1995 finds that Quintilian quotes Horace for critical judgments as much as for other kinds of information, which is perhaps notable but also not surprising since Horace's poetry contains more critical judgments than most other surviving poets. Bloomer (2011), 86, andLaird (2007), 132 n.1, each briefly recognize the quotation as programmatic for Quintilian. 17.…”

Section: How and Why To Quote A Latin Poemmentioning

confidence: 99%

Rhetorical Display and Productive Dissonance in Quintilian's Quotations of Poetry

Dozier

2022

Ramus

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Among Latin rhetorical treatises and imperial writers on technical subjects, the Institutio Oratoria stands out for the sheer number of quotations of poetry that Quintilian incorporates into his discussion. Whereas Cicero's De Inuentione has 13 quotations of poetry and the Rhetorica ad Herennium 16, the index locorum in Russell's Loeb edition of the Institutio records 320 quotations from Greek and Latin poets. Despite the distinctive scale of Quintilian's engagement with poetry, scholars have not taken much interest in it, perhaps under the influence of the persistent belief that in the imperial period ‘the introduction of poetry into orations as an ornament of style’ was ‘often a useless affectation’ or that such quotations constitute mere ‘window dressing’. Early twentieth-century treatments such as that of Cole, who evaluated Quintilian's citations of poets for their ‘textual accuracy’, and Odgers, who used the relative infrequency of Quintilian's quotation of Greek literature to establish the limits of Quintilian's knowledge of Greek, set a tone of dismissiveness in relation to any question of how and why Quintilian quotes poetry as he does: Cole and Odgers attribute any ‘discrepancies’ between Quintilian's quotations and those found in the manuscripts of the poets he quoted to a (presumed) tendency to quote from memory that made him ‘rather liable to errors’. Later critics have extrapolated from their findings to attribute to Quintilian the ‘grave deficiency’ of ‘know[ing] little directly of the major Greek writers’ and to diagnose ‘intellectual stagnation’ in his engagement with Latin literature. These negative judgements are, of course, in line with the traditional assessment of Quintilian as ‘neither a great writer nor a great thinker’, one who is ‘more often belittled than understood’.

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Section: How and Why To Quote A Latin Poemmentioning

confidence: 99%

Rhetorical Display and Productive Dissonance in Quintilian's Quotations of Poetry

Dozier

2022

Ramus

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“…9 More recently, Bartsch reads the Ars as 'the main backdrop' against which Persius (especially in Satires 1 and 5) 'chooses to carve out his own programmatic path ': 10 Horace is taken to condemn the 'literal staging' of the consumption of human flesh, foreground 'onstage cannibalism as an example of bad tragic practices' 11 and, in general, 'offer guidance to composers of the high genres of epic and tragedy' by means of 'instructions for propriety in poetic composition'. 12 Lone voices aside, however, Horace's 'preoccupation with drama as a literary benchmark' is read consistently as more of a debt to 'scholarly convention and to the tastes of his 7 See primarily Brink (1963) 43-150;Russell (2006Russell ( [1973); Innes (1989) 254-67; Rudd (1989) 19-37; Kilpatrick (1990); Reinhardt (2013); Laird (2014). 8 Russell (2006Russell ( [1973) 331.…”

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“…7See primarily Brink (1963) 43–150; Russell (2006 [1973]); Innes (1989) 254–67; Rudd (1989) 19–37; Kilpatrick (1990); Reinhardt (2013); Laird (2014). …”

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INCREDVLVS ODI: HORACE AND THE SUBLITERARY AESTHETIC OF THE AUGUSTAN STAGE

Lada‐Richards

2019

Camb. class. j.

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Starting from the comparative standpoint of elite hostility to nineteenth-century British melodrama, this article posits pantomime's ‘melodramatic’ mode of exhibitionist excess as one of the missing links in the landscape against which Horace composed his Ars poetica. It suggests that lines 182–8 of the Ars that disapprove the display of death, violence and physical impossibilities on the tragic stage may be better understood as Horace's hostile response to pantomime's increasing prominence in Roman theatrical life, more precisely to the dislocation of ‘horror’ and ‘marvel’ from the realm of the ‘heard’ to that of the ‘seen’ favoured by the pantomime genre.

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Introduction: Unwriting Theatre

Worthen

2020

Humanism, Drama, and Performance

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The Ars Poetica

Cited by 21 publications

References 0 publications

Rhetorical Display and Productive Dissonance in Quintilian's Quotations of Poetry

Rhetorical Display and Productive Dissonance in Quintilian's Quotations of Poetry

INCREDVLVS ODI: HORACE AND THE SUBLITERARY AESTHETIC OF THE AUGUSTAN STAGE

Introduction: Unwriting Theatre

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