The Preface to Aristotle's Art of Poetry
By Samuel Holt Monk and André Dacier
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The Preface to Aristotle's Art of Poetry - Samuel Holt Monk
Project Gutenberg's The Preface to Aristotle's Art of Poetry, by Andre Dacier
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Title: The Preface to Aristotle's Art of Poetry
Author: Andre Dacier
Editor: Samuel Holt Monk
Release Date: July 30, 2009 [EBook #29547]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK PREFACE--ARISTOTLE'S POETRY ***
Produced by Chris Curnow, Stephanie Eason, Joseph Cooper
and the Online Distributed Proofreading Team at
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The Augustan Reprint Society
A. DACIER
THE PREFACE TO ARISTOTLE'S
ART OF POETRY
(1705)
Publication Number 76
William Andrews Clark Memorial Library
University of California
Los Angeles
1959
INTRODUCTION
André Dacier's Poëtique d'Aristote Traduite en François avec des Remarques was published in Paris in 1692. His translation of Horace with critical remarks (1681-1689) had helped to establish his reputation in both France and England. Dryden, for example, borrowed from it extensively in his Discourse Concerning the Original and Progress of Satire (1693). No doubt this earlier work assured a ready reception and a quick response to the commentary on Aristotle: how ready and how quick is indicated by the fact that within a year of its publication in France Congreve could count on an audience's recognizing a reference to it. In the Double Dealer (II, ii) Brisk says to Lady Froth: "I presume your ladyship has read Bossu?" The reply comes with the readiness of a cliché: "O yes, and Rapine and Dacier upon Aristotle and Horace." A quarter of a century later Dacier's reputation was still great enough to allow Charles Gildon to eke out the second part of his Complete Art of Poetry (1718) by translating long excerpts from the Preface to the admirable
Dacier's Aristotle.[1] Addison ridiculed the pedantry of Sir Timothy Tittle (a strict Aristotelian critic) who rebuked his mistress for laughing at a play: But Madam,
says he, "you ought not to have laughed; and I defie any one to show me a single rule that you could laugh by.... There are such people in the world as Rapin, Dacier, and several others, that ought to have spoiled your mirth.[2] But the scorn is directed at the pupil, not the master, whom Addison considered a
true critic."[3] A work so much esteemed was certain to be translated, and so in 1705 an English version by an anonymous translator was published.
It cannot be claimed that Dacier's Aristotle introduced any new critical theories into England. Actually it provides material for little more than an extended footnote on the history of criticism in the Augustan period. Dacier survived as an influence only so long as did a respect for the rules; and he is remembered today merely as one of the historically important interpreters—or misinterpreters—of the Poetics.[4] He was, however, the last Aristotelian formalist to affect English critical theory, for the course of such speculation in the next century was largely determined by other influences. None the less, his preface and his commentary are worth knowing because they express certain typically neo-classical ideas about poetry, especially dramatic poetry, which were acceptable to many men in