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I:n the heaven '0 f ideas" the tortoise of form alwa ys out .... , runs the hare of conten t, Here 0)1 earth things are more complicated, but here, 'too" the' tortoise regularly out.... }""'s-::1:4::': hare, For the ver two decades now, G'~fr·"Iiir·-·'d'- Genette has persi sted in formal an d, rhetorics] studies while ideological storms raged around him and, critical fashio'ns arrived 'with f3l:nfa,res and departed wirh whim .... pers ...Aft,er postsrructuralism, even after deconsrructur,_,p, __ r,;:li
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maier arncie, c: '1-'1-;---:','_' ., d b--,":: :.--,'.~:' . - .', 'secon d the ~Jor 'ticle rouoweo ,-y some .'.,-':,: "--:".:. nougn t·,'··, "- d a .0$ an" a diia 1···- -.' In.- \-V-h ich , ns ,---.-~-10','. 1'OJ.ogy ,,., c.1,I,aJlJllenge. d_' an,', --"-d-. .d ogue .;,I.~,C .. '.-', met th .. 1 - " .IS lL, 1111 '. - .. ' gently,_ defended _, .But, it_ is also. unpretentious ~ claimine _~ . _._ ~ _ __~ ~ __,_ . _,_, _., _,' . __, ." _" llg fo:"r-- - .. poetics n eith .er tru th no "fl' J!.·;n--~I[I Si"-I~'J('" worth 'W-,,~:''Lla·:''t . r'in Ge-. I. JUI, I]·: netre does claim for .= poetics is only that critici sm cannot :'-'~"":'--- :'-'1]--':'" --, with ......1t. W,,-:/~, l U.'! 'S..".O\-VS, however In th e '. '"1- '" na t h:"'-"-_-'" '::,gel aro n,g W 11aou t " ~~ow eVler, .". t. ." 't-,:' '-'.',""'" co u rs e of his disc .- on, "j.. tna t t n,e n,} sto r y 0 ·:f-",.-··--·,.-,··,· CS 'j" 0" .1.1S _- I 5,C1150S.! rs poeti ".~ is one of astonishing confusions and n1.is,pr.ision.s,~ inJ which d ':.,-}...... very ;["'0-' . rt '0' . "f: , 11-a·· 'II\"Q-- ide ---, Id· . a--1I. '- '-h, beer - re.gu, ,,' -1,···:~ sater mea ,_-, ttituoe nas neen ',-"', ,a,r,y a.n foiste 'd ' -'.-'.~.h---"t: d lOIS ec "po'n..the rounaers 0 ...., 'pOCJC th ..-,,--. 'P:"I- ,0 ann e f «l ' -:', '.'f",' :. ",-'- etic ,oug,I.,.,3, Aristotle, As one of those' whom IGenette cite's, as guilty .' ·'·f~·;-'\·-:t.. ~-..' ,'-'. Ican . , .. 'end...----'-, 'Ol~ s Uc.u" er [or, , .' ca.n 'do .norb Iet e r than .p~.ea. I. " ...~ ... C()fltl;,; n~_ere ~ 0' - , . ... rter -, ,an .. 11.: ',d,1 ) _So ······;n.·· titl'ii"~'IIi"' read Li'l·. '_.wo .''I'':d·· 11''rI·p:·_---o·:·,n-·: th bo .k 's publi c at ion ce I' e. u,~. _.'_' iis Fll. D. in France :S··-·' ,' m-I'!e' '·y:'-.'·e-'3·: 'f'·S·- ":IiIO'O····· t h·C}IV"·'C··' "m"- ended 'm'l ,,-,~ 'iVVo¢l,YS,., 0--' I. '. " ,. ... "",,"'., Y j;''I7'o'iJ;.~ .. SP ecifically, one of the im po rtant thing:s Genette h ~ ~.' .. demonstrates nere IS ith. at many, '1 ater crincs h ave attnibuted to A ri storle a. poetic doctrine tha t is mainly Rol11antic in its 0 rigi lIS, thus S owing confus ions tha t still ,_---,._---, -found [ot ,,". , ,- .. -'1-,,--,1 -··;h,·· .... conrouna us", N~~.0 - content iI'j' mere ..y to S. ,Q1W t,_1 e results of 01, tbis process, Genesee sketches the evolution of this misprision with m asterfu .,''-1J. .' ., , ,., . ...• and lucidirv y.., -P-'-'I-'IO;'-;;: '~'h'· Iearning . ,u. J.. 1.1 ...r _:_.Ill ~ ~ ",e . ane I en,II., rh [-0.u,g. [-·'0,'111, .:: dieval 2[,I,,:t' ·R~··.·'I~·'---:-.-.. ,-.~, 'E-'- 1.·:- 1-,,,,.,... ... -" zh '..",e, m,e .... v 1,le ..,en·alSS ance, .~nd,g, 1 ",en,,,, ment, and Romantic and 011 to the modern theories of literary genre, Genetre traces the process by which new for ms of tex tualiry are' regularly jus tified by being a ssi ~ d an cient '1- ·'-.a: --,.-~,--,- IJ.'h ick mea g.es~, ,'-::-e. .===c~ .. nee a .' =~ ,,_,~~e__;'-,- . t__ "".,:,;, 0"f ,poetics th can . ~ h. .' ,us 1,1-, _,~g ,_~_' '__~ __ ~_ ~et -I",'~'II" n"'l';o'\.J,od·-: '_-"o_' t Jl.11Ua.U.y ." "aue .. ,~n.se.r -'. ,.-,'d: I nlore ·d, l.[rlCU.~" 11.,0 ,pen,(:. ra.1 ,e. , all. ",tt:: -",lI·t .., ,-His projec t is [.'0 p-run'e tbis t:hic-ke£ a~n.d, 'blaz traHs
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.a': '.' d-.'ff]- - d d' d·~ . .,,l~ '1H aso Olie-rs", '\Vlt'h proper-~li)l:ence ,a,n~'~lsarollng 'w:it~ som.e ad vic'e' for' th:t contin'U.a'tio'n of .poetic' think: ... , ':-, ...,. :C:-'h~11111,,'~ . h- ',--- --', "I'f'~ :'1-- :, _-11·····-"'1' ~ d-~,lf',I,··,-, ·'··-,_'·f:"· Ul.g" _,3LILIJ,e.ngll1g, . .ll11Se 1.n 3. cl.o.sl.ng:-l;~uogue to Justl Y this pr,3,ctie,e,) his 1.tl't:lcrlocu.to.r as:ks wh.y t'llis sh.ould llOt . .., b····· j,e1.t ''''t··· ,11[,era ry h:',,-:-"-,··-···.-,:·.--·,-· .-:.. (,_.. -",s, ,-::h--o.,·,,: ]0·-···bl'·1 ,oerta,ln ,--,y,) ...~ e l,,£-" .0 '11:',-, .... ,-' ".IStor,HlnS_-ll t .. lf ··'· .:" .'.- ·'·"-_---·_-·I'I--'I,· e Gen,ette's. r-es,ponse is to po,int: out t'h,a.t aU. e'm.p-iricai stud .... 'I'" _j.. ",.,. d" " . . - d- -C . :'.-,:'. -. - 0'. , [,'k--elf' O~lects- ..• U1. 0:1\- ,e:r to .. r", " - 'b- • ~ - dl lCS 'lie-pen' " lI.po:n_:clUll[.l,on.
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u-1n- 'n-i' an ·d-:S··:'U-'-I~h-" defin itio 'n-I' r--'e1q'" res tho u g~" h ·t- precise ly ',-tio -dl, tile ," £" f'diti 'h-' to ,3!'VO,1' 'I putansll IO:'~ traomonat 1-' terms mat concearl and anc confuse' their 0 bjects over time, The history of litera ture is a. real 'history', 'with, certai n irreversible elemen ts in it, bu '~' '1",S':' "suid ed" ,-"0- g''---,e- extent b:-:y"; poe .tic ',I.-I:('v' S. ub ';1itie '~'~' , P !IIS' _. tll!j,. :.,~, ll!j,. :r-,~~,\,., :v-'-.il._' that Call. be described formally only by poetics. 'We need ;, because 'we' CaJ1D:ot make sense 01: anym dIVll:U3,. 11r fC' ~ id l p,oetlcs b text wi tho u r situatin g it: in, terms 0 f other texts :,U1d in terms of a repertory of textual :p ossibilities, Even the study of literary transformation, Cenette maintains ~[ "implies the examination, and thus the taking into account, of continuities." .--,'.["nUI.I".I.·g P"O e --')I~~ '.. -,'..'en e ~ p'r-o'p'- -. ,0, I~ ," A-· '5 .' ,-', -.., ,- "0',5, a 'I' fo r con ,"",,"..'- , ,-..'"'t",~-- ".", G'-"~:'.--.iIi;..' """,_,,,", sug,[_-.,~-:_:gests we recognize that what 'we call "., genres' ~ are best described as the mtersecrions of certain modes of enunciation and certain thematic concerns. 'The- modes are basic to the pragmati cs of Ian,guage itself (like- narration) and are therefore extremely persistent across time- and cultures. 'Themes, h,Qwe.'ve'r, though, also persistent' (love d ea th) - are gr.!!;"', __~J,',' m iark,,_ b 'y'-:-:- cultuur-"'I'dl, d histoi I'urea ,t,-liy.". '" ". ed- .~", "'" __J.. ~.~,-1' _,, .,. ,_,eV"-,,, ~_",",__, , , .'," . ical situations. Persistent ,or durable links between p[a:r:~ ticular modes a-u,d themes giv,e 'US literary genres 10'( "architcxts. The study of these is what, since Aristotle, Wit have called "poerics't=-an old, science as Genette says and also .a. you'n g one, because it must always, 'be' renewed, 'W·hat Genette has accomplished, in a text no larg'e.r than Arisrotle's own, I,S '[0' disencumber poetics of centuries of accrctions. He gives it to lIS ;agai.n,~clarified and refresh:ed" in, this, book, ,Anl,on,g other things, he reminds u~ e _ __ y _ '",~I" _ _ ~ _~ __ ~_ I.......ro_ - e , l.ln~~ '~II~' here.. of whv Aristotle's Poetics hss ieself p oved.. ~ so durable, and in doing SIO he has given 'us a, book that b,elan,gs,;; in, courses and on shelves, fight next '~'O its great archi textural predecessor.
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epics 1 £0'-'[__ ~ the forrr 1. wherein- he' nresenes his image in, m '''". r" e_.1. a , .. ,~. -" "". r == . ~ "~.. =~. ": ..' ., " mediate relation to himself and to others; the' dramatic It h torm wherem h presents, h is image m un1L.. ,. ~., ,. ~ rorm, me r. [H.e: ...• me d'tiea" e rela .[- to others :t~ll This trinan ..itio_,_". itsel '1£' t';'11 JI, -;10'11' v ... ·-'r·..,_.~"',..'·'11 ~"'_.' ._.~..' .. " ' not especially original, as Joyce was well aware, for .in the fi,r ~ 'V'J'io-S:'I~O'Y . of the episoide ,hcA added ironically that -'S'''~' 111 r "_ ..~ .n Stenh ,.,.~,:.p- ::_,,,-:;~:--,-. -,_l __ ,_S"",L WI .., ~ ~ .031· air -. ep "en was, ex, .::reSS"lng himself ';jl:-':-:'-:::~"'h'-; ") naif '~;'I-- of dis" ._,]J$ ,"," - . .'.:'.' -' _.:i: .. '.:', -' _ ". '."-·:11-"'-" everr th ..... 'I'(-i ·~".'Lr::, covering -.... nove nes_' "" even t, oug 1 "his "E~ .' ,lSI stnenc W' as Ill. __ · rhe mI,~I in 'a :p-~':p1111'Iii eod A·.~·.···q. u inas ' u:~ '. ...-· I-I a .·_ ~ don - homas ever .r~',r ... .. proposed ' I, 't know whether Saint.."T, a. .. such ,:1 tripartieion or even whether joyce was really '--;.-':::g" ,..., csring ,~_t:_ ,:su;_~g(,!..;.'!"ll.."'.'--",c:_. he did -·b,iut-·, '1 have n oted here and there ·;h,·']jit.-_ __ -,_'_ '-,_C,Il,C· ~.Ii. for some time, the- tripartition has 'been. readily attrib,-ited '[,0",.: Arisstotle , e··:v'.:e·to....···).··:""'" .. o 'lift her .: tr.Jl . . . n." . . . P ]~ . dY"'" 0'-· fl' rhe.', h is.. :_. :, ..... U~ ,I J to ---Y" f the d: vision in''''O':' genres, Irene Behrens .. cited an o i · ...:._·,0 exam plc of the ateribu tion from the pen of Ernes t Bovee
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and I d lram atic 'g~',e"'n""r"e', "),, and im rme 'd"ate I'y"" refu ':t: ed ,~,~ '" i a '_, ,_.11"", _' hil '.' "d d ~, wtu e asserting rb at it 'was a1 d- very wic :,es,prea.':'"J" ',' ~ rea ",y _ Bur -as we will see, her clarification did not keep others from r.,.pea _.~n g'-", ,.e offen 11se -U' . ndoubtedly .~.'~.. part~ bere ". ,[-"1'""-'- _:' th .·.111~-'1 .. Ir. . u .". .."1 in', ,.,. , . . c:ause the error (or rather ehe retrospec tive_ illusion that _ iaus __ e_ = o_, =,. e ~I"' ; _ _ ___ _ . is in question here) :is deeply rooted in OU'f conscious or uncons cious, literary minds ~ Besides her clarification itself was 'not entirely untainted by the tradition, she was denouncing, for she wondered in ,3 U seriou sness how it came about that the traditional tripareition did not ap... , ·Ac: "-bl.. pear m Aristot 1- anad s ne toun d•.'OD.'e possible reason In e, the fa ct tha t. Greek 1yricis m 'was too, closel y ass 0 ciated with music to, be included within, poe tics," But tragedy was just as, cl,ose,l'y associated 'with music; and lyric is absent from, Aristotle's Poetics for a, much more' basic reas,o:n-a reason that needs only to 'be perceived for the -qu"":8,+'';;0'''''1,[1-- itself '[-~IO, '," lose a n':y",' k'ind of releva nc e. But not, apparently, any raison d'etre; "wedo not easil y forgo projecting onto the foundin g text of classical ':P":o'--"l·,'C"S" a fund amrental '..... _'.'. of "rn odern", ~_. _' ... ~_., '. _ ich e•. Pioecics (wh , .... (. ...... ' 1~. ~a't.~ tenet ._" ."__ ~~, - II ~111- fl-']11 actuany, as 'we wu otten see, reauy means roman,dC po ... , etics), and perhaps the theoretical consequences of the sroiection t Fo' ',' •... n "ilJ-" ,1"il,l .. P-'-:.11':.:' ..... ".:1. " re unfo 'r- u nate ,iii,"'"rr by U.,"s1 11r-p' g:, tha [, r emote cestry, the rel .... ively recen (,:heory of the "three mai or t ''"JI! genres' '0.0,[ only lay'S claim, '(.'0 ancientness ~ and thus to an appearance or presumption of being eternal and therefo re self-evident; it also misappropriates for the
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benefit of its three generic insti tntions :a natural foundaeion t':I", A',':,""r,;'l~,~i~~,rl,,-, P.-'), before him had estabato ,,3 IO.l}._13at _ ~,_,_:5 ~O'I!i._e,~"ii~d~1 H_ "_ lished, perhaps more legitimately, for something very' differenr. This knot of confusions, quid pro 'quos'l and unnoticed substitutions that 'has lain at the' heart of 'We:ste'rn poetics for several centurles is, what :1want to tryto untangle a 'bit"
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th .• ,',m-'" 'W"',"'e':-, think .0:,: f traged 'Y' and e epic as the characteristic (as well as: the two major) kinds, Bur Aristotle at least is also aware of other and more fimdamental distinctiens-e-between r ".,,,,", ,',~, n d,'rama e iic an" lyric''. '.''. T" "he ..'h:',ree m ,a.J ·r k -1~', d·.I,i' a, d l, ,,' "U. ,."11""0< are a'b~e;ad'y" by' 'Plato and Aristotle distinguished according to "manner of imitation' (o.r"represen .... , eation"): _'>.:' lyric poet '-'.'ry:: is the .poet's own person«; 1;n" I:." ~ :-. .': "'~_<., ::-... '..... . ~t epic poetry (or th.. novel) the poet partly speaks ,in e his own person", as narrator, and partly' makes his characters speak in, direct discourse (mixed narrarive); in drama the poet disappears behind, his cast of characters. " ~ " A,rist,ode's Poetics " '. '.' roughly nominates epic, drama, an d Iyric (i melle t) poetry' ,as the basic kinds, of poetr )1'4' _l'-I
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wald Ducrot and Tzvetan Todorov, Encyc:/,op,edi,c Dictionary of tile Sdencos 0:1" ,:.___ -,6,-"-'.-.6 therine Por rer ,.(., al,t ~]-' '0''b~~ 'B·," m .re: -:1 Li1'~'DuaQ'e tran -:S·c···· ~,,,, -_. ,-A,,,,J:;I·~."~III".'~"J' JI:~' ":7""9--:'-)'" M·· ,J--h-'- .,-"H-onki .,-,.. .DiVers,H,y P, res:s.~1'-'9...: '~'~ 15-'''l· ..• .ikh .1311 .B"" akh ~-0, OS ,:.O,plnS U~'-- r, ---~'-:'" . ,'. ' , ' , -:..'''),; 1. , :'11 i3 ___tlJ],; J Estlreti.q:ue et .r/tile'o:rJe ,du riOttH1U,~, trans, :OI3,ria. O'liviie:r' (Paris: G',al... , limard, 1'978),,. 414.5.,AU emphases all attributions are miner. S:., T-n-I 1·~ ch apter first appeared in th .',e: 1-,7·'~.6:,·:·4- reprint of ..he es~I., .." ... ~u' '.... '" = say (originally published in. '~7,46) in the first volume of Les s ,." ,.J ,,"t,.. «: t" ,....' - f':' ,,P ,n.fU::lfU!$, ae' ~l.IJ!rQu,:re" A-' it' th a'!-, .-t'··· .' 1_, ,-,- -~, on_ -y~,~e en_ :.Im,c' ·',t W3lS - -1-' ,- rhe -- id 0.,;: a.
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Ill. the third book of the ,Repu:b.t.ic['- Plato justine's his wellknown _ decision to expel ,I, " ,- from the stare with,.wo twc _" _ __ _ _~ _ ~ ,. _~, "'~ poiets JI"r~ .. ~ WI. sets of consideration co' The first bears on the eontenr '(""~'A'_' DIIs-'~~ h "',. '-, ""k" , h oasicai 'f S,' ,go,s' 0 tie poets works, W-hiicn 'IL :., , 1'1~-, h auld'_ b - 010:['lOU, ne -alizing (though all 1:0,0 often ,it is not): the poet should not rep',' , resent shortcomings esoe ciall y,'.' in g'--,' '- ' 1l1J.d he'r'" " ,,' ", rods -" roes, and should certainly not promote shortcomings by renresen -., 'V'F--U~e as rmse 'b'l or V''',':; as "-,'., '.~ .' J-Il·" ~ cp= ~~~ntmg _irt __~_,_ .' ~~~~sera,e , _I,ce tnum nh anr -T"h"'"seconc .oears' , on rh e "C",-,--,,"'," rd ','-,' '_' .1·Qr.m',eXlS" ~"':')'" ,-,'" I('l:':'-"-' p" nt ' e "", ',_-, be: meanJD,g the mode oj representation ~]O Every :p'oem, is a. narrative 1(11& iio isis): of past,,'" presen . ''''-. "d, --", '.' ,'" , , r or future even ts: n arrati ve in h ,'. .-":,',' '- .', " ", 'k"'" ,-hi, --' 1orms:"" It can b-'"' ' purery ~'-'''' ..'-,trns,, aroa'd' sense can rake t aree 'C"'.", oe -, , -,1, narrative (Ilaple d',i~g'esis);, it can he mimetic (ai'a ,m.irn'e..''" ,. h ~hh f' seOS/-'ln, other war- ds, as 1:0 the theater, b way or-' -' d'" oy cia'',D'..au-re b tw,-: 1'0een C," h~ra c ters) .. or 'to: an b:e "m~ .. xed" '(': in - . -e:cto _,,,",,,,,,",, ~~=
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-niddl ,.e grou,p-'.. WllJl reClV,-" v,-"ry",,,,", .... _,- ',' ~n'-eceive little attenu ..o····n-I s.. -·o;···· _ the ml, _, L'\", ·:··,· .:..•.....[...0"f'-,con,t,en,~ I·('·th---L.:·'---,--:-'If 1,Wl... .. ,~·t' :.. · " ',": .',.,-..... .. c.rLerlon e oUJec", :,.--.- itared) c·-o 3",e, ..... 1.,,,,$ down ·t-:O:·-· , ·_,own . .. £... '.' A' th contrast b re oetween superior an d. I.n,_,erUlf h heroes. ,··::s[ . for the manner of imitation it consisrs either of telling -h taeomc napte u:t.f'g.eSIS'~1 0[[ orf'-'-- ,,"~'present [-".Ing'] . sn l t~e-] h' l:"" J...... '" .. ).. Uf h . (.t te 'PI c . haracters as ,_ ., '.,_~. an.. mo•. v ·.··ll·ln·[g->' before us" ·(.·:·"1,~,l:8"[ ·a-:'-).··.~a living a. d .'\.?-,I:" ..... __ . '1 -"":.~ 'h ". -. .~-.' ,:. ",- - .' ,'. ' .. - ',- " ..-: about an _. t hat i setting tne- ,.m ,'on, stage '. 'movmg ,.- 'b 1'- ,._: d-' spea k rat IS" .-' .~.-.-.,,-:: '("-:'h:,'" ·P~····l-·,t, ~,., 'numesl.s~ or-' dr: ·· itic rei ,,._'._ . ·t'·· ion).. _:'._-,= In,glt, e ,.:3. orne " ";,,;"'-/: ..ramanc represen .auon). Here again we' SC1erhat an intermediate class=-che Plat onlC mlX ._ c,:l~ls-:;'s·--ha's'_ -n ixe .. _a. d ~ ~- disappeared, at Ieast as a taxo_ principle A·.··· part from that disappearance what n,Q,ml ' _.rln_'''L ,I__._= __==_, ...
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In, the fi rst Ch,3 pter Aristotle dis tinguishes ,in, princi pie' three types of differentiation among[.. ' the' arts of imitaJ'll rion: diffie- entia ti 0-' n by ,,,1l..., e I,J-'''; e ct JI,.I"~,, ra~ee d ~--d'" b - tne r ;m ... h.; an, _Y' iJL• ~-'-_I_-:.."I: ' ~,U' oloi mrode .0....:£····· imiitation (the [-'W:··.",O·.··. W~~, ~,--p /f',O··.·.• n~erne, with ,1("'--' . ·-dl ~r\;. Wl, h but -']-"""1 differ ,"-:tiation b -: the me .·.u,m:,l.n .. .edl ",ere U~, a so ._1.11,e,re,Il_1a"lon ,--y ,,__,e . [Butcher's 1. translation [[]447 a]; literally, the question ul~n W'·h' a"t,~ 'r "n ,in,,' th '.!.•., se nS;Q o ,f'" - 01t'i1 Do'S' <.,;-'-:..,[,:; e s si- g' '.nese,:',1'' H:'. . axp·...-- ,n'],; 0'" .-.- -. f ],n restu ...... ges ures or In wor',d'-," "',':.:, 'G-'- ....1I... u- or In 'E" .·1" ,I" ~',S, m i '.ree,~ rmgusr ",;0;. In 'prose or In 'verse" :1n p. ntameter e or In, tn..... ~ meter ,'; etc.). This, third typ e corresponds best '[0 what ~ I'" ou 'r tra d '. '.' ca'1-'1 fl'inon .,'s',onn" but i receives no rea:. attention out It in the Poetics, whose system of genres com prises by and
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superior .... narrative defines epic; the, inferior-dramaric corresponds to comedy" the inferior-narrative corte .... spends to a gen,r.e that is less clear-en t~ one' cbat A,ris.... rorle leaves unnamed and iU,u:strates sometimes 'by the "ps dies" 1,:I:,i,I,:UI},;".,:; no long' e'[' ~ 'x''t'a" t-' 0'",-" ,~Ic,gemo'n, aroo es (':'par,Ad'L...,,;'\ I,' xtanr, ,',f' and Nicochares (1.,448a) and sometimes by' a Ma.rgites attributed to Horner ('1,448b), 'Wh.ICh, he expressly declares is to comedies what the' l.l.i'ad and the O'dy.s';)',ey' are to tragedies (1449 a). This slot, therefore, is obviously the: one for comic narration, which seems to have originally been, illuserared=-whatever we should take that to mean-ebasically 'b'y parodies of epics, (the' mock heroic ,B(Jt~a,h,om.rot,tlll£'hJ e CQu'Id~, rig,h tly or W'[O'1l gly, give us
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seems to ha ve been the first: to b reak that bond, inventing in 1.650 the mixed subgenre of "heroic corned Y'~'~ Don Sa fu:n,f' for jlA' raR',OH,:3 ncntragrc","" (' se '. ')- 'H" n l ,_l~ ... " acnon m a,no blee setnng), " '18 l~UtTle,rle'~ 1671!, and Tite eI' ,B.eri", ice, ~1672; are 0 ther t later examples, In his Disceurs du por,me drrunatiql:4 e~ 1.660, be j u stifles that d..iSS,O-' ciation with an explicit e:ridcisEll. 0 f ,Aris rode: "Drama tic poetry~ ac--C"O-,,'"-r~ g te :b"II"m l',J' an ,;m" 'I'.' ration 0' -"f'~"" tio n~' nd h eo '~"'O'--,p~ ~ ,iii, ,"''din ',ii, ,<" ',,' ,,; -.. ' ,,', ,ii, , !l:,~, ... here (,3 t the beginning of the Poetics ~ with the rank of the characters, not: sayin g wh at: those actions should be ~ In :auy case, his defini tion 'was consisten t with the practice then in vogue'" when 0'0,1 y characters of inferior rank were aU,'Q'wed to speak
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as their deeds do no t raise them above it. When, one sees on, stage a. simple love story a,m.on,g kings and they endanger nei .... ther thernsel ves nor their realm s, I do not rhink tba,t even though the characters are illustrious, the action is sufficiently
rhe level of tragedy' (CEu:v:n!:5' de Pierre Comeille, ed, Charles Marty- La veau x [Paris: Hachette . ~t ;86:2-,68:1" L t :::23 -:24"" The in verse ddsso ciation {a,tragic action. in an everyda Y' setting) 'will, in th e next century, produce bourgeois so
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.. A~ we know only .-t·~·O-'O- well, the remainder of the P etics will deploy (In this grid ,3, succession of abandonments 01' deadly depreciations: the inferior ... narrative will be mentioned no more, and comedy very little. The two high genres will be' left: face-to-face in an unequal ma tch because, after setrmg forth this taxonomic fr3,m e'work, the Poetics (at least all but a few pages of what' remains of ,it) turns out to be mainly a theory of tragedy, That outcome .in, itself does, not concern us .. Let us at , least note that this triumph of tragedy is not solely the effe..,... of in C"~'O·· .mpleteness 0·-"[ mutilation bu,.'t, results fro.m .. ,ll~., ct -.. ,&·1 U '. ', ...',' explicit and, motivated attributions of higher value, First, of course; the superiority of the dramatic mode re r '",,, _ '" a V:,ve.ll-kn ow n rev e"r'--~:aI11 0• if p"11 a to,. 's . O V _. th e",n .3: .'ii""r· t i e (the ..1 , JI. '" . preju,dice)~ ,3, superiority proclaimed, ap-r,opos of Horner, one [of whose merits is that as n,arrator he intervenes as 1::~[,-,t,_1:~, as possible l~.n·"·..... ·p.·.o·:·.e,~ m .al.. s .,' h imse If a··:··8-' "·U'.·,C·· h , hic" ~ m amd Jl. ~_ ,J,,-, J\..e 1. .... m ",... ,-", •m.. r , .'.1' <:I~I_ I of",a· "i,-irato::.r. (:,tt'h·'· a·'t'I~'S' a' dram atist) as an' epic poet can 'be; I.ettin g his characters speak as ofien as possible (1.460 a) (this commendation shows, incidentally, rhat although Aristotle omitted the category, he was no Jess aware than Plato of the "mixed" nature of Homeric n,arra,ti.o:n\!, a, fact whose consequences I will return to) ~ rs
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f' v'arle:ty ot" meters and its inclusion [of "music and scenic effects' (1,462,a)~ Third, the Inrellectual superiority of tragedy for its "vividness of impression in reading as wleU,as, in representation" ,("1,46"j:'-,2 Fourth and fifth. the aesthetic a), .r"", ~ £"', n... superiority of tragedy for its concen tration and u:nity :(: ']-14'.' "'6,-'2-, b.')",a·n·· m d nore surprising the thematic """. uperiority .. ' ~~".~~~a .. .,~ect~, h o f u e tragic 0b .. "11·1 h ,M ore 5'U,rprls,lng' b necause th reoretrcat 'y, as we nave seen, the operring pages of the Poetics attribute to the two genres ,obje'cts that are' not only equal but identi,--"'"' namery ~ the ,"[.~,'", i '1;""- ti .. ,""-'.-"'-. of sup.error he ,[-," ca'I-,j, ,>. eh ""C;' representanon or .~., neroes .. This [equality is proclaimed a,ga.in (for rhe last time) in ',J.l'"'~ 4"9' :" 'b~"E~~' po,ei[,ry ~gree$ W'~.tn [''e,:o,~,ol,utese'"',l 1]1.'ra"ge~"f I.D 114' ..-,,",~, t. . "'k'" ~ ".", ...' ..... '~ .. . . ,d, " '. _ ,"' ,cPl.C '5:",0- jl.i r "':5'· it is far imitatioon in verse 0'·.,[,.:" C·•• haracters of a .• I_ ..""" ... a ..
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strong terms ·d::' , not prevent him t:.r" m keeping those 'W' ,"0- '. ...... rks :1::1 o :. (I ,:,~'_".- ..... in the genera] category of narrative (f,tJ:i'm:eisth'a'i apatlgell'o',ntQ" l448 a), And we should, bear in mind, that be' does not apply these terms, '[.0 the epic in general, 'but: to Homer only (mo,nos',; in 1,448b as in, 1,460 a),.,'for a mo re detailed analysis of the reasons ,il,l ,"" this praise '0" f IH: o mer an",c_" moo; '- 'o r '"' ,,-,,_.'90-- er ... of the dif.... fo I!i..il.U".:. .~'_ i~1.y'" ,.a., d _ """'...:411."",ference between the 'Platonic: a:nd Aristotelia.n definitions, of Homeric mimesis, see Je,an, Lallot, "La ,mimes,is; selon Aristote et l'excellenee (PHo mere, i ~ in. Bai tl~:r'e' et tl1 eorie p oc,Uqu:cS't 15?3.,e.:_ Pr 0'- rn, '0, ur view ":P--'- ')'."10[' th ~,~ .•di a~r~jn' ·P,'''O···~;B· no P.. oblem,'. 0' ces r -.1
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'16 therefore, knows what is gOlod, or bad Tragedy, knows also about ,E,p:ic poetry: for all the leJe:m,ents of an Epic
poern are found in Tragedy, but the- elements, of a Trag. dl ' ... ~ rouno '1the E - ic -. ,e,,! , ;(],re not al'"I, r. . d m. me ~-,P:"'C ,poem,~ T-'lhe p',lac.l'n"g'- 0,. " ,, _..'~ ." '. ·f·· 'higher value, in the pr'(lper sense of the phrase, leap's 0 Ut: aot.the reader, for- this, passage attribute's an automatic superiority if not: to the tragic poet rhein at least' to the t - -',' -."_~~_.,, __ :" '_ ~='"t __,~ __., h di res .' ~ -" conno . _,l·S--,$'P'U,[ 0.'" '"rag-~,e,1 - - bI'Y·,·'_' virtue- '0·'"f t'',~ - pnn ctp '1'. ,-,.-" ~. __," ._," '., "whoever can do,more can do, less~ Th e reasons for this, " superiority may still seem obscure or abstruse: tragedy 11]1 dl " 1 d . ion 0: I',eCllp,roclty; auegeory InCU_1es 'WIt,'h no concession of recioroc
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the 0 bjects of both genres 'win not completely suffice (to say the least) to define the object of rragedy-e-an intimatio "'~n,'I' borne a few lines la rer by this second defi.. nition, which 'has been, authoritative for centuries: "Tragedy then, :is an imitarion of an, action that is serious, complete, and of a certain magnitude; in language embellished, 'with, each, kind of artistic ornament, tileseveral kinds being found in, separate' parts of the play; 'in, the form, of action, not of narrati ve; through pity an,d r: iY"" h -'. f' -h '. 'II!'. tear ettecting n e proper :pu,"gatlon, 0:. n ese emo ['1-0l1~~r (1.44,9b).
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or moral) of the two emotions of tragedy but the very pl'ese,nee of these emotions in, rhe d,en.Dition, 'of the gn,I, " ~ ~_ ~~ __, __~, _, ~_' ~_~ _ __~ _ zenre as, well as the set of'specific_ features Aristotle ~des, ,'11 ~ d 'I. ;g'"ate ',S,: as ne ce-:S:'~a"ry, ", ,_- to t";err pro ducti 'n ''': ,:C,f'I[O, ,,'iii a no ' h[~'r-- tore to"" u e: the existence of a tragedy that is if), keeping with that
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too I,'a'r~(id;, that is the 'main theme ~ tragic here b eca use the issue d:.....~L uU -.',- h.•:~.',:-her worr..S-" '("L",.~L~-,···l'·· _.·d" ......'S.~e,rn.r1'les.~, ,-f·'· B~": ', - · In .. t .il~". ls~cad!I,.!I! but com :.-)~, 0,,, e:r "', ~CO.f ... :fi'~······"....:.,' L' r .. ··ar bier de ISevUle):' where the' issue is onlv the mo-rtifi,catioll of an old fool or the "useless" precaudon=-useless and even ha:rf1ifUl or" 'to put it in terms more appropriate in this contex r, disastro or J[~"W (~;~''''''l: 1.8. The' ,C'o,mp,I',ett P'la'}"s oj jean Racine, trans". Samuel Sol... · omen (New York: Random, Hous e, 1. 967), 1.: 1,4·1 (Andrio\ 1 289 II,J"dd't:U-U,~iiUI., 'Friecmc h 'H'~'I~d-1-' '''I n 'Iiet nc h,:("'B" .. ") ,~ . d . ,. ,I~,()_, er In, ,~, ,; bl m,aq_ue,.1' I:,~,_' l er
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h e reso ~ es this d ctrina ,I d'1'~1l~1 ,ill ,",: b Y" ~I"' ty -'.: JL 'v:' U-l,'_'uJ,. main 'it· aining :t· h' ""fr' some of those condition ~ are necessary a. not to the nature ofa tragedy but only to irs perfection." This jesuitical distinction would Pierha .1:' have satisfied "8 Aristotle, for :it maintains the apparent 'unity of the con,.... ~. ""'·"'-"1' ,cep . of traz dv ."''-'~''~'''''''-;'-" iable g eomc.,ry 0 I. -S def , 0,. ".r,ag:e "Y ,ac.ross, rhe va.rla,. .e ,:"-'.,' etrv ofits ... e '.', ·el,.... inidons .A,C't:ually~ of course, there are two distinct real,~",.~.. nere, 'O"~',""ne, ·I:···'~ d~ ',".,".~ ",,~ 'hi' ..... ~-'~,.. .... -..... ··f·_' " '. ines~,h~~ " .....~ ," . 31d·~ .•..own l,n .t., e open ~ ,p,31ges'0. ·' .it.-'h~"',Ie .•... ng id .-·1·'nd ..... c: it,~ .:.'C P oe,dCS~, IS snnuitaneousry'li-", mot a anc thtemarticr i... the lS~ hig h ,0'-- se.rious, ~ drama in contrast to the hieh narrative ~"_'' ' __ ·_"r _:_. '_",' _. __
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Commentary of 1.548, is of the opinion that: the COiD,diti '" h~ Poetics are realized ,onJly::: In 0'" 1'" d 11" itions I' id d iaic oown In t,- e Poeti .',.• ie" ,
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But let' 'us go, back to the initial system, 'which that memorable digression on the tragic transcends but aprepudiate, ,As we have seen, the :sy's-, rem did not and by d,efinirion could, not assign any' place to lyric poetry'; 'but 'we:have also seen that the sys'[[e:m overlooked 0'[ seemed in pas sing 'to overlook rhe Plapatently does
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e '. ":-, _ ___ _ _ _ ct ry IS obviouslvy D_ _ unknown to the_ Alexandrian critnot ics, but it is nos made part; of the paradigm alongside the '"d-"- .. 0,'f··''- eplc , .'ano d"i'rama itic ,--aeu.. Y1 ano 1,-"5_'(; mmon 1,5, '. .-.,,- '•. : nd d d ef -,"'.,:;' .'.-~.'." 1: eas : ,-" '-'--- ac poe r,,"-. ~,,-still purely technical (poems with lyre accompaniment) and .. ano restricnvc. A'~"~-"'-"'-'--h'I'" rus, in th - third 'Iro "--,,.-,,'.'-';. d cen..nsrarc mtnc emro I!'".,.] secon -':.-:'-tur B C - draws up',.'3 lis t of nine' lyr ic 'po,ets (,-j ncluding ' .., d 'P--·'· dar) h ·'111 Al S-' 'h A"" .-caeu s;_13:p'P·•··,'0,; ,n,acr-eo,n,,!, an,', Pine ,a,r:,~ W'lC...h 'WI.lL!!, • long remain canonical ,tUl,d. excludes, for example, the "i .: ,"stncn,'hi'" ., or ace, -;11,.,.'hl'-'1 '1._ ..~. t...1' 1'-"" _llf::.. , ra m.: ··b,1<~-:-, anc . the cI.C,g:tac.. ·d'1.S ".,.-_, H'-'I ':-_" ', 3.11:. Qll,g,1.} JfJJ.Ul1seJJ ic i .. d-I ne 1 a :Iyricis'€ and satirist, limits the A.rt of Poetry, in, terms of genre" to praising' Horner and setting forth the rules of dr ..... --,'tramatic poetry- I"~ thie list ,',,',' ,,-..:- adi ,.,.:. m G··'-·I,.,-,.."., , k. '-' , rn :' rs 0 r-' realn,gs ~', v-ree an . . ht ~I" d h La [1n rn a,t- Q, um n ran reco mmenos to "-'-1_' £1-uture orator 'I t e_ he m ,,-,.a tio.. s, besid es .ILl, , ,f"Y'.. -','. .. '" .ilosophy". ., an d 1.0]f course m histo ' ph ". _..,. . ~ J rhetoric, seven poetic g"enres::' epic (which here comrises aJl.. kind "Ir- d ida .C·· tic , . P-- ,.;:)""': #iJi'~I,' ,.. ·'S-"-, of narra rive descrip ..itive -,-"-...::_ ......, ~,.., ··1·-- ,lng, h -,"'- ,f' '" .esioo '"neocr'ric, ·-;,d:· "d·=t.US'!1 ana 'L' ,U Poe,mS -, .'In.C1!lI·d-i'·-I'- .t.OSC,. 0" ;" 'H'"',' ".-"~:'- T:h. -'-,:'_' IUS,~, tragedy, come y, elegy ,,~ULIl,ltm,a.c. ,U,S, ,."t... .. Lati n aedv ed ,,"C'-'-: U· hus ene La ..a --er-e·"t+"
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Crit J:;_~, pO~SL, ~ S~;.so' ~ dtscots! di teoria letteraria ('.Bari:_ Laeerza .'. _ __ n ca e noesia saaoi __ v ~_ ~_ _____ __ __ _ 11'9:6" '; ,,.enee_~!e_,~,!,=en:r.e' - - 'T--'h ... " 'W""-l1; ek ""'·G··--· th 'L-~'" '.' '. ···..ll -1'·b- ~,-",_, .lL'- 6"") R'" _,neorw t .:e. .'1:rlC;, ano B''·ne_1US (1967)" in Disai n i fU~t fa ns: Fu rther Co rU1?:p: Q{' Criticism :..'ts (New
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elegists) ~ iambic (A.r[chiloc·hu.s~ Horace) '[ sanre ("'tota nostra ": Luci lius and Horace), an d lyri C poetry-e-this las t illus trated by, among: others, Pindar, Alcaeus, and,
Horace, ...In. otherr 'words " here the l"y·..vric is simply one of. , .r.... ~~ .. . . .. ..... .. .. ,I: .. n,. . several nonnarrative and nondramatic genres an,d, comes down in fact to one form, which is the ode. But Quintilian's list is obviously nor an art oj poetrY', since it inclu des wo rks in~pro se '.' "The' later attempts ae systematization, at the end of antiquity' and, in, the MiddIe Ages, make g,[e~ltefforts, tO integrate Iyric poetry in·t· ·0', the svstem '-,ei of Illl.'la to 'V,_~ A·:····· !Ij.;,l .. with oue 'mil ...'.0'-','"'d,'I'~i·f·~y·"··-' P ... A, r. rist orle '_'_'~""" J·~ .. ,~, ing their categories, Thus Diomedes (late fourth centu...... :.. _.. re ch.ris tens h [~ th ree Pl to ni m 0' •. i es "" ren'Ire ry:"')'.. """~~"''''"~'.~[ d .g" 51:U ~.=~ (gl~ne~ra)and after a fashion" apportions among them t'l'l.e['[species" (.s:p et.fes) that we' W'O uld call genres: the ,g,e' nus imitativum (dra:m,atic)" in, 'wh,i.c:h only the characters speak, comprises the tragic, comic, and satiric species -I}' t ,. h ,.,~ f, G-( th1,'I,eass-named d is tne satiric d rama 01~ t,h- e ear,].,y""reclS..,11_ '1- ~ ~ 11) ; ae tetralogies, :not mentioned d b,y':~,ato or A"nstotle •.,r'b ,ge1 Pl ~. r fUI.s e,~1:tJ'ar:ativurn (narrative), in, which only the poet speaks, comprises the properl y narrative, the senten .... , .,...-.. '('. . ..mi .'. .. . dthe did a,ctlc. spelc~e,,-; t:Jh-' g'(!I,n:J.f:S {- -. . uous tgnemic: .")'" aUI[_ " '(:~_,e .' -~ -.~. is' . ,Ie '.'.'.. -- ~·O'.nl.mo :t>:':t,:~."".o' (mix ',' d "):'in whtich p'·o··c··t and c·'h·Ia,:··'f"':C· itersa sp ea k tin' .. t.~ _' turn, comprises the species that are heroic (the epic) and, ,~~ .' ly:riC' (ArchiIochus and, Horace). Proclus (fifth c[en-' tury) omits the mixed category, as Aristotle did, and in, the narrative ,gen.re: he puts-e-alongside epic-s-iambic, el.... , ,e',gY';1 and mdos (1yricism). john of IGa rland (thirteenth century) goes back '£0 Diomedes system. The sixteenth-century authors of arts of poetry' gen , er ~~'~Y'"£'0- ·r',Q"··~O·'···•.tru ct :;n',p'" system·ls- an d·-·, are C···'O·· n_,I'IIC con s r :iI"l--:.·lI.n··[·t···· ..1·':.-1 , ~ ~,Il~:. IJ 10 I'D' n. stead simply 'to juxta pos[e species ~ Thus Peletier du, Mans (1. ,5.55):epigra m, S onnet, ode, epi sde, eleg y.~ sati[. c-Yo- .m-e···d'·--y::~' tr a".: ed'-y'.... "her o te' W'" ~0'--Jr' .f....». '0-'[' =V"=;',1 '11 q-: uelin d 'g ~ '.', .. La Fresnaye (1.60.5): epic, elegy, sonnet, iambic', song,
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in which the inexhaustible debate about [hie comparative 'merits of tragedy and epic goes on and on, while tb,e emergence in, the sixteenth
commentaries on Aristotle',
h dramatic pastorat, or t. e ~ '1 h pastora '1nove I,,~I, e d ed eacn ch 'edu ible to r e ,.....,.. ti .:',' eragrcomecy,::.',:.:_- roo easuy recucime to th".::_', ':-'rve." narra d·' ramatic mode) n,I_,v,_",r~--~" ---- e' .realllly dll~'-"rs'", e p--..··~uu[e~ ',iLllt -"-' '~~-,-, ~, h ~. ~lei ,- r;', alte e 0r the_,'_- [callL,I),!,.", .n . '_'__ ,-~. th e eras srcai -:-"~''-'-1'1---;~''':::: the de ,f" r~r -. "f" ,,"", var':--',_, rne classical vu"g,a"e, e ae racro '-,-:::-'--0'· :rec~b,nlli.loIl 0= • he '. :_-":. e6-'-.' -d IOUS nonrepresentanonai orms .IS reconcr';"1eo, a, ter a c:~'O'~~ ~ '" ~ t -1'ian th~ ras"h~-mon, 'W-1~.-'J,.. ·t-h'I",!;:,.:' :m··· t"e- a -tn -i .amrenance I,'Q- f:C,. A···· nsrote~· - O:I"'~J 0,doxy by means of a convenient distinction between "the ~ ~ -· '. ~( ..h -..-_. -h rnaj or gemres - 3.[L._" ~ ~ tne orners a. dustmcnon to es ..,-.d :. "-' .h .-' ." .' f',' B'-' wrhi- r"·:-'h-: tne-. a..rrang,le,me,nt 10,',01 ···-+'1··eau s ,A'-', ,P<},f;t'que, '(16':'--:7':·4' ,). ,C n ~"~" perfectly (albeit implicitly) attests: canto ,3 deals with trag ed 'yo e '-P··'l:·C· -. a-n"d 'com iedy while 'iIo;..-an,_- _' 2'-< 1~,'-J!! lll-S . ,'.1 .... anto ik C' ,,,_:-, '..;.C',_<, .... J -. :...:''. ··.--i'-'~·"-'-·' . _""" ... i,···.. d - n,gs E-o,ge th e r ),... r ,.-[ .. } '-1' d Sl.X teen t,h-cenitu ..... ,'. pre ..ecesso rs s rn'. cen ,,' ry · ., d ..... ,"1 1',- d ,. e [-~','._:.".~ ,.:.>._d-~.~: sonnet" epigram, ronaeau, ,m,arl,ga '-1b '[- ,', egy, oce, 13. '[-d ,_a_ satire" vaudeville, and song, without any comprehen,-,:., classific '., 11..,,_ sive c assmcanon, n l .. same year, ·R-·', ~.:" -- ..~'.~---. spea.~~s m ... ne "a,pu.1 .- ---·.. eaks o:penl y of the d,istinction and pushes it fu rther:
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Poetics as a, whol e can. be' divided into three differ .... · ent species of' perfect Poem-e-Epic, Tr'ag'edy, and. Comedy-s-and ~ these' three' species C:l.n. be' reduced '"',.n_ ·;~'ly':.'two , ,On:A of which consists of ,:C,.·,*1[,O,: ,'I an d ~[O····.· o . __ a ... the other of narration All the other species that Aristotle mentions [.?) can be reduced to --eho's,e two: Comedy to dramatic Poetry, Satire to Comedy, ·0ide and Ecloeue to ~,I,.",'_ic Poet.. y Th e Sonne•. ". •. ··· r ··t 0 -~, '_.. hero
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The idea of federating all the kinds of nonmimeric poetry to establish, them as a third, party under the common name of lyric 'ploetry' is,not wholly unknown to the classical period: it is merely marginal and, SOl to' speak, heterodox, The first occurrence of it tha t Irene Behrens noted .iSI in the 'work of the Italian Minturno, for whom ,I,"poet:r'y is divided into three ,Parts, 0'11,1;: 'of which is c-aU:ed theatrical, the second lyrical, the third epical, '. hJil7 C- D ~l'txotle" h hi I.ano:n, nas ,IS C-' C ervanres, In, chapter ,~< 0';- ._',on: Q--"'
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29 :"f' ,". rourroic c"lVlSlOf}'J wnn uramanc poetry Sp!1L speak 0 ,3 fourfold d'::',,!:,:~ ,"c',~~i<h",'" d' "",::"",,:~'''', ': oetrv ': "i'~"~t'
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'~'~T"~ unres ...ricn --do" ,--,,' , ,,' "'-',":~' [[ 0, bo ik s 0" '--, wo ,"I.,I,e rrc .ec ,ra.nge of ""00,,,s chivalry] enables the author to show his~_ _ ,,_, epic C 1" a~ rye" " _e~ , __ """ "" ,,__""" "" _ powersc e, ,Ie" _ 11:-"!" Milton ~-,.'i""',, S 0 ,[Ul, _' in A'~ ---;c Jl y nc, trazicc or 'com 1c., :ragic, 0 r --":""I"~""" "" , 11 ,on, ,'Cl..a,~,m t-""", ,P.'";:ld""l ,'.'",," ,~:' ris..., totle, Horace, "and the Italian commentaries of Castel .... vetro, Tasso, Mazzoni, and others ,.''. ~ tile- laws " ,~~of .. ['-] 1 ~ th 7. ':-:'-:~~'i-'-~, :.·~.r -::'.~I a, true C,PlC .. ~ ~ " dramai '. ~ " . , .~ ,~_,yrl.C - poc,m~ [,",e .. ,rama[~lC 0, earliest example to m'y knowledge, of our improper at.... trjbiu,_,,,,:>n .. Dr-y den distinauishes ..... three "ways" ~d ra m atic "[]I,,, -tion. :___',"',' """"'l5 ~ 1 .' epic, ',Y.fu;,"_,.ra,vlna de - t -" one c apter 0 f""" ',lIS- R'" ".,agron '.'evotes ~ hi" ~ . "" . ",' ~"" "-' ro '-''''.j " "" 'd tne poettca ('17:-"'0'8<":";')" ,",- epic-, an, do", .~ramatic , 'poetry ,-,"ano"'" th nexs __d ","" .,,-,' •. ,"-- , " 'L t" t " " - at de 1]" M" t_;:Cl a ..J ClJla,pl,~e,ro ]'Y'£l·.c ,PO,¢:ry.., H= - d"" ce ra .···.·.··.'O'~-~~, moa",Q'U"ar =- 'I-l,~.,,; ern m the context'I" of the 'Quarrel,'~ ,.J " A''-":'mcienes an""dl u e ",-""'.' 01" the Q"C" '~tr of tne , 0 loderns compares tr~'8 three categories and describes " ern,,·:, ,M0 ,~,r ...... r an" ..... II;r....E,_;., ",""" h, 11"" ,,", as "at, once an- epic"' dramatic. and, lyric poet "" , imself , " ,-,," '" -,~ "' '" Pinall,Y':"B,':.aum :i;Y':'l'r'[" in en 1',7~'' ,'3:5-:-' text that ,0'," .'U·· '[1'1' ues or.. 'P",'t",e,' ~ " "" a .... ~ au", :D,a v filg·....·i, res his Aesthetica. evokes "the lyrical the epical, the , ..I, _ · ,u:r" ,-~dramatic and rheir zen ieric sub divisio iII1C ""25 A-' m y",,,, " .tll. n"""d':Ja. .... '.' 1] I· 1 '. enumeration ,Jays no claim to ex:iausnveness, B. '--f th ,,-- oronosicic ,'"-, t' y, , ..'.ue none 0·. tt ose proposmons,"-, lS.ru, ,",lv we'1U , ~ ',",. unde ,:",dol .:1~" col tined ,. ne " st ,a-.'". :~,." :t", g,roun'.,e,·d ano weu 'ex',p"a.ln:e ~~~TI·t.. earnest enortt U1 th .,3. ."
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ms ,pl/:'I.i.lolrJg.·j'cds (1634): lyric poetry" says Cascales apropos of the sonnet- has 'for its "plot" not an action " as .. . .. .. epic and dramatic poetry do, but a thought (C'OtlC,epto),;, .1_.l_~~~~ = .. =~, .. "" ._~=_= Thris disrortion of os_~_~ __ ,_ .' is sig nificant:__ the term .•rthodoxy , ~ plot .JU, .. is A".~> risco ·I":·e m, :3" n d.·~·. e term ~·h':",r'.Jo,h·::,.... c":·O"U.I .1 .I. (.',l'Jbl·;u.:I':,n;')·· ...ia l eh I;;!'~o ,t' . .. 11d' .correspond to the equally Aristotelian"""", term ~ dianoia. But. Cv.r'[\;"·.n .. '-__ .. ~.',~""' __.... , ,_"" _" _ ~ the idea that a. thought earn.serve as the plot of anything li h +.. f '.I(i·~' P . 1:... w h atsoever IS tota.,y anen to tne spmt or ene .c._oet,ICs., which explicitly defines plot (m:~td.1:O'S) as, "the ar:r:an.ge-, of 1 ,_.~.. .m\.r.n."·,,.c._ :rh- incidlen ['s' (',J.14"-·5_-0' ". , ..'):2-6 and in vhic ,h- d'-.~MO·::.Ai ' C'~th"e faculry of saying' what is possible and 'pertinent 'I'" t -, ..-.. :14: -5~'I'O:" b) covers scarcery'-.'. "more ".-"'-;-':1'.-. ".- ... tn .g,l.ven circumstances, .ll,',_., _'> .. n· rgu n'. l ....: '.~:-Ir:~_,_-: I~la:n h ch ,-,e: '[ -:it .. '.: _I. t'1L.. - . ·..':·.e- ..'.~~'--a' ct -"r.. tech ,II'niq -'u'e' o' a··,' :~,:,:,1 .. aentario,I:.:·-~:I;·'t~ v"e yo - : ~.':- .. 111· ::. __:=..-.:=. C:'~. '.,.=:~:~, ne ~O.PU:;, rerer ...... .-' .~. -.4'] ,oglca.1"y,- eh ererore, A"""~i~"~" - ,..'~ ~ cusrmsses the ,~ :-......... ,'-._ ... rrsrorre disr '~I~: .--,:.... : ..' ['.lng .:[....... ".,IS, ···t :d'" Y of"it 1.0 !u·,fth,"e, a-I'h:':e·t··,. I' ,~,.- .['o w..Ie :h··· 10 _ ,0 h ",." S"U" .:. o. 1. ,,\ orlC, ..0 whir .. ." ...
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,. )" d guarantee ,-:_,0[' precaunon '-.•.. tncd'ieeo nJ~C~'S ., "..... H1 thiJ$ .. irecnon, .- ... d' [ -·t "essary,,". t _' - d:"... -.''i -, anc ,-htat 15 W, -1,:3.( lie - b eh~IJ,n', "B', *" ~. ues oe '" d "a,~,-' d ti f' ,-- t he ch a P' en ti tl cd ,',;;; lUI"''' 'C' ette d·,''I-C"_ Qt ix "s a d···· ' ~i 0'-'1-'" trine est conforme a celle d,:A.r.istote'"," The principle' of the operation is simple ,an,d already' .: famr"I''"1'' to US,; It. consists nrst 0' uerrvmg f '. ~'£1' d "," .rar rrom a f ,.n' rainy marainal stvlistic comment :3"-'"trinartition of the' poetic ,.,., ..rg=,= __ -~'}-'-'-'--'-.-"-", '" '-", 'r' , ,.-, "". :,"'"--''' genres into dithyramb, e.:pic" and drama, which 'brings ...... ·;'[-,··;·,['11,A 1'18,0 _,Ji,eo '_ ·_.-·_.·,:,·t -I .[':,h--·,·--·· '"I)'I'"",'t·.-"',·II"::, p-'--O':"'I':~ 0, "'""'jr-ar'l..ur e a_ on.l.e .1n .. ...·If'· .d-'arnl,;,:-~-,:,--,a~ " ,.,-"n .o.-,·:f' , I,n , '"-', ~:'lh~.-I .. "'-:11 SU,plp'Ji,c'm:enta,ry'
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28
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The' chap,te~"~~Su'rIa 'p·.·,oes.ie 'nuri,que-,~, at,._- tbe' end [nei... .r ".... ' __ . 1'- '-'~.. __ .__
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,~-ira·J:s\~~"l1~,~,--:-=is g,ood_ :me,asn,rc' of the di:s,ta;ncc be1tw'ce:n ba ... s_"" _= _] =C _ =""" e __ a, . _ _ _, __ __ _ __ ~ro-t.1ll1e in't,c'Uc'ctll,a,Hs'm, and prero:m,au'tic :sentimen t:atis:m", "J.
34
must irnmedia tely add, that this g,'_~'ene[ic s,ap[', [p' "ro·p-ia ... mi r . hi '"d tor non h sometnmg to b stir", c. It ,0:11th-e 11 ras ',f; level'1' ,:fC mo d' e: 0 ''' . .G f the ,'" rre narr ative m od '-w= ,~, t,-h': in.itial d efinition IIj,JJ,'\.~ ,--".Ii _ 'h he · h I ~>.' D I'd' 5=101.1.=,_ rcmemrb er, was that t__ poet constitutes the on,_.y enunciating subject, monopolizing speech. without ever *1"" :"" it o~ Il,u,rnln.g -- 1.. ""V" er-' IJ.O yo" f:~'h :'> cnaracteers l 'p~rlnc~,pu~ this an " IS ch --act .s, m " ,"',IS t- what , hat oens i[- rhe ~~-ri poe,=,=_ also " .·.1>:,,'-[.·(' rha: in_ 1.5 W", ,,a. ",a.ppe __ ,~n s C y,__ ooem __' c e,_,..cep. ~ ,_,ai. '. 1(;, h .' -'.' IS "'[ ,., I';·' I ,flC" t'[ speecn III qucstron '. not- UI. herentty narratrve, ,1_ Y .. 'If'' ",',; _,':',":::",' ;--,-rh"..i[':'V,'i.-,,' ,,:[-, -' k k : ndm ..n '-°0 d.-fin,-fIi; '.. ,-: ,',J..." ',- ,-" ,ll -. \ve over, ,00 . [, liS Pc-bO, l$O a!",~"g,o OJ.. t _ .... e~~,~~e·Ie curee t }'
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... y: D ef JJ.ne·:"JI,;;n ' eh,1'"~I:": 'W: l' the fl' rst P'[0''si tio ,n. can e--:-,:q,"'11'~,;~11 ~~ ell 'be purely narrative [or purely "expressive" or can blend th e rw,_-lLil[ .•[' m s n an 'y,:: P--ro P rt .. a' a'l'~.. "·S·"I' n c e d "W'::' ': e. c ." '"IiIS", e_·.·-" .. fi1In'" ".",11..11 ,J, noted ea rlier, no purely n ar fa tive gen re exists the first position. is, just the right place for any 'kind of' genre d,e.... voted chiefly te express ing, sincerel y 0:[ not, ideas or c: .-..]"" it tiv , ca ch'. (',C" ., . ". thin I_,U;;), is teenngs: .. it lS a negative __" c •au '',l[or eve.ry~ ,1J11,g: th t" . ,"" neither narrative:",",' rati '[ the jnarne ner .ner nor d arnatic) 19 on, which,,_ue name ararna ncr W.,.. 1C _
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"2""9-'- 'M·····'~[--'l~nl Fubini "Genesi e sroria." 'g.-uo'tes this '~~'ve-ali,ifig,' _)l sentence from, an Italian adaptation of Hugh Blair's Lectures OJ~' Rhetoric and Belles Leures ('l783; co:m,pen.diate, dal P, Soave',
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-"1 1·,8\,]':>5··· ')..~ "People ,1\.. C',. 'm'::I'm'(o,;;n11 Y',' distinguish three "1-1· co ",,-,t , .. ",I.. ~. ,I. _gen:re,s, poetry: epic, dramatic, and Iyric, with the' latter in.... of ,,-,'1, ' d': I', ,-"~:' every_.ulng-U"a,[1l. d ::,'--t be :1·'---· !t.. ... t~' _-', -,-. ciuemg '~ . "," _-,.-·.-,t:ii-:~ '; --,' th aces UO _.-'-c._ong to ~'~, nrss two, ,,', ~ n .ne less I, 3···rn m 'l:·S','C"3,' ken rh 3, :c:red•. c tio m U .. ~'.. not :'lI'P' __'p,iJj'a"in the work r\.] u does ,~.. r II . ,Lli 'B111:"';. .. 'lmse,I,=~ W_:. __.e.l.ng c,l,oser ~,O C:.a.$Slca, or _-_[.0 __oxy, ':']"'-;---":·"':,1 ""_-,t,h,,,d~,,:-~,-o C' ,_~;iur 'h-·"-,-::--,-:II£'· whc bein :'~' . <h ,'" "' h" - -,' , , d'" - " , - -- . -, ~ -- 1'" - - - , '1 d· lSt.l.n.gU~,s,,ed'. poetry as"_rama,tlc", -- ,epIC"YIlC '~, pastora_~,J. d "d" "ac"d d [lC"cSCrlptl,Ve, ,an" ~ .' '. H-b _~era.1C~
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lvrie 'w'''':'!;'I!l bestow'_' '';''*:'5, hegemo ,'n-~=y':'-' a HII .... the' expected chart:
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,",,"'II';' h] 0 1,~lcct to sucbb an accommodanon d One WI _,rlg~(It :,Y' bi '.. - .' r:-' 1'--:""1'-" 1- d-,~, ",=,,',', b',:, pomtmg ,,:, ,'--, t"h at t h.is mo d'- ar,,:ae mmon '--=-"1' ryrrc canY -"',-'·"·'·"1":' -~" out , 0,. ,-,-.:, not be applied to the 5--"10·:-C"",1I- ed lyric m ncnologues in the g_r- _,' w_ ..'.. . II ': theater in the style of Rodrigue's celebrated "stances.Y" 0, W ..ch '::a~eux :" '[' ures '. ", miporrance tor ~,', e t" .wh ncr B·, *1'" '.' "-, attn ib-,--, so mucrh im- "f[- ,--,',', C,- rlu re 'aison we hav':': seen ,m· in h h the en u ncia tin g: 'sou' be and .lJJl,Q. ',. -.. jece is not the poet~ But we must remember that this ----,-'d'-~ ", ,-'f Inl.-.lO',l1 IS - :-,t B:,- 't:'~ d £'~ ,-rn,o,,', a 'I d .,e'i~:- - tio --,:~ ,no- " ••,a't·-"eu,x S .·,Oln,g,. ,1I"or h- - pa,ys ,no, ,[e
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sors do)" That (transjhistoric compromise, continuing tO slither along, so to. speak, comes O'U,[ into the open t'1I],I,e:-- ItW:· ventieth cen tury:,,'when_--l... ··n-0nly In - _. -J"I:,'" .,-, 1,1, , ". the e u,-nciatin g:: situation again ,gains, prominence' for rhe more genera] .. " ...1i1' re',as,ons '"we are a,ll ..... ", .... 0,,,,, I,' the 111 -e'r'im rhe 't:;:k·1Ii, h1 aware £"c ,.0 '_ Ie ':. ·.t· m, e . l.C -JJ,~'s •. mtatter of the "Iyric mon "O,-:1i,O::' gue" receded ·1";:1- "0'-', th e 1L,"'1IIc-ik", ..... I ..,: \.r.l'U, . UQ ..)"·,·, eround. It remains intact, of' course, and demonstrates, e :';,f:, nOI:"_lng r eise, tha t mO_3,_, ,,--d ,-=-- i ~, ..., defini ~.,els ., rna -'1' - d:.'~ . I.. ..- thi anc generic ae mmons do .·_,0 --" -- ways . d -,- aauy, it ~. 11W . ~o:rlgue not a''I· .. . comcioe:"--, moid ~'11- - rt IS. arwayss ·R-· d- -,.,.- -, , who speaks, whether to sing of his lo,ve or to provoke - .... 'II I ki d ,'. x D 011 G-ormas; gelle.r.llc,a_cc,y.t tne prOYQ,_Jllg is vnramatic
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:insp:ir,atio:n (religious", m,Q ral~ ele'_giac) 'c'omposed -in a ~,~,,-~,~'bl- ··l'b'- 0 Sl".ro~, '",5 cu.s",om,a,F,LY o. -t;',.Ie -",-, -- -', '.""p. --"1 ",f',-"'·-·,p,'h.,--'--::f--"' lh- s,a,n1,e \"y'~~e,. va-I:"I;@J!e .n.l_·n,er
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monologue is perceived as ~.y'fic (A.ugu.ste·'s in the :fifth act of Cinna is not, although it is no more integrated dramatically than Rodrigue's, both, of which in deled, lead to a decision), and conversely, a dialogue on love C~"OI miracle 'of love! 1 0 crowning: woe! '. ",'."')l 'I. can, easily 'be so perceived,
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Comeille: The CitUltJl~ 'Tlte The,·, attica l.' I'U us;i~'o""trans ~John Cairncros s (Harm onds worth: Pen- - ~ 't" ~ n7'~')" '3" 41 '9.-,,",-'O(),. ':"8'"~ '0'1.: 1 g:u_n, '1_. 3']"" Le
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M:r.. Schlege] cannot understand how the ode or ,Iy'ri,c poetry can claim to, participate in, the univer ... °'''il'1j"1 ·W··. , , ']~ a ~ r ,.. ~, rr hi ~ on - ,H"~, "-(111 ,IIa.. ::." of , m :1"t'~' I"I'' O n: th ,~Ir s :I~S-: m ;in': obJ. ect~;i w ~JI1..l W'O'~~~'~ U have 1~"~that in 'a: hole 1--'10,' st .0:"'£--='ases th e Poet .. sings of his real feelings ra ther than of imitated,
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as, much even in the chapter he attacks, In that chapter ] :had, to prove only two things: First, that feelings m,ay 'be pretended like' actions; that, being parr of 113ture they can. be imitated, like everything else~ I think Mr .. Schlege] will agree to, the -ttu'rh- of this. Second, that all the feelings expressed in lyric, p:r.e~ ten ~dflo,d, real. rn ust be bound by the rules ·0· .'If·' 'p':'O:_' or ,v. ". '. _ etic imitation, that is" they must be' probable, ,3,1'-' propriate, sustained ~ as perfect as they can be in their' g:enre, and finally, expressed with a.II the charms and all the vig:or of 'poetic utterance, This
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" ' ·h·· .. ,:',c, . , - ","'.'.,'.'-:',- b .,_.,:"... nere ·-",t,·l, A s we see, tne nasic rupture 15 expre.ss:e" d'" '~. ',. WI ,.Ill, a, ti ,- shIB '~i-: b a. c. __, t:taux ' 3Jl'_ S'ell legel manifee srlv : t':t·: -a~'~ .. ; Iny S ,-~' 1,D,_,1l_nc_ ",;~'"' :"3 __'-'__ _' d __'" _,_ ', _ __ y ,,-, (a,n,dnecessarily) agree in recognizing that the "feelings' expressed ina lyric poem can be either pretended or •. u n r I'~l., g'····.eine TO". Batte'~""" I.' the fa t t~'rl"llt-~ these fe ~;11:1i·nlg~:p(a"·n':~,o l "'~ I~a. .. [IJ,!lw-tJ-=_ ... 'j.:~-:.~ "'~'_"_ u~ ";'et,ended' In ,P' . .. .. is enough.. '[:0 subiect the: entire lyric genre to .... .... ......~ .. '.' the law of imitation (for in. Batteux's view-s-end 'we
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, t ne .navor 0, ' th lea.r~,y ~ ~g'enres- th at- 'L, ,h i ~, ' ae -- l poetic ~ ~,,-u oore t h e tos r am ,...,,, .... epar -""',t'-~:d". mon g""'".hemselves bv a definire a t .. D,3,,,, es" bur .1" s.'. ,Y .'.~ .' dlifferenc A"',",,s'Iorm. a,n, d eternal _,U,e.I,·!L,I.·.\oo,.. e- ..............J~ nn, 'f;':h···)'1epical m, anifestly ": e"I....10 .,,:U~ has the best of it, It is subjective-objective. The lyrical is ~1"''-"J-l?J~'~''~IJ~>'-;: ,0'" 'n,- y: .. 'it:h- e ~*"i1m'·i1;i!,J~' '"',b,ieaiv on '1'-'y" ';':;,35· A·.,·-··,n0' "t, h e"r' j,lll'; _'. ,','1 LJIJI._ "d'"'~'I~~, no : e. ,Illr'0'-':: m l' ,S.00::": co'nf 'I', r m.:C' th is,~ ' ' E- ~P ie =, ""u~Jw\r.l'.,",,'-' ve,c. ·' '~11 ecti . -b ec uvev d---~1 ~ U ecrr "''t Iy ric ~ S'- - b~'C*"'~~ve " o,~..- -t-" - ~ orama ~ := 0 b~ ~VH .1, me =:u,~,el~ ,it,~l' HJ6 'B-";"" Schk. ,e;g;e. seems to have ''L._,'',-" 1t.ated ",'-, whatt over thiIS·· di";1 ,",,', _:C, ..0 ,.,,a.ve U.e:s e··, so.m,e.w ..,at ,',", . 1-' vision, for a,third note, from 1799" attributed the mixed state to drama: "Epic :=~ ()~ject,ive poetry, ,lyriC' ~: sub .... je ctive poetry, d'- rama = obieceive-su biective poerr y-,'~7' J ..
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from ich sirn ,11er u· 'p,"O' . rer form 1'1'1' or a· . ",l~ n'111' sync .reric state [J ". -. allegedly broke away",'at'a later time," 10,-,- the contrarv, n, _,rY1i ~ I," ""' ",,' "",'1"" h ixed · ,. thae rmxe _,state is exp '1-"~t"Iy given h'"-';, h vaiue as sucn:.' uci ,~,~l,g~~,1"There exist an epical, , a- Iyrical, a dramatic J :fO'Ml, with-= ~:' ~ ~ ~ . - -
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cord "1' n:1,,"' 1[-0:'· Peter Szon di.1., the h·IA'S··:l~"C""" n :... . rises b ·~C: ause Ac-: ,~ times Schleeel has In minda limited dia chrorry-e-tnat .... .. ":'-'th.-::-,;'~' ~ at ames _ cnieger nas rmn ,- ,3, urmtec aiacr ·-:,:--:··.-· .0,'f"u,e ··v·-:)·· unon ··-·' ,- th .- r ee,_._, ..... ¥';I '1',_--:. ~:., ev 0 uion orf Greek .,'oertrv Whi C cuimma -. res in P 1 ch ...,.. -,.' ··d· "It' rimes a, .h -'.'.'. -d"-'." h",. ,::' A t- to' .._-'tl , - ,lcrage:.- .ed y,~ano 4- ''r'~ . '.',. ,,- mucn biroacerc, d la.C,fony, that of the evolution of Western, 'poetry, 'which, culmi .... , nate s in an "e ,'P'I" e" un .derstood as the (roman tic] nov..e'1',~J'8 •. '=1' .' 's····· h'I~...--: 11 .. he d'..,,---,.' " ..'" ')-.,- ,-): .... . .. ' ,"'-':" d '.', , .' ..'"n, :-.. ",I ..,e_geJl,....I,e ·..iomman -.t-- varuanon :see'ms . ,In,',ee,_d·, £!O C :ne with th e latter (the epic), whi ch is not surprising, But Holderlin in, the fragments he devotes at: about 'the' same time" to the question of genres, does not: share that varuanon: """T·h-··· ",yrlc poem], ne notes '!i:.'l.n a.p~ h .', . ... !.;••.--, . '. I.<C' ~ fi.' -1'- ~ -'::1 ,. ',' ]. -. "' d .. -'.... pe,a.r,an ce ice a.1SnC ~ ,~.' " IS, nat ve In 'Il ts s"f-"""-" "-1-"- n ce, ,t .IS ~.g.rurca .'.-: - - '1'1' - -' £. - '. -:.C , , ic ':-'>.. a. con, tt mucus me c:,ap,h, or 0 f'·, a ree I'1In"g.. 'T"hI:e epic ]poem],I In, ~ ~ 1!.. ,.,' ~ t: ,appearance naive ,.. ~. is heroic In rts significance. It is the meeanhcor- 0,1 gre'a" aspira tons, T:------:h-- .e 'r' ·.. of zreat -:-·~i-·t:~ -:_'-,~ _', .. -·· Ij,r,a:g,u: .poe·m""J ." m ,"', '.ne metapr ,-'.... ..."._- h "erOlC .. '..'._.: ..".".' . ~ ... ,.:-,od }I·i -I.e ....··it,· nficance -1',,[ a,p,pearance .: e ..... - '" ~ '" ~,lS 11 eaUJ,S,uici In ',~,.s~~S1gn,l]Can(~c. ' _ is the m etapho ir '0--: .r-, an irt tellec :a1; inituition )~40 'H'ere ,_""",=~ 11111 1-' r a- ~i th :e~: 0-[' ·d' ~:[' 'C};O·' :5. '''''1' 'W:OU 1d :S~'ee m···.- 't:Q; ~i 1 d' .'I·a" te ,"1 0 ·r"11l.... JJ,I... _
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~ ., r I" ,,'- ne re tne iramauc (,",me t-l-ra',gl.C u"'h~-",~' In, this case ravora'- 'bJ,--to th dra -'~"~-~ ~,<IS I['p- oemlJ~" bt '-t- or''f :,c course it't h e . ,0" 'd'-'~I( 'l--~-;,-~ '. ',- ,--',-, ate r sug .... c ,-', urs ,--'H"~-~l~ nnan context e,~,l our er e g~sts rather rhe ,hig~her value of the Iyric, which in the ,£,:,-,,'-' 'I: of t. re ,-moanc od .', " ,01_ erun :,I-j lCltJ,Y aesrg i rorm'I 0, th =p~" d':,',c one, 'H: II'·-:.,d"-Ijil ~ II exp licitlv d '~,:·i-,nates as early as 1790 as the Iink between epic exposi tion '-:-d tragic paSSIon: ~ -,~ !,,-:-,-,~4,1! an,d"-,,' anouthe -- 'fi~::-~,-~~--, .f' j"~ om [ e ' ~ -~ ,~',-:an, ,,' ,'~,-:- -,-.-,'',-~,'~ ,e.r ragment rom, jh 'Hamburg period rejects all hierarchy Rna lev en"all se:'-~' h th d-'l' quence~ esta bl hi ..,~,[s"ln,g among tne u .ree gen,res'_ J a,n, cr.t iess chain in, a ring 0]1'" a spiral, 'with, each genre alternately 6 'Th , I" -',' m a~,~,. II,'-'w__ '.. -'- ~~et~ag~,cpoet g,alIls by stu d.,y d'· 'n'- ,,,,' ' ~,~~,g",~ '--,-r'" , ~ea_~~~g d_~o~~o"In .. ~, ~ 1 I .... " ... : ~. "', th .,>. ' ," h ' i'rh ':.~,".' .;'::-:-,'" _ Ing th.e ,.yru:-· poet" t" e. ,1 yrlc poeti-- t ",' e [eplc[:" poet, rne e,p~.c poet the tragic Pioet. For in the' tragic lies the com pletioi.n .Jc J, of the epic, in the lyric: the compl etion of the tragic", in the_· ep'l"'C: th e C"O' .m'Pletion of th e 'I·'y!' [I'"C' "~'~'l _.I,I, .. ._. '~.1 ~,:.[ :.___
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42 "d ,,1ia leer..".._, pa ttern ~S' 'In- ,0'.·'W'~~in"place and it works t- "0- the .... ,. ., ic"a~~I h ., h . , ...1 . '1 ~ f'-' aedvantage O'i~ d ,~:ra,ma,-W',·-11C,I", incidenta '1Iy, revives (d tand by, an u nexpec red [-.0'. lr~:t~e-'»th Aristotelian attribu _tion 0-: f,~' a ..",. value The ,-~-"1. ,~"", ,,~ 'W'",'· hich Friedrich Schlegel le,:r.t'· seouence _ ~"~-_ ~".' -." '_' , .• l~. ,. J,.~,,,,,",ll _,l.t ~ ~ d h ,. 1 ., l~ ~ . ..J '. B =",' .•ut P~arttl Y'~'m c.I,OU - t;. is n OW' clear: epic-Iyrio-dramatic, Sch elli n"g~-;:' re.. erses the ,0'" ',r--d':e-:r~ f the f rst tw-,~,o,- rm s: ~r-,t~: v ·0-' te ., h- ync ~-~b., - ivit " t ~t t -~~ ",~Iec b~- ~ ~ WI"" '~~I .... suejectrvr ,y,. then, fISeS-Q epIC 0-bi eglns tivity, and .finJaII'y' attains dramatic synthesis 01I" "iden .... t'I'" f :C'- 'a'ti o·~·n.·I""u" eg tel retu ",.. m s ;:-:0- A_.·"~·· ,g~:st- ·W··-.' _-"1'"1,'L1eI. m's P . at te rn '.' H U' "U· __ ,~,I. :'1: --: .... .J! . . ,. 1L at the b ., '.'.. epic poetry, th ,11fSt expression 0,'f' tne ··egllnn'i.ng. ie c: t, "'11 d~ ik '11 ,. h 1!.. . 'C,lJJ1I_: .t:l.!, e consciousness 0f:I: . ;3, pleap,"1 e': tnen .. tne con .... verse, ~ ""'wID,e':n the' individual 's spirit becomes disentan~ o~ d ,lfom. '"-I". e '1' ti -'.:'-.'conc.re~e "- vh ':'1,'.' "'_11.· .. ..... ii'h ~-.,C.-"'1':· w,:·o.e .. ·t----·' ,gJle..' c.c.-·· na,IICtn s ,lyriC poe-ry, -,~, ',',"'d' ,lnau"y ..... whi h " two,an '.., fi.... drat 'i- :". poetry.~_,_,,,lC,. ch co'n-JOlns £·."e : '... ' ram,a,tlc -,-~.' .. ~~." .m,o •.es 0" ,-,--'~ " .' ~--ari n~I'.I --~ .. ne 'w _" o, ,-" :p.rev,lous [[" . -.d~ ", .-' ,I'reslen:£ ~t ~o~'J. 'il nto.' ". a~.~,~,. w-h~'"..e l,n ~ ~, which we see in front, of 1],$ both. an objective' development and also its origin in the hearts of individuals ..'''',45
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It is, however, Schelling's sequence that holds the le'ad :in,the nineteenth and twentieth centuries. For :i'nS·ao nee t to -H'"_'_"; ... '0"'" "w·· J~...'. ~.·.~I_I1..·.I·:,:·:·:"". ··:,llj· establish .es a"bro ..... Iu ho d': elib "c- te 11u' ....:::'._Q, '". d __.:"~t. _.,'_.:... ra . U;i!., n ei d~ iachrony '..that is more a- fr'b.,...r P :11.0.···.· ca 1. th a·'~ ._. e 1 , .I.y.r~-. I_ ,01 ,n ~I P~'OI'~ ic'. .t.:; 'i icisrn is the utterance of primeval 'rimes, when "man awakens into ·3 world rh at has, just :s:p,ru,na up" ~the ,-~, ",e ep ieal (",w" ,lUll .n, " rrr u'_.c',', be a'dded '~<I. "b-~,~c -- 'c'.:'ree_:~ '.:.rag'le:dy) hich it 'm" st em~~·ral;cs 'G~ -;,'k -, ,""'t. . ,.y~ is the utterance 'of ancient times, when. "everything comes to a complete srands till' '; and drama is the utterance of modern times, marked by Christianity and the sundering of . body'..'""and soul." Tojoyce whom we fia V ~. .&,,<, ..'. .' . . ..., .1. L ,~ .
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tragedy, ancient comedy, modern tragedy), themselves ex,... · k triaPOI,'1 d fl'ro m some pa,r,ad'· atec .rgmanc wo rxs or ,aut,h.OES: (,.hi"",.,;. t .e
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of the' creation, remains, within or behind or heyond or above his handiwork, invisible, refined out of existence, indifferent, 'paring: his fln.gernails .." '
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47 * .1\, Ponrait of' the A'rtJst'~ 21-4,-,] 5., ,48~ G'rundb,~gr,lffede,. Po,eti,k I{Zu rich: ,A rlan tis, '~. 946);, tr ~,Basj'e C ou cepts ,C!! ,P'oe,tJi'(:s.~ trans ..Janette C ~Hu ds on and Luanne T. Frank (Universi t~y'Pa:r:k: Penn Sta te Press", "1.991)'. 49,. 0.0 this seductiveness, cf Gu.iUcrt~1 "Literature as
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45 one [of the other two, with the middle term, necessa rH:y' going to the one that is left,: but because here rio evi..... " -, '.'~ " ,\_~t': _~~C __ ~__ _~ __~ _ ~~O __1 deuce can su.p.port any claim .. the choice remains basi, cally' deter milled. 'by implicie-eor explicio+respecr for the- value, inhering in "progress," linear [0[' dialectical, The 'whole history of rhe theory of ,genres is imprinted, with these fascinating patterns that inform and deform the ofeen rrregular' reality of the literary field-e-pattcrns whose designers claim to have discovered a n.atural. "system:. ."."'P--'>'Ii'' C- cisely W' -'n-- ere ~,j: .... are con S'I"[- cting :~l ,C""'C- ~,,,,, ~~. :;....'.-:J. < }'. ~ they "'",1;~,:, titious svm une erv with th ~ help of copious sup "p-- 1,.:'Y":0-: f '~ ,", I' .
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These strained configurati ons .are 0,0'[ always 'use..... Jess-e-quire the contrary .. Like all provisional classifiest ~_.1'1,. ro.. ~ _. .• they are taken as such, they ofte S'\;.rIve ions wid ed ~ __ __''''_~_ " _ell I:P' _ e an. unquestionable heuristic fu~n crion, In any given case, the false- window may ,ope~nonto '3, true light and revea] the' importance of an unappreciated term; the' slot lefi empty OIl' Iaborio usl y filled rna y, much later, find, a, le..... gitimare . occupant, Whe:n Aristocle.oiorina the' Ie . istence =~~= ,; .. ··--,I~ --~=. - ~- --~"- -~ .. -=, n - - ----,r::; - - ..XJen, of a. high 'narrative, a high drama." and a Iow drama, deduces, through abhorrence of a vacuu .. .and. ,3, taste for m balance, the__ existence o-f ai,. Iow narrative that ,_,_f;!, p"',cf.V,,I! -'-o'.I~~·11._' ~ll---'\;;e!li _~ ~ ""' __ .. .. __ __ __ _ _ __ he sionally identifies with the parodic epic, little does he know hte ,;~ savin, Q a" plat .....ce '~O'-I:[-' t.1:,]1. realis .tic 'In" '#iII:1: en he ov I.a ~ D ._.,_" J ,I.~ Prye, another great craftsman [of fearful symmetries, h ki d ,'''''''': '16-'1.~t,,1iQ_- ~[;, 1_0,,,-_ .. -.. - ,'n'::""_'-,-';'·'r'-o,":,','. not- ii',' e exi _C··,C, -he CII;~1iS··'iI",~n,,,,;~ 0, f"I trrree em ::~, f verted '."\ :'...,r)'·e' 'o--n'' al1 (the , 'ro---,:m-,- ~I'n-'c- e) e-'xtro 'Va,[- ted!...... ;'r"s--' 0-.:_ 11 11' ,', : ' ·e' ", ~,' .. ,. ''in "11"·5" ..,_'.-,' ., .. (the realis tiC' novel] " and in troverred ..... telle ctu al (the in confessjcnr-e-and deduces the' existence of ,3 genre of extroverted-in teUe'ct:uat ficcion tha t he chris tens ~JtJatom,r and, that draws together and promotes some misfits of allegorical-fantastic narration, such ,a.s Lucian, Varro, Petronius, A,p'uleiu:s, Rabelais, Burton, Swift, and
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.2:1136-a bout '1.820); E,. S., :0 allas, Poetia (1S,.52}; Fri edrich Theod 0····[· V.~ ch er.. A·.·~.~ J:5<:":t;l..... I('V-:~'O'" .5 i'l8-.~1:.··):· 'E)·r·s::k·l'.·n.o. ·'T.:he ::::1's · t·t john • [,1][ .... cKi'id:.$' of p~,.etry· (1920)~Roman Jak.obson~ "Randbemerkungen
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Schelling
Jean P,a,ul
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'" (' D- '. ii ) '.' .. f" ~ sentano n,_': sarsten ung'~ m d-naio gue 10', . an acnon; 1 '.CIS m, Iyn ~ the repres entation In a m,onologuc or Oi'ia situatron tz ~f 'L:·· f",' It"" - °i_ ,(,'Z.····'_ [ ae re -'.:, '-,( ~.).. - =:-:-=-, rel ,.... ishi .':-'.,:, , .'.deoicn ,d, c': -.- c", :~ ':.' '1'11.-.:, .,.' ' .::'.',,' stan-d,',: 59 :T''hI,ese reran ODS, I,PS can- b e··,.e,plct,e., ,]nlllaIIY b,~:-_:, ' y ':" .fl.n,g=e, each angle bearing a basic g. renre labeled 'with a t,· iar :··~l-:".-.-----. --,.ts SpeCI.IlCrearurc ~, ano ·':.~,-.'-'h sine '''',1' I~"'-': t' .In,g,,-Je 6=--'to.ure ,C', .' C:',,-. ·t "',' .: .." .. eacn .·:de mcnca ' :. ':'~,' the rea " ,'. d .. i ns i common ,,0 th , ,t~ " .';; tvne .. 'it" 'l:i" ks 'L'nkilng,, Ivri ,i,·,·I··I·· an d.. rne two .ypes·< 1.- nn cs, , .m.. '.;.,.,YflCJSm, : ' ' >~~ ~ ""n . ,:.'1 .. h ··ree '.' d· rama rs rep res en tanon t at is, tr'. e d.. t exp res sion, .. t either 'by rhe poet 0[' by the characters, of thoughts lor " 'L' k ',1y,r,l'Clsm an a"I ,ep'lC-- 'IS mono 'I,o'[~;,uel' 'L~ k .'I'" .'. . '. ,Dee '[Ings]~",~,n,'J,n,g .' '. Lin ,~ actio, ~ "'. ":' .-,'.'- ~ an d d '-"'-"".'11'" I,D,g epic".'.;,".:- a crama rs '.''I'.''[l
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el ,-:'."",-).': : dissvm ·-··=f· ·'- !l..u,a_, lS,_[OU_d,n,g, . .. ~ . his rno , T, ·.105 mod_e". reveais acissymme I..ry it"'Flo't :', '; trot ibli i":' .. . ,P , r oerh aps inevitable .- .. .-- -- ~- . an··d·-, e,r ..a ..S In. - a .. -. (,it·:. was alreadv,., p. resent in, Goethe, " ___. _ _~
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59' ~ "Z 'L hi _, ,ur ,.e ,re_ on der D-" h t _.,g g, '. __ . ncntuneseattuneen.': ·:In·bE·' .1C__ _ "_,_ge_" ,__~, R' ' _,_.$_ "ch"'j~"q s '~J' ,A"r ··ta"st ,S.a:U€f' (Stuttgart:-.. ,M"etzler. 1.925')'"72-1, t6~ Peter0,-' . . ..... --, _'" .. -" ... sen. refines rhe system and mode], in Die 'Wis's",eMs eh,aji 'fl,or' der Di'chtung,',: ,Sf's tem f.t;1~d Meth.odelJ~/'e,h're' der Li terQ',tl'~,nvfssen$cJJafi.' I(Be'rUn: junker und Dunnhaupt, ~,939)~,1::1, 1,9-26;, cf Fubini,
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mon to' drama and epic ,is thematic (ac [ion) , 'W hereas b f h teatures 1- ,',.. h irhi .. mors bootn O"~ tne e: yrrcism snares W1E __ .1.tS, neigh'b .:. '. :,-'. ,f". --m-,.~ .(.,", _-.- 0,:",,1,'0", _ , ,\;.;._ d repi r es en ratio n 'J' B''Ii'11+' this are lO:(", ": :m,-n- "-, 'U ~, '.3·:'n ,a.ll, '-'-"0' \.,;., ,a. ~ " .1,,,, unsteady triangle is only' the starting point fo,[ a more 11 .' compiex system W,Ihrose purpose' 1S on th one htanc to Hie ,d ind icate the..'p·.ir-'o-:::p··-,c:'r-:' loca.. ' tion on each side £0-"-;:[' _.... nne mixed 1.-, __. .' in ernie ··t ,gcnreS,5U,c, as '~",,,-:. .rams , the 'idI,Y,U, or (s rch -',-or:-intermedi .iare ,'--. ,1,Yfle,drama ae l ,'~'~.:.,the novel in dialogue) and, O'D, the other hand, to ao.'.:'.-"1.1.' ..,_ 1-" l count f th e evotunon 0"f~' i tor nterary f ;··-··[,'i· ..·,·..: rrom an o.r.~,g rorms fj--'inal Ut~"D'i:C}Z'tUtlg (also mherited from Goethe) to themost highly developed "elaborated forms." Thereupon the triangle beco mes in, keeping with Goethe's suggestion, a, wheel at whose hub lie's. the Vriii'Di~'c:h:I~;u~g nd a whose three' spokes are the three basic genres" while the I-:h---I'ree -, secnons rhat remain ,iC-I~I--d'-- bv ,th'e mterrnecnary -. t mar --, CI'-~'-_- II reu r., ~,y~,~ i itern ·-,~r- .-,,-, In, CO:I-,-mi I' '--,e · th .•' I]. ''-il~ sectio 'n ed n 'C" n,~e: ntric [. rin l~. r, 'i;5~,· ~,r.... ~;m" .selv •.I~~:. ~, . ..
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layers fro m 'the center toward the periphery (see next a P- ge) this d-'"'. rh .... :_erm,,an, ,ge=,_e~~c terms, zeneric ,0_ n t, ls_',lag,ra,m ,'1 '11-,-.--V ee t ,..e 'G"-;;.I;C,a._ '. ':U' sed bv Peter s',en' '. n"Co[: 'eon 'w:: ,)~i th ,t, -e'-'''X''''ii 'm: ,r-,1o..,-, hei,'"'r,.It,,, r;M'IJ'i;'s~ efe "',1 ",,"_, . ~ = ent s and Prenich '[1-0-' r Eng Iishl equivalents are not aIway s .. ~=JI - ·.·u}ld··.I, ". a m tistak e '1"10··.·.·try:.'to t-..r, ansla .[' IU b C, e ..'Jt"" O,b":-"V""l:':O-'U': s. It W·-· '0·.·· iI.." Dj.C'htlflt:lR'~ For the' others, moving clockwise from epic" ler us v enture on the first ring, ballad tale'; dirge, m ime an ..ipho n al ch oral orhant-" h-y~'mn-" 'd:'-''a' - n.':-'- c"'e'- ~-O-:::-I-'-l-'g--'-' _,_,=,_", _-'_".' "'~ 'k .. " ,. .. :ma, d rlg'31, wor:"~ s,ol,ng":I' p~'ra'l'e'r" maUle' :l.ncanta.t~Oll~ep'1C: ,1'·0 ~ : Slon;g~ D:n, t'h,e' sleoond. :r.ing'~ firs-t:.... p,e:rsQn n,a:rr.ative,
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Festspiel
d .. 'R'" , - - ,ync uia. 1-- - , - mono di - --" j(e g", ,otl.sseau ,S ",yg,f,'UI-· ague" -- - -, - mma e , ,lio',,); Roilenlied is a lyric poem attributed (:0 a historical . h . (B: d' Of' ,3, rnytrh 0 1- .' ogtcai C~aracter j.treranger-s L' A'd"'"' . ,e,$:~'~_"r.eux 1:( ~~ la"i" •.' . -":- "YO,f,ne Ileus, ,I.yrlc ,,1, ";Vih,,"'_,e'., Stu. :vI' .' _,__ch Or-Oe,l." eth e s P~'\"I-''-"l~J",:)~, " 11>, cyc]J,e :"G' "' ... .', H'··' E='/' ..' ,'. .-')", ep.1.s[' e, .vrsion '.,.'.' 'utnc.. D':-::"~,,;'.--.." ,.. ,.. -_,]'" "'.",,,.'., (,.".1.. .." ~.,U;1,UJf (".,o,e[.,th e S"O.fna.t1. 1·-,eg"e,S;, C'o,m f'a'r) narrative idyll, 1yric novel (the' first pan of 'Werthe:r; the second part, according '[:'0 Petersen belongs "u,n.·"er th .e::._,," '·c':.... c,rza .' u,ng '0-" ,tt:h· ,e 1·'" ". ".'.". " '..'. : . c~"ron,-' . ·d,l~) .' ' ·',~·h",-E·':-'" :''''~h''l'' '( ",-,~)" -.·,n .'" ,'.,, "ast, ,rln,g~ verse ,·h,·-·" ',-,' icle, didactic P oem, philosophical . ,- dia1,0'>gu..,'e festi1V~'-_' ,3,y, ,-, pk IF -. ~ .. . e dialogue among the dead, satire, epigram, gnomic " ..... , ··Ill:.:. '... '. ,,;:'1 1l3,rra ... '~~ ,," d' fable ~,' ,poem,. a,~e;gO[lCa, ',;"",'-,,,,,'" an .. :lae,1 lve" h. . 1 ., £;'1-1- d ., A s we' see, the mnermost circle is ,II..ted witrh g'enIes 'I'- - ,'-.''.',_.
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ro "applied ,'" forms forms in, which 'the ,17' 1iJ,oeticdiscourse :is .:P-'U'E at the ;:-,-. -. .~ -. -. .. -.... ,..' .....,.. .",_' . wh th ...·······, 1 ~ ..····1'11 o .... service '. 0,f":' a message,. wn etner moral, p"hlOSOP"-h--:-lca~,,~rother, 'In.·. ach circle, the O'fi;,n··, res are obviously <'1:rrang,:::~:d( .· e Il~' D~"" ,:~. ccordii .,-',t -err .e.gree 0 , ~":"'-' .. :.:.':",-'h. '[ retanons lp acco,r.ln:g',':-'to their deer ....ofammcy' wirn ,or rel tier shin '[:0 the three basic: types. Manifestly sa tisfied witb his dla.g ram, ::e ersen a lr ms th _'1 ' can serve '..'~',c·'o·'·m·--·'·'IP"''II--', -~:t, '.'''.ve a' 's·· ma :"1[-' _... ", "','.;' a,SS for finding one's bearings am .. ong the various paths that " .. [.fa,verse rhe ,-', '-'-. ,---,of genres~, " 'T"h-' e m.'o,~e-c~.~_,_,-ous,-u',e' syste,m OJ -. ".--'-,,-. .. , more-caurk ", -F-'bi - prefers to compare t'h-ms structure to -'those sal"I-b- f oats e ini 'h ... ad --.-. lnae_ -. of cork ... in sid ,e"" a:' b 0·',' ttle wh.ich adorn certain ' :c._f",.n. '.' ._ ,.; """, ,' "-'''-.4,.,· h ous es In L+ una ': one admires their ingeniousness '. jig .. d-·' hei ~ ., " without .. U Wl_, '_ .!Sr. discerning their fu nction. Tf··:,e-' ·compass or false 1,11 ... ,i! .... -- _,,1. .. ~ l,i_ ... ,vesse,l:!! Petersen's ~ ro'.. 'W' 'ind O' ,--,-,.-'i of g":'e"n' ires 'l~e perh:a D' iei .. .:--'\;t";:[~[lIj;n, ~. ',.. 11- · the.er ;5,0 va',1, ·-"b-·'1e as tJl1J,e 'rormer-',-' '. ua .·· .. ·,,---,-·1J..l-, r:: '--'1'- nor so useie S.. S as rhe ~,: ~ t" e Jl,3, tter .::: ,-.-.--:. M oreover, ano · despi.. t,_,(; claims h ma k £" 01" I,'It,, It b'y d .... te h 1- '. ne xes . ~" it .. '. '. ~ no me a ns cov .... 't-·'h 'W'"hol e r 1-:1'n· 0.-f' ~X1St· .ing:::.,' genres: tts 'ers ie ;:--10::-" ige system•..of representation provid ,~S,' n0·····clear .... pla ce for · rut the most canonical "pure' g',en:res" like the ode the epic" d A db ,., def 1OII trage ,y,. ,:'"D,~,-eca,us,e usdenmng crrterra are mainry C" ····1'·11 "'...... , h ....., .' ,.::. djsti ,:-:--'~i,':: ch _..-. rormai, """" cannot mas"k'e "tnematic ,", disnncnons, sue, as-.'. those contrasting tragedy with comedy, at romance (h"'.-, ,'"",:-:" ntim ental n .'v",,-,,' w,_:,,_,rh the_ ,,". . .., (rea listie ..':-",~ '-,_':::_ \:., erOlC or - sen 1,m,,,,",,n",Jl novel) wi ,_:, ...'. ' novel . ,I",,",'"'...
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doubt 'what ships, 'in, 'bottles are good for-e-and sometimes antique compasses as w e]l,
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But before Ieaving the curios department, we. 'will glance at one' final system this. one' purely "historical," biased on the romantic tripartirion: rhe system of Ernest Bovet, a man, WJ~,QIis quite forgotten today 'but who, as, we have alrea dy seen, did not esca pie Irene Behrens' s attenrion, The 'title of his work" published i:n 191.,] is; precis~ely, Lyr£s:-: ~,ettl ap,'e,e - drame: - V:tte 1'0 i de. l- e'va..lution 1,~t:,-, ~. . ~~ ~,'." ",' -~m ,',r -,', -" --~- ~-- .. -- . ~~- -, - - 10J r ,;,0. p:,' i6;V'i'l~'~iI! ~,", g·--·'e~'" e""'~A ~,t:'; .'.'0 LY:-:-''Ii'"l'' ci sm.; 'E~ c "P t"e'/:'f'~ Q-Vp:·" IIllq·.·. ,f!iod-I D"· m.a~ A'-"-, L'. "'IW· s _.f' L it"e",'-'r-"'"ii'ry:~ E- .vo' luti 'fi-] E-.iC-'. pla ~"n,,,,, bv ,X", y General E volution), His starting point is Hugo 's Preface to Cromwell, in which Hugo 'himself suggests that the Iyrical-epical-dramatic l3J.'W of succession can be applied-s-here, as, before, in endless reduplication-e-tc each phase in, the evolution of each na tional literature: thus, fOI' the Bible, Genesis-Kings-job; for Greek poetry, Or:.... pheus-Homer=Aeschylns; for the birth of French classicism, Malherbe-Chapelain-Comeille, 'To Bovet, as ['0 Hu _'.• and the_ G· _ ~an rornanti_ cs , the rh,. .... ··· .... ee ch ief __ 0 ~_ ___ ~ ..~,er'm> _ _ __ _..,. ~ "" _~r-"'"'-' C .I.e genres , are not merely forms (the mos t formalist of h t- ese th e·0."·:,rcis--r'c. is Petersen) but rather "three bas 'I" c W':-:':',"'i'y' rS t:: a f 11:EJ id ehe un ive~"!&.I·_··I:"'" U w,e 'hich corresp ond I.' rse ~.:J!:.,·r '.. .,.;:.'_', ~ O~ imag ining life an *0' '. three s rages ·0····f AV'QI ut ion '3'S· mu Ic'h 0" nt 0''g 'c., a¥ir as . en :_-,,,.L, phylogenetic, and w hich therefore function at an,'y level of " ufl.. TI_·h,; e ~·x-::.a·· p- I~' Bovet -, ,c'h.'o,·.-o-s~····e:s·, Fr-- chu )-,"t....' ',:-1·' ,m is ~e~~ ,I.' era ,11 - -.~ . "'" '\,.~". ~S ture," which he carves into three major eras" subdividing each 'into th ree periods (the .0bsession witb trinities, reac h ~'S", new hteigh ts) 'B.lut Bovret skew :"S', 1l..."I· syst 'e:'m,: ·fji'r-·-,o· m ll .
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the start by projecting the evolutionary principle only Th' nrst e: onto ,l"" " ds;, not onto eras, "I .ne ,c era", rrorn tlhe b.enerroc ,'. ':'1'1 b '.' g'1.nn~ngs un It a: ou ·t 1-5"'2-;"0" rs r; d: .), an: d ',a_~,,-OdC~ '1'-' . ,~' '_" z. reuaar ., .. 'C'::' th .1]-"', . rs .' d'1 I ~ 'It 'Ifi' .f1[5[. perroa, Wh '.' h rasts until earr y In tne twcutr h cen = ncn ]-. tury, :is :maii-n]y' lyric (o. • obviously 'this 'Wa.~ a.:n oral .. popul 'lyricism" almost all trace of which is now lost);, it's sec.0' n d perio ..I.d, fro m '1 "11 ·0-0···· to 1L,o. t :"u,t; rn n,IJ e,:P··J:'c·· . na '~'U' .(.'b·.a"nsons d e.', geste, tales '0'-'--:':[,: chiv al (V':·~ "lyr .ii cis 'i1·1·. is n .d,c •. e,:J .··,:1,'",·· ·"ra,m,a S 11 , em· b .ryonlc,"..,.. In, 1,,5 t"hi./. -'d..l pe.flO ··d· 1'(' '1' 3'·"2····8.··:~ '._·:t"1!]I" ".:"'.'.-" ..•_..-,~):""" :",r,.: .' ,1[[ .'. c. In,e.,.. d-i· .,~ ~" ~ .. ., 15""2":0'1')" erama ·fl- ." .. " "~h·····-with th .. mystery prays an", ,I'-a",t, ... ,"-::, d';,- -""" ,~"o'u,rls~:.-eS~_l,.I. · vst -"-,,-,'1.,-,-.-. -', 'd- n-"~h'\' ,,_e li». while' the epic degenerates into prose, and lyricism (Villon '[he exception that proves the rule) into Grande Rhetoriqu ~T"h'I;jI'i; 'S'~F"'O'I-'d-I """,.r~, from 'I='~' -:2'· "0''-'"- th~e -," .-" '. ~'1:' ;t-'.R" e·vo~u~'." ~.~Ic:,~.'.E' . ~', .~ ~~ .;...;,. n'~" e'--""" tr~~~= ' 5::' ,,0 ,-"'i",;," ':", th: ""' the ··"·b,...":-;} ,. "." . 'riod non,_ IS t, at.1["0" rne d.,SO!.L'[I,te monarc ·'h·"y..,[.5'1'-':] y,r,1!.C penoo 1("~ll' 5~-'2·.··'O· :'-~l' . ,1., 1.5 xemolified e.. b.,.ya'R.···rbel:,alS" the ~;1'1 dee,. ".';'. d ", . #".';, r .-. .', . .... ,. '6,'11·0-')"'> ex em Pi!' ~ '.e :"".: ,",.e ,r "era, iln·, h ·a 1'0.'- 'n-it-~'h~rest- e esse nt ially ly 'ric tra .gedies of jodel I. e···'nd r. t··h enics ofRo "'''''''''~ .. 'D'I'I' BI,: as ""'.' ab ..·,·;t· ......• Itiai ran (me epics o ",:,on,s,ar,u anid"- ,1I . ,ar,tas are a O[I.e, d or unsuccessful, while' A ubigne's is, lyric). It s epic p eriod (161'0-'171.5) is exemplified not by its official epic (Chah 11 ,'hI n.,', hJ C" P etat "") 'W',__"h-" :IS wo rt.( ''IiJ.ess.~ b t_~y tile novel, wr lC'h: bu b dom rin ate s this entire epoch a,_._, '~if', .ij';' Iustrated by and Corneille (Racine, whose genius is not novelistic, is anathe ot ~,-;- and rur tnermore, . hi . 0_ er . exception, ano fiirthermr ,. - a t that tin '__:_. zork rnarnme ,,~S, wors ,. 'h fI ishi was not we I'll receivecd) I, ;,;,1,,0 I'..'.. ,pr'esages rne Hourishing rere of drama in. the third, period (,171.5-'1789), the period of' ~ ~" .'- , :- F~'-'-""" .L;' , N':""":(' ,,. ,£1. R·"···'· '.' "ou.ss'ea,llr' ,.... .. ", '. presages lurceret, ;'Iga'ro, <e,~leveue ','atne,aiU,~ "R' :.' =. .... ~ 'I·' j1"I'c ,P er '" < 0" .-.. ~~ :~hit d' n:he next per.liod t.h e . y r~ .::. (-,_ roo ('~::f'~- th e uur d era. an era 0", extending from 1.789 to the present d.a:y and, Idomin.ated until ']840' by roma,ntic ,ly.ricis:m"p' Steo.'dhal ina:ug'ura,t'es "~.e:' :e..'" 1ic· 'p-e~;r--l~o....~'1 1(,··1'S··.>it!{\-;1:8.·.··.·S,.···S:.,:··):·.,:. :o'm-'~(Il~nl"'a~ '[by':.' '·~h~r' ,e'a·.:]·l~'S-·,t:;l,c., ' .. -d "_.,,.,-v __..' ... ,t~~d': : ... . ~,I,. .·..p,.-' .. d" .l'la" ..·=~_·_~s n.'o·lc_ at"- ,,_,,-._=e :: -,.'e~;."." r ~,:,. ,..,..-' '. ,paclry ...... .... an~._ ,.',. ··to"rali "t·i··~· 'V' -'I ,~_ a ·tim·' 'w'b"~ n .(.'.,p, ....a,:r,llaSSlan/.,:).: _. t:--'~ _,,-'C :h,;1S lost its ly':ric 'vein,;, Du,m}as fils, ,and Henry' ,Bc'cq.ule initia.tle the splendid 8Qlw'ering' lof d:ram.a in, the' third pe~ . ~ riod,t 'W hi.ch. 5,'tarts in, 1'885'-3 period :ma.r:k,ed. fo:re'vle-r. "" , ;" . . ", ,,,' t'
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more b'y the theater of Daudet and, of cOU,[S,C,;', Lavedan, Bernstein, and other giants of the stage, Lyric poetry,
however, declines into 'I ""i, -[I M~'~ me _,6,1 '_ _,al.ll~l' , , ,,_,.
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VIII ion 0 tr f d '~'e' Th romantic remterpretanon of,."th e system 0:: mooes is nettt d 1'3.(:['0 nor I;deiureth the ,as a s'ys te m 0 f genres 'is neith er c ,C c. e J U Fe .'~' "'·1····-. , . .f" ': ,oog story, ,I: ,"', .1,.:3.te IH' .. . b .. _. . ep.t,ogue. or .t hi 1·· ." .-,-,-', ." :T~'h'us 'K"""". '.,. '.~lln,urger.'~, I~,S,
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11 dO' ~ __dO, rne trrrec :g,c.nn:s,)'c,c!l,d·1.eo SOI'I,llC y'cars a.go h .' 1.. lid '~1 ~ ."~ to re duce tr e triacd to two terms: I":>'r,fc (hre oro ~ Y'[,.lIC tt h f genre," supplementec d b other t: by rorms 0'"- persona l :'" :".'_" 1 .. - . - .. -'i-·· ~~l... ",,.... ···h·· nrstexpression nxe--,-,-,j.'·'b-···~·· .•. ..',--' P ..Y an even tr e ~,c;.c -',.", auto aogra ···h···.-, . nd .... ·:·:·;lu·), d~,.,.-,.~". ished 1,'J:· :'.,.:,~'- 0"f" irs ,person novei), 1_,lS[,l.n,gu.lsc_-_,_'y bv ~[let"l~':. ,0···· ngo '. enu..,n,c.l.aIlJ,Q,ll, and fi···,.....,ti:",t1 (I vh .0., cornibine s the old. e oic '~""~::'-'-i" I;C:~ """, .. ,.. ,." .. "'" , ,-,-,~ all.. . • ,1,. and '. d ramatic g"_.Ce:in·.,'rand.. adds certain forms 0,-.[( narrative ..'es a , ' _'__ " __ ,a" l~.. poet 'f'-Y'-: like the ballad -).,.d·" ed bv ".' e nu 'r'~ at';..'. th· at efin -'aU,,:',. 'i an , ",n,,.,la J.o,n_a' reveals n '0" '''r'''1IIc' '0"""(' its source 62 A···· ,~, 'n'~ see the m "!"ii'110" 'roo' 'O··U- ·-t-· ~,I,,~<· ~'..__;'_'~.~j
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taking note, :3lS it were, of the fact that it is impossible "., " ;'.. d b! t'o d " ~ e tl,..e two opposing terms SUr,1jec,(,uJ';f;ty an'_ Oytf'" _ivud: h
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we may assume, 0 r S cbellin,g; 'thus can a caricature be ignorant f its m 'O·~":IJ U,'!;,o,I,. 62,~ Die ,L~~g'ikder Dh:Jdul~g (Stuttgart, 1957); tr, TI,lf L,qtq'ic
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cas ['- -.f .. the Poetics -.- 'S·'W· veet reven.. llg" ;t"IIIQ··:'W··'"'. O,'-'C'·-C·-~U'·:_; ues hal f, .' :. l.: o [ -:. .1,·.·,' ". . .... " .'.'-: P'_".- '."..' '_. :-.) the field, True, the :fi,lcIdits elf is no, longer the same, be'l' .. ,.
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don, This dual status is no t peculiar to them, for a, "genre" like' the novel or comedy ulay also be' subdi .... ~d· ~_, .' ~c.." '.' vn ted m to mo re specm c species'n ta1- [0:f cih"' i e •. ~'].v,a.,ry picaresque novel, etc.,; corned y of humours, farce" vaudeville etc..,'-w.ith no Iimit :s'et a priori to this series of inclusions. We all know, for example, that the species detective novel may in turn be d,iv'ided, 'into several vari· d h ' er., '-'-rc:;'adSr'tlC""'- 'eteetrve u 11., ., d.. enes l 'I ~ (police procedural, '1 tnrn011·_
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story a, Ia Simenon, etc.), ehar with a, lietle ingenuiry one can always multiply the positions between rhe species and the individual, and that' no one can set, a limit on this proliferation of species (the spy story would, ,I sUP',posle, have been completely unforeseea blc [0, a literary theoris t of the eighteenth century, and m,a:n.yspecies yet to come are still unimaginable to us today). In short, any genre can always contain, several genres, and in, ehat respect 'the archigenres of the romantic triad are d,istin,gu,'i:s:hed, 'by' no natural privilege, At most they can be' described as the highest-e-the most capacicus-c-posirions of the elas.... sifieation then in, use, But the' example of Kate Ham,.... burger shows 'us that a new reduction is not to' 'be ruled di d ble-s-oui out a ,p.rlorl:~a.n>~, It woum not b unreasonatae-e-qmte ee the contrary-e-tc envisage a fusion that would be the reverse of hers, a fusion between the lyrical and the epical rhae would [eave' the dramatic as the only form with a ~ ' bi ecnve" A . d 'h '11 rrgorousiy1- '.'0,.-,~ '. ,', enuneranonj. '_"n-', tne example
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with the modal position, can ,....... "t ," ,I,ere ,n "" ..'".'n,· ,rI level _,,,,"-,', ,I,", Th -, IS '-"0"-,' g,'~ eneric,',,'.-', ,-,·1.that "!;In be d··-I~"C·reed m :r""-,,, he.. 11 b 'd oretical,"u, or t hiat can b attamecd by a,more ~ d be "deductive method, than the others: ,aU,species and all subgenres, ,.-, b lish (,"d: genres, or supergen=,r-- : 'r'e' erntiiri~c al .classes, estanns ae I es a,~ e__ ,lP_c,_ ci__
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73 characteristics) are still to be studied .. For as generic -·-" .... -:~ ionai -" .... co,n eep ·t'.. , th ..... :,ree te --, 0" 1,,_, e . rra 'd_':11tiona 'I tria id ' d''-."'eser v e 5 ":,~eth :": , -'erm.s .-·f···· h", .. " ,~ .. n, :0"', spec ,'1i"'~, hier arc ,h';-,~ic-·,a:'.:I ·.e:;~: n..Ui,... I~., r f"X··· am pl e. ~'V',,'A'r--'pl ac ,op;~:~·:{"~,l:' fo , ..' .Ii,a.l ~ arches th e ,cp,·. - th .1,;;('~'~'e, the novella. "i1(IP' tale. etc, - '0....., 1-'-... ic l. - :n' 1:y" V~U",' ,'Mf" ..... ~"." , if it is, meant as mode ( nar rative I rra t'if]) ; if it is na '. .... ,' lc) ," meant as genre. ('= '..' ,.e ,',_,'(':; anc given a speerif t'] c h ....e'p.lc~ d rc aemanc L. content (COlas witn Hegel}, it no ionger contains the nov'_',1" ~IC,", ~"" -"r·,:,·d .' 'i' th ere 1·"""'' ' '· "1 ens ti theae f ' .'''':1 ,:,,~",r-,~,t~' ranrastu ..,~ere, ,Ubr t IS, msreao l 'alii.'''"''' .'~ ,- 'rever. , Likewise £0:[' the dramotic with res:pec[: 'to the' tragic, the' comic -, etc., ~ and for~ the Iv. rical with re_,~ -~ ---- .~ ---',1" -~- res.pect to' th~ ,-,,=e__ ="", ele ::" r - sa arrear, etc , ... ~" 1 th:'~,a rmas ,g,e.ne.rlC gl.ac~ eh e s' ,t.'j ,,;",'1 c C,. 7',*, I d ,e,ny O!lJ.Y tnat ',' C]' position, and it alone, can be define.. in terms t.h."-t,-1,-::::_ n, "'"'" __ __ if X
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Now vee are in a,position to spell O'U[: the' theoretical drawback of a fallacious attribution that could at first seem merely an U'I nim Por tan (,'/I",r:' not msignific ant) his,;;::Ji:~_,J!,lL,n,.·,..IS toric [."li m istake .. T"- ·.Ie.'S~,u:a'c:"--'l":O'.-·['u' ~ attrib 'U'" '[":1'·0.··· •.n p-r oiects rh.. , '-h- ,,[:A.,n.., , AI, ... ,~ a. ...... , ,_,f;: privilege of naturalness that: inheres .legili.m:Qte l_y i'n the ,--,-, t ,ree mo ,es p '''--1''-' ,'z'Q'rr:at.':"on/m, [L_"[_, narra ,tUJUl 1.1'-r;Q.,ma u'~., ,'~, ," '"~e ,<, ,A >,_' " , _ ixed ~-arr;_, ~,'~ u ._-' C U1UC tation C'" there are and there can 'be only' three wa,'ys of .' '" '.' ianguage "'!II et. c....on tOI t h rna Ii 0,: : ).. representing 3,(:,[1.011S m 1 _, ' te - . ~ f-' g:[t;fi:ft:S,. or archigenres tY'f,i ctsml ep 1'[,I:(I:r(1 m~a (.,"there are and, there_ can be only:' three basic. Poetic outlooks ';"-t-,')'"C", .. ____ __ __ _ __ __ ._ . _ ~ _ _ _ _ _ _ _ _ .. _ -"S!II e ln, surreptitiously (and unconsciously) 'backing: borh the modal definition and rhe g,ene'fic definition," the attri .... ,
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his own w'ay) the distinction between mode's and genres. Even 5,0, he names modes what 'we ordinarily [can genres (myth, romance, mimesis, irony)", and genres w'hat I would lik,C' to call J 'ij'i1'rr-- J 'dhif"'~=Otal 0"1'" :Pp'..:~'.I~ IIa'r rati ve 1Ib -- 0; .. m OIU,-, PS," I('d'- ra m tir~ n "3.- rra ,~-V''- e I1.~~l~·_:'~.' [t"a"a't:ifl-'writte.n~ or fi'lcti.(iit,; sung: 'to oneself or [Er-ri'e)" In Frye only the second division is, based explicitly on Aristotle and 'Plato and takes as its [criterion. the: "radical of presentation,"
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bution sets u'p these archigenres as .id,le:al 0:[' natural ty pes" which they are not and cannot be: no archigenre could lly.. esca .-' t'ota ,tl" '.' .•.. pe historic '~~y-:'-:' ",:_ ""iI,".'''',~' 'wlz-i'/':'"at the sallte time "',pta,,ln;uo w; ~~'~'~'~',"" ,,~' ~'",~,_ . ~c,~n,_'_ "I"'~,~~'''~'~il-f.6 . (for examiplc,.,. the ',;J,I, ;1:t;'~It*; . ',I, ' . ","" gQ~:D:~;r' ·d"'e~:h-t1,.u;!'n. 'Tt ·T. here a:['IP modes .:,l!, narrative): there' are' genres (for example, the novel); the' relationship between. genres and, modes is. complex and :.[i:r"' d outb Iess not, as A· '.' '1 suggests, one 0·, "simp I·' m ,,_.r.lS.tot e e elusion, Genres can, cut across modes (Oedipus re.... ..._.~"..d .' .~~,],.] . rh, t· h ," .~.divid ,~ . countec ' is snu cragrc " pernaps jne. w.ay moiviouar . k h ~ d',. 0' worxs cut. across g',enI'eS-p'e,r.'~::.a,ps.'_l·.:.~.erenny;'. but we 1.,0 ', .: know that a novel is not solely a narrative and, therec. . ·~·h'·· ,", ,],t '..... ,-- , .<~,--." rore, it 1.I,at, is not a species 0,f-" ,narrative .... " even- .. a k-:,".l or .'--. ,-..- ' ,:IDILI, . ,f"," .. ' 01 ... ". ' .' , . ei ~ '~'"rh.,~"".',~~ me "'cell" th: ,t' IS',' ,3,. '''' narrative .. 1[1,_,,-15 area, ~. d' .,J at ~ ~"Il we kn ~," _,~.JO'W,; '~'' ",un '.'ou ·.,~ew even ~.3, '~i~' ich , ,oe...1CS.IS ~.' ~., Pi~," , an.d ,".-'id-;:b':· .J'i,~-:~c/I" '*"h~·t- 15 ,,,00 mucr ~,~ ~tics ,'".,lat 'V'--ery'.:/ y , old and 'very 'Y'Qu,n,g "science": the little it "knows" it
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pear in the Poeti'cs) is not one of me'rif indusion, or more "p:; ·r· cise _1: y. : is' n .. o-n.r.. e_' i :H<I:e, -,~,..- elv 5-~~:1I-(1;ol::0' ~ 1i1' c.'-,~llu~l. .. '11~'1,~':~o-n' he.. :1fC-_' 'I'·"S---, ,I.," 'ec _. ,I,....~. ., "[1' .. ,IJI. a:nd, is not inclusion" or rather there is (at least) ,d'ouble inclusion-c-rhat is, intersection. A,s the first chart in this 'book (p,ag"e' t 4);, constructed according to 'the' text of the Poetics; makes very clea r-s-and this to 0" 1 realize only after the face=-the category of genre (for instance, trag .... , ed:y) is,included in. both the category of mode (dramatic) and the category of objecs [superior), w here :it belongs for a,different reason 'but: to the same degree. Thestrucrural difference between Arisrotle's system and the systerns of the romantic and modern theories is that these latter generally come down to' an, arrangement of univocal and hierarchical inclusions (individual works under species" species under gen,r-es~ g:,cn:res 'under "types") .~'.J" wh ereas the'.. ,']: risto celia n system- ho W' re»'er ru . .l' ~ ".-,",":. ·:IJ~· ·.ll~':. .f~l,· dirnentary i'o, other res:pects" is im.p licitly ta bular, implicitly presupposes a,table' that is, (at least) double entry, 'with each genre belonging tO both (at: least) one modal category ,""(n···d,'. _. e thema .tic ca tegory ~ ·T.' aeed .'y','I ,CO'-'[-,.. ~r'--D' ".: l~ ... , ~u. ~ _-z:,. '~'.> a '_ ._- on . . ,£1. _., , example, is defined (I:',at this, level) as both thds-so rtof-work-with-a-noble-subj ect-that-is-presented-on-thesra,'-,-; and this .... , of ..wo rk-p. resented-on-the-stage .... :s ageD,_ .,_.. sort.... ...." . .._. .._.. ...... ".~_ whose-subject-is-noble, and epic as both a-heroicaction -recounted and the-narrative-of-a-heroic ... ction, a etc. The modal and thematic categories are not related to each other in terms of subordination (mode rieieher includes nor implies theme; theme neither includes nor implies mode) and it necessarily :fb]J,QWS that 'the sp parial ~ , .. ~~ :'a.., p.···[,r-Ie tati - - of the table could be inverted 'W' rith he ob ijeers along the abscissa and the modes along the' ordinate, Bur modes and, themes, inters cering, jointly in.... 'd-Ie- and etermin e g.· . enres lu
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[of the nonrepresentational genres is in its structure' somewhat superior to (me aning " of course, more effective' than) most of 'those that have come after, fun,.... , da:m,e:n,[,aU,y :Haw,ed, as they are 'by' their inclusive and hierarchical ta.x,ono'my', which each time immediately 'brings the whole g:a'me to :3, standstill and, produces an ,., rmipasse I find a, new example of this in, 'the' recent work of Klaus He',m,pfer, GtJ'ttung'st,neorlll;7,K which, claims to 'be' a synthetic clar ification of the m 'a- existing theories 'U-' n_ in .:.·1,: "." "_ "~" -" di i - '. ,,- .... , ,. ,: .. der t,he me d· - yet amrbl[,lOU.S healn,g, 0, f'" -' "" s Y sterna:.-' nc " . est - . -H-- --- --,c- -. - ---.. - -- !"m,p[Jj,lCl, r [-,- ,.. ..:. . '-'1- - -. ,-," ,. e'm:p,l:er proploses an, i --- '-:'['1' Y,. h ierar,ermlnoogYt ,. "-- .. chical system, whose inclusive classes" going from the broadest to the narrowest, would be "modes of writ:~ ing" (Sc-ll reib ujci'sen),. based on the enun ciating situ arion (th:es'e are our :H1,odes~fo.r example, narrative versus dra .... m .a ti c-·c.)~,t- 'Y'p- -.e"S,H .(-7!y' -p- - .ocri')-· - W' hi: ch re s 'P- e ci f-I'II'""''''Ii ·tl·--- n S- of-' h,.e._ "'" b;,·if..: ,", ';;tll'::' L ._ .. o _.__.. -- ,_, _. 'me rodes=-within the =~ .. rrative mode £0- r example "firs ·-t·-_:na -~'l '·'1I"'s'O"'i1i~(h'0-'m ',0-dieg "lii"II'Ii";IC-:)' narratio n versus 'a' 'U' tho ,'II"'ia··]H ,pe~.-[I .. ' ," l heeer 0 dieg eric) nar ration: ;;,',_ .- - ~ (,:'Ga[t ttlH~n'e.'-,)-.··.. W hich eenres' :' \,"-.. r -, .-- ---_ -~ ,b[ -:6 f'! , --" -_ ~, .arc the concrete historical realizations (novel, nove lla, .' .. an ·U".' - ' - - - e[tl,I,~ ~ ic ]. epic, e [Ie.,,.). d ,'~, '.genre s ..... t1: t,.erga ('-r,U- -PIg->"',- ,.). W,.:'_.:.··~·.,·.. h a re S U, , the more limited specifications within genres (like: the -,.".:.. --,- nov er -,·'~i·:-h-:~ t, re -.-., of avel) ' ,plca.resq_u[e ... ovel 'wit _ --' the genr[e' oi nove t+ In, A-~t·'6- ~ rst gl an ce this :s-,y, stem'. :1\S- atrrac_.·t:]r ve (to th ose :·:-h,:o·-··· .:.)1 are attra cred by"_: that.,,"'kind , of thing) " 1niti ,-" 'because it, - , , ally':' . ,,, _ ". ..,..... .'" , -,. " D~:' places d,t the apex of the pyramid the category ,of mode, ,.-_---,:'-:c'hl--- '~''L "---,~, d- '-n,:'I '1-1·" wmcn In my 'V'~I~:~ ,"'" u Iemost uncemaory uruversai carvtew 1S .h [eg"ory:: inasmuch as it is based on the' transhistorical and translinguistic fact 0 f pragmatic situations, Next, be.~...' '-." th e ca 't·- eg,ory of t~'.-:, -.'- he--.,--.:.-,----:[- b mo ra'1 speclll. ..-.d .'-.. ".'-~c;' cause ~".'-'..'-,- -' ..--. ,,-0,. _,fpC. autr ,IO,[lZeS, sur ----ca tie _n,~ su ch a,~ those the stud 'y.:' of n':!'l'f, t-;[v:' c,- L":o···.:·r·[-m·i 'h_-I --~' :___ ·1\"a·· I-I'S''_' __ It_·· ,.:_
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I' I i··,' h notrh ]l.ng ,prevents th esc I,.· latter from b elng ,""1"'1' rrstenecd' . .. c. "' u d b '. 'I h 'types" a:o:-,s,u,:-:,ge,nres," u' respectlve\a,'Y (. h 'l,aJlt-;oug~·. one would scarcely recommend the term type either for its ; "'''''''-n'sp'a' n'cy or Jl1I'_ ,I. ~:.~' ~ ...:.._.,_: :_:_- en C' e W'" 'I"t~h~' th rA re fo~.I·:- ,:,t~'S' co n g' ru r ' 'e"parad ig me t~ '_' ,]d"b ,·0" '11"~ ;SUaIHOuf: WOU .. ' ,.e.bc rh clea "-,',-,ea.re,[ and ,more\~",. vst ,',,',," ---",_ an,··.· ... ,--'.' SYSI.de,ma."lCthat is, in, this case, symmetrical). -, ,c n u<7 Bur. .:.,:'-:J we see ...'ne snoe ':'-';.' h, es when we try to d~raw _ ut, as '~-"'~.-" see" t,he sh~' pine. , ' oe ~.. to nraw together in an inclusive relationship ,I.'.. the categories of ~"',' '., '_',.::-'__, __ ..'';'';''.~''.' " ." "genre" and "rype." For 'whereas the narrative mode ineludes ,in some way, for examele.-~ Qenre of. novel the the 0- - - n., .. .,_u.,~.-r .--. novel cannot possibly 'be subordinated to a parricular "",'cification tbdivide ,",·,105 this SpeC11J.ca.JOn 0 .. the narra.I-I,ve mo. ·C;o1"" we su.·· IVl.e , 1,(:; ",' rrative mod ='" "·f' ... mode into homodiegetic and heterodiegetic, clearly the genre of novel cannot go wholly under either of these
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76 mode, genre is, not a. subtype, and the chain of inclusiomts br eaks 'i"IIl,·P··. a_. ~, izh t· heere . r... Ol II Bu t this Sf stema tiS'C'll e Termi n 01og.i e creates diffi.culties 011 yet another point, one tbar untilnow I have avoided b .'(.'1:" :n..I:g:l"··n·.:g~·'UI-r-ili ehte 1f-*p'h"e-c;;c;::'~ categ ory '0-: S-;,- I'I~~"'-:@i,b'weisen. .'1" not 'n"' .. JJ,J~JlID'_. :' ~~ .. so homogeneous (so' purely modal) as, I have suggested, for it inclu des 0 ther ""ahistori cal cons rants" 'besides the narrative and dramatic modes. A,CfUaU'l, Hempfer men .... tions only one 0 ther, but its. presence is enough to unbalance the whole class: the "satiric" mode whose determination Is obviously thematic in nature-s-and which is therefore closer [:,Q the Arisroeelian category of objects than to that of modes. 'This criticism ~ ] hasten [:0 specify, is directe d only at the taxonomic incoherence of a, class that is christen cd "modes of writing" but intol which there seems in fact a ten dency to pile indiscriminatel Y' all "consran ts, 0 f 'W'·· ·h··!"'IIlt··e,V·;I!:!II'r· d A" '1- h av e said kin S··· I do indeed ..,r~k·'nowled 'g' e rhe existence (at least the relati ve exis renee) of ""3 his- r-- 1 ""-. ,"--,--;· -- c,-' '",..a,. ~_ '.'h - 'rii('""~ .-.. _,,,,a .$; no.. on,y.. l .. nstants -rot ':~.'··,··· ·'1 ",,3., cot,O[lCall,1 o.r ra '..._e[ tra nshist with. 'res,:p'ectto the modes of enunciation but also with respect to, some major thematic categories, such as the heroic, the sentirnen tal, the comic, et c. ,A'n, u]'ti,m,ate 111,...., ventory of these categories would perhaps serve only' [:0 diver sify.: an d q'l UI :a:·,'l'l"'f;:-y.: .ll .:.,... the Iines~ of Frye ".: s. .:"m .odes" ' (along 11.1, ,., , , ~. 0[' otherwise] the elementary antitheses Aristotle posited . .~ ,,', b·' h amo·n.g::·· :su:p-:er-l.'o:r. e1q.-u,al. anc d i It:. Itl.le.r1!.Or .. 0 : J' - ~, . wrtnout .1,ects,. . - - .. necessarily compromising for the moment, the prina 'C::.I!p-..of a chart of the genres ~a·,'·:s'~d'. .. intersecting<' U,., \..~ , on ... of modal and thematic categories. The categories would simply 'be more numerous on both sidles than. A.ristotle perceived them to be: the thematic categories would ob.... viously increase (and I recall '[b. t the m ain part' of the a Poetics is devoted to a more elaborate description of the tragic subjecr, implicitly leaving the less "eminently
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ld I--"d~' " 6:',,['" ',--,- ". ,.., .h, three--d ~,,. ",g,ure Wit, t.. ,- t ~i ·,-'· ,: ' .. :::- (.' . :-:,':, . rc mensicus; th e thi -d--',. "":','"_- shaUI,U remem 'bier,- was llmpIic" [,,- rnr -: we s Itly foreseen 'by Aristotle with the question in what? that determir .. th,e c Olee 0 fj'r-,,-, f~""I'" :-.,.'] "medium" of ':"---1,-, __e~ermln,e.s _,_" choice of ~JlC=]l,.o.rm,a" m,e_J,um 0_ 1m , itarion rm vhat ian g..' .~,-[. --- -).. ' •.. 1 a ron (ir wn 1 .... 13· [g".'e, In wh "'t" meter, e·'t-: e.,,~, ',I,'~ " am .,U'_I""" __ nat '-' .the - me meed".' to' u J,n-, th ,at per :h',a"ps" rr _r,oug .h, ,at IOrEu" , rhr .".'._' : "~,' r,at ier ~'-",-,'1,",:· '. think rr .-:-., --', nate in.finr:mit.y of the human mind, the major jmagjn , .• : bl I -1,' - . ,e ,-:-:rl:, ·r-' h ~ :-':~; a·,.,e 'parameters [-;' Q,~ tne genenc system come ,-1- d.own to those three kinds (If "constants" (thematic, modal, and --:'f', ,- . _-,.11-_ ..... ..3 . bt I' .. ' rormai ..... 'd'- th a sort 0: translucent cu ee, ,no IUOU,.~[t 'res ,s anc tnat 'man agreable (and less p leasing ':)than Peterse on' ':5' rose ';n.... " . '11Id' -h '''1111 ~. of d ow, WOUI.:,::[ give us, at 11. ..- - £- . a, W,hik ,e" tne iuusion 0,1; teast ror . '" 11, copin a with and 'a·.·""~C-"'O;-:'-U-'· nuing 60'[" them Bu to, I am no ·t-' --I' ':,',- ,". q'u'-I'~it-,- sure anaId· I h-'. '--:-_"-""'. muc 'h-,..:., " 'LI idlins /,11_ ~, l_e .I. nave spent ,t, .oo _nme nan ,lUg \,,3,1,-' be.. to: gin~gerly '")1'1 the various models and Proiection ..I:iI2', of m 'Y' 1[J .. ~ ingenious predecessors to take 'm,y turn at pl:ayin,g: this dangerous game, [ 0 "or no .'.'~ - .- us simp "1Y suppose t, at s:-£, '('::_.', .-.h r.,·······w ,et . 1<' .. a" certain number of thematic, modal. and formal deter..• ":, ': .. ~ " ,t, -. il:,.. .-' -4' .. m.lna,[ t- .1,0,n s t-'h'-I',a,...are, fl!"Q,I, I'.-lIe,y [L" (JuStt,-,-:f an"-:-' truns':h''-' ·IS .or" c,a[:. '.""' J,[Qt';,r, ..,--'-".: -;',-- -.1: (th,at is", whose rhythm of variation is perceptibly slower I .~ . ,-, " [I) '"'1 \ .. at History ·_·1 ...... .... .Ir~,r":':'·.· t han the rhryrhm 1s '.thliZ'. ..~: .1.[ ,I,_.:; I':'" .bo th "literary" an,1 d ---_-", ,','Q!"e~eral" -'m-' ;-.u ',""r '0- r d in.ar :I~'1- b e ·C··-·'·O-<g~' n'.zan to',..:I-fl- .): d eIin. ea-tOe: n i llJl ... as, it were; the ian iscape in wh: -h [-'ne eVQ,unon of the it ~'-'-'-'-- landscat rne in wnicn . h-'-" evolution 0'", ~ re ,c:. '1d ... r- 'J.:'," , , - - .. ". i .', nJ_d[ t.o .'. ,g~~a ,-,. . . [en t. dl .. m,lnc' -, - a .. r"e [ ex -_... ;,eter - ~, ,1.lC". 0" nterature ~S set,,. a~
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'0',:···d;':', ':e'" ,- 'w'hich, , ;1:'-, ' ',}l,5s',f,' ··'· .. ,.1;1" , recalls :,!l:b ••.,," L_,~"'~ W,h-'-"~'c-·'h',I,, Iso'n. dr .. ,.. ':.,I"'",'t" the 1;"I}Qd'~')'1 . "' .I. '"'(. c'"',".' "Delve ~,. " -,:~',.0.0",
differentiation (one' cannot, of course, re,pe'at 'what one ~ - - ~. . - - h- - -- 'ore ,- - -- - -- > mutates -')" an d-, rr ere- £-, :" -, ""- to a mmnnum 0 f, evo-'1unon.. U[, '~'a)::5:''-0:'' = persist in ·t:'hl unking . that ab ,S:···,·O·:11'IU_~,~ relativism is J~.: ~ ., '1 '.~ ,. - ...is nstory t alI'·'·, d' SU,.b nnanne witnL.. sails, th,at hil:S toncism k'·'III H__ , :: t that the study of transformations implies the examination, and thus the taking into account, of continuities The course of history is obviously not determined but it is. 'to a, great extent guided 'by' the navigational lights of the combinatory chart: before the bourgeois era b ourgeols d ~ orama was l,m,pOSSIibl b as we " ave seen, ~ h ie; but b ourge ois drama can be satisfactorily defined as the diametric ... . ,.. . heroic .., , ", ~ ,n _' , .. .... ~ . '" ..,"' opposite of " ..,' .. comedy, And I note.~ too, that.. Philippe Leieune, , who 'views autobiography 'l no .la [J[~~~[l.,_ .... ~_ ..~_ .. .. r ... ,:-_.... l!.l.. do ub t co rrecrly, as a, relati vely recent genr-e defines it C~a, rerrospective prose narrative produced 'by' a. rea] per'[0 ".,'.......:_. :_.._,,"', -._", .. .I,.I:~._.::_..,.,. ,'" ,'" son conceminz his own existence- focusing on his individua] Iife, in pa.rtlcu]a:r' on the' development 'of his, personality") in, terms free' of all :hisrorica] deter minacion Un ··d' oubted I'y·,:"':' a-utob :toi.g'.:::.!l .. 'p- -:y. is 'P•.. ra sossibl a~only ;~ .. · efinition-e-combining feat'he m·0"'· d ern age, 'b"'DI ,~, this 0" '"' ' .. "" I",., tures that are thematic (the growth of a genuine ind.i~ '"'dd '.' di ~ ~ vrouar)-) , m 0-_ a1 ( a rer rosp ecnve autotuegenc narration ') d·" 'hl1h~' ,,<l;li: A- :.-:'1": .t·..··' '1~,,1··'1 ana s: 'I .~,,' 'i jm1 .prose rormai :(t":':"' ","1 .',,'.,.::,"').'-"~ lS';'1 ,r,..1c.aJUJY ,,' rrsrotenan an,d strictly a em - - ~ ·1··"p.··ora'11".:82 ~~~ ~ II
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wha t is Id text?' "'I: don, 't 'much, carle: w hatever it is, I can always shut myself u,p inside it and comment on ir in .my own 'way..n "You are t.'h-:: shurting you rself u P insid ..n genre," ,11 ..... a", .. , e . t" ,,' _' . 1. ""'What genre?' "iP'l1"~ t" - - 'I com- m e t· -" k ,I~'X ~ua-l',,; ,~,I.I~n tor', heaven S sase, an d even t -a.ry, ,1:0 '_:'0 'be exact, textual-co m,m,entary .... t.... tha doesn't-care-a boutO'~n:··r·~c;·~ '---' 3:' su b''': en .re Frankly 'Y'mr disc .':r.,1I;,., ,iLn!li.'" 1" hat's .. ,-._:-' g ter,t::!' ""'_._do'" : _,,-=;;.,j,,~ ests me -" "Yours interests me ro '0·-:'· I'd like (-,:0':1 know where _ 11'0·'1',0.'. Ill'.. . .l.Jl. _ get this rage for R'flting ou.t of the text by way 'of genre, of ... genre 'Ly way of mode of the ·:,_,,__ de he ;; UI:.:: _ I_-l-J,~ mo 1';lB": 'y' wav o f':' th t- ex·t- rrorn tm .. 1:: ..... rrme, arm JlI.5'- ror . fro.m tsm e to .- .d i st c: a change or, at another level, just' to get out of the 'W"ly on t;; But it is true: tha t jo:r the nU)nU~'2,t the text interes ts :m.'f (onJ.y) :in its textual transcendence- -namely, everything that 'brings; it: irtt0, relation (manifest or hidden) 'with other texts, ,I. caH that transte:xt:ualit}'" and I include under it intert'e:x,tuality in the strict (and, since Julia, Kris ..... , .'. .h' 1- ~ .. sense-e-enat ." rs, t h l~ h .' he lte:r,a'I presence teva, tie .-crassica l-~'~')··
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zithin anoth er .Q.'·:U'·I otarion-e-th ar is the explicit C111im_' '-.'..... _;."., "', 0 a, ext ,",,, t- lSO ... presence d ..- it.. monmg U,P of s te , t' th:a" ,~,: both "'".'-.---':.,,' anrd• distant ed "JS .ance by' qu.otation marks-s-is the' most obvious example of this typ,e of fanction, which comprises many others as - 1:'11 ,, . '1' . ~""~'. d -- '~ tne -_. weu,._~_ u.-d .. transtextuanty - -I' a.s,o mctuce-e-usmg .'1L. . nuer " -_. " '1" obligato [Y' term metaiextual i ly ~ m odele d on la;Jguagel m e-talanguog'e-th,le' transtexeual relationship that Iinks a I . A'll-' '.' . commentary to t hie text, '.'- comments on, " .. I' tterary ~,t
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uld.', ha'. e Prefe .[,1.. d/I '" ~ ..,., v rre _ Jill, .' '.. . ;,,-,U "So 'W" o.ul-Id'-I I but ant- er--a'lll'll P e'0' ple can't
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is omnipresent, whatever 'Croce and, others may have aid" .b -. th lack 0, ... liditv .. u - -- -saio aoou u rne ,_ac,~ .f", V3l1Y 0:1fth e- generic vtewpomt t· in, literature and elsewhere, We can dismiss the objection by' remembering that ever since the I,l'£ad~ quite a, few works have rallied to the generic viewpoint; that quite a. few others, like the Divine Comedy, have at first bung back from it; that the contrast between these two groups in itself sketches out a system of genres ......... could s;afY, one'
more simply" that the blend,in.g [or scorning of' g'en,l}es is
one genre among others; and that no one can either avoid this very crude schema or 'be satisfied with it .. So , one is caught 'U',P in the system." "It's okay with me' that you're caught up in ir." "You're ...wrong:,~ '_ ' ·m--~y-· system, and LU'~ -" the ",_ ~ 1i[n,t[~'r:e< "_" ~ one I' __ ' -,~ .... -~ :.. it's ...' ... who's caught UP' in. it, The architext is" then everywhere-e-above beneath, around 'the- text', which spins its web only b,-y' ho[o,ki.n,g ,it here and, there onto that, network of architex ,···,t·.U~I-Ie-··, W·'·'h· rat e callI. theory ···-fl' genres, or .. ..~n[~.,. ._' .gen.ology (Van Tieghern); theory of 'modes (I propose modistics; ,and narratics, Of' na"a·tol~gy" the theory of narrative, is part of it); theory 0 f figures-e-no, not rhetoric,
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nd th e adiec...ive [4'r~{'IL:'~t~o-·~·,"ii!~,Q,I'·' ..--: ha :J' .".!IV. 1,.111.IE.X ,ave b een usey 'b''' _:_~a,ry-.nn .. ~lWS,~ ue ,3(ssag:e' I-U,.. poeme j[:, le'-" ·n .....d' M':~ ---" A-" -- -. ·C·_,ii;ij;·L·· - p~' d" ... (-a· hiers de' e,Ass[ociatio',f1, int,f[rncl't[iot;z€fie des' etudes ,fran"(J'i~$tj',~ Ma Y'
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theory" of discourse, which overarches everything,~:~. ",.J" _' , " d; r'~';'····,,'"::··ia.;·::··~.· " __ as 0_ ce k <.-,-"..' " .:-.' h ieh .' ,<: way:/ up " l,g"" an,., .fi'-''g~ r~_t.rcs I' \\.r",··I,'" :,..·.n::-.. stuck WItith w,hat _ .-'. iat would you say '['10 figJf:r:ology?""
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transcendem s t_y Iis tics ~ ""W,hy transcendent?' "To be stylish, and to' contrast it with stylistic criti .... , cism a;,la Spitzer, which aims more oft'len than, not eo b,e Immanenr in rhe text; the-ory of forms" o-r morphology (alittle neglected today but tha t coul d. change; it: in eludes ~ metria m caning, ,"iI,S~: Mazaleyr,, at P-I:·••ro .... 3' ·m·.·-I·.,o-'n.··.·g·.-:' others. '_= __ ~-_"'_'\"' __ .., _. ,.,,_ poses " the general stu dY' 0 f poetic for ms) ; thea l'y 0 f themes, or thematic: (criticism known by that name would be' simply an application of '[he' theory [0 indi .... vidual W'O rks): all rhos e' dis ciplines '. '. .' "I'm niot too ,till..".,'-, .. :'.: with that"" id ea u happy __,_\._~ ..._. J. 1~'~'S···,o·, th ere ve harve something in common I: Bu t Q] 'dis ... ~~ , :C~:I':.',.. ',I., n·.··e:-" f~,at-"~, U~II-se q '--U~,O' '-.1.... marks•.'0:£1 protest) isn 't ·0-"[ a _. tarion a. ' at _. PI 11:1·' _ , \ ll,\.. 'Ii sh o' : ..,- ~'l~,d~ _~"-'" institutio b-:-·-u~only ',_:,'-·n 1~- 'S-'['" , to, "Ji. ..... ,I,easll., ,s__u".; ~n-'t b _-U.,il:__n,,~ __:__ n ·-rumerit, a transitional means that's abolished at once in achieving its, goal-s-which may very well 'be' only another ,mea:ns, [another 'discipline'), which i:n turn " ~ . and so Ion: the whole point is to rna-v'€;ahead. 'We have aIready used U,P some discipli nes, whos e ne crology ,I ·1~ ~~ will spare' y'o,u,.,' "One good turn, deserves another: you didn "t: finish,
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discovered and scrapped in, their tum=-rhc whole end .... , lessl ::-'~' .rm. 1'·'U.."~:-:;3-_"n, d re-fosrm n poetics w'_-h~O'IiC'-jOI, 0" bie ·C·~'~"- Iet co:· y r-_ ... ', ' - g-: ' .. lL "".,,~ 'JI~ t us ,firmI"'l state ~ is t'i ot th e tex I? bu t t-h e arch itex t;..,_ can ~ fa,u te die mieux, help us explore that architextual, or architex .... tural, transcendence, Or, more modestly, navigate in it.
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IO'r, sril] more modestly, float _ in, _,_, somewhere 0 u ,t,: b..•_ ,_ ,_ '__ __ _ _ _,'; , ___ , __ _,_~ it _~ew ,,-,,re :., _ _e [
:in,a, transcendence on, board a, 'di scipline' bOIU:I1,d for.' the c. ion) '." (- tor scra-p-' h eap-,:o:r c. re-tormanon) ;, S',. P-oencian, I'" d Sir ,:" say you're s .ar ,Ul,g: out b dill ,"~ ,a'"~,-y:. i"My dear Frederic," did I :sa,y ,I was starting out?"
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yon d thettext. r ae "'-'YOU,I" - -- , "- v -, t:, " pretty venturesome: flo,~t~ ·~-,' modest I se','~'m.s -:' -,,a Ing
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,pr~'ntipe., Sec' B;a£t:eu,x:,Charles Becque, ,Henry:~, ,57 Behrens, Irene, 1 ,2;. i41n~ 28,:;. 6: 5 Benveniste, E mile, 6'1 M Beranger, Pierre ... Jean, de~,54,
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L,",Ecvl,e' ties .femme3' (Moliere),. 'ISn. ';-E-:>~t-·,-,- - ·t· ,I . . - .:. res, ,A ,~gn,eennth-ecell. ury'.' poe tics ana seventeendi-, 28 -!36
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Chapelain,
Jean,
56~ 51
Empedocl'es,~ 10
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