Which of the Following Is the Author of Ars Poetica the Art of Poetry
Ewa Kraskowska, Agnieszka Kwiatkowska, Joanna Grądziel-Wójcik
a b s t r a c t
– in Latin, the fine art of verse. Using the criteria of genre and theme, information technology can be used to define at least three types of literary and metaliterary texts that form a conspicuously divers continuum from antiquity to the present day in the cultural universe of the W: 1) classical normative and descriptive poetics, codifying the rules governing literary creation in various genres; 2) a specific type of cocky-reflexive modernist lyric verse form devoted to expounding diverse views on the essence of art, oftentimes–only not necessarily–entitled "Ars poetica"; iii) cocky-educational activity manuals and guidebooks for creative writing, intended for apprentice authors, every bit well every bit essays devoted to the secrets of the writer's craft. The ars poetica is connected with such terms as metaliterature, self-referentiality or self-reflexivity, and mise en abyme, used more generally to ascertain certain literary techniques, but it refers to specific texts.
Advertizement 1 The genre of the ars poetica, popular in ancient times, involved laying down the rules and norms that writers should detect and included pointers on authorial technique. These were usually theoretical treatises, and often took the course of a long didactic poem.1) See Słownik terminów literackich (Lexicon of Literary Terms), ed. J. Sławiński, Wrocław 1988. Aristotle's Poetics and Horace's Ars Poetica are commonly considered to exist the first works of this type. The classical understanding of poetry every bit an art (gr. techne) was conducive to the evolution of instructional texts defining the rules of poetic creation. A potential author of literary works had to know the codified rules and principal the related skills. In the Middle Ages the most important versions of the ars poetica emerged from the cultures of Paris and Orléans. The most well-known productions of that era include Mathieu de Vendôme's Ars versyficatoria (in the 12th century) and Jean de Garlande'south Poetria (in the 13th). The genre did not truly flower until the Renaissance, which heralded a return advertisement fontes, to the classical perception of poetic art. In that period, treatises appeared that directly referenced the thought of Aristotle and Horace: Vida's De arte poetica (1527), Scaliger'due south Poetices libri septem (1561), Ronsard's Abrégé de l'Art Poétique (1565) and many others. The evolution of French classicism in the seventeenth century brought further treatises of that kind, among which the about important and influential was Nicolas Boileau-Despréaux's L'Fine art Poétique (1674). The stiff normative chemical element in this verse form took precedence over descriptive poetics, and had an enormous influence not only on French literature of the time, but likewise on the literary accomplishments of the entire European Enlightenment.
In Poland, the history of the ars poetica begins with Maciej Kazimierz Sarbiewski'southward poem De perfecta poesi (On Perfect Poetry, approximately 1630), which enjoyed popularity throughout Europe. The production of such treatises reached its peak during the Enlightenment, in connection with the revival of ancient literary theory doctrines. The most famous examples include Sztuka rymotwórcza (The Fine art of Rhyming) past Franciszek Ksawery Dmochowski (1788), an adaptation of Boileau's L'Art poetique Due north. Boileau; Filip Neriusz Golański's O wymowie i poezji (On Oral communication and Verse, 1786) and Wacław Rzewuski'south long poem O nauce wierszopiskiej (On the Science of Writing Verse, 1762). Attempts to codify the rules governing literature had previously been undertaken, using similar literary forms, in late classicism (past, amid others, Ludwik Kropiński and Euzebiusz Słowacki).
Most seventeenth-century treatises on poetry were products of monastic schools, where they were a method sanctioned past tradition for transmitting cognition about literature. The Jesuit teacher Juwencjusz'south well-known book Institutiones poeticae et rhetoricae (1735) and Stanisław Konarski's De arte bene cognitandi ad artem dicendi bene necessaria (1767), aimed at helping adepts of rhetoric perfect their craft, were both prepared for didactic purposes.2) Run into T. Kostkiewiczowa, "Wstęp" (Introduction), in Oświeceni o literaturze. Wypowiedzi pisarzy polskich 1740–1800 (Enlightenment Authors on Literature. Polish Writers' Opinions 1740-1800), vol. 1, ed. T. Kostkiewiczowa, Z. Goliński, Warszawa 1993, p. 7. The activities of the National Education Commission convoked in 1773 at the initiative of Stanisław August Poniatowski, prompted many eighteenth-century writers to prepare successive textbooks devoted to poetry and speech, more or less guided by the premises of didactics reform. Works non driven by didactic concerns remained incomparably a minority. Among the crucial texts presenting noesis most literature, we must mention Łukasz Opaliński'south Poeta nowy (The New Poet, 1661) and the above-mentioned poem by Wacław Rzewuski, O nauce wierszopiskiej (1762). Almost eighteenth-century ars poetica were integrally linked with instruction, although the most important among them–O wymowie w prozie albo w wierszu by Franciszek Karpiński (1782), Grzegorz Piramowicz's treatise Wymowa i poezja dla szkół narodowych (1792) and Filip Neriusz Golański's O wymowie i poezji (Speech and Poetry for Schools of the Nation, 1792)–distanced themselves from rigorous formulations of principles and rules of writing. In his treatise, O rymotwórstwie i rymotwórcach (On Rhymers and Rhyming, written 1798-1799), Ignacy Krasinski kept his presentation of the norms and rules of poetic production to a minimum in society to focus on a discussion of the achievements of European literature.3) Ibid., p. 8.
During the same flow, the well-nigh famous didactic poem of the Shine Enlightenment was written–Sztuka rymotwórcza (The Art of Rhyming) by Franciszek Ksawery Dmochowski (1788), a piece of work which enjoyed unfading popularity until the early 19th century. The poem was published twice in the 1780s by the Warsaw Piarists, a third time in Wilno (at present Vilnius) in 1820, and a fourth version, corrected based on the writer's notes, was edited past Franciszek Salezy Dmochowski for inclusion in the publication of his father'southward letters (Warszawa 1826). The most illuminating disquisitional edition, based on the one adult by Stanisław Pietraszka for the Biblioteka Narodowa in 1956–is the text printed by T. Kostkiewiczowa and Z. Goliński in the book Oświeceni o literaturze (Warszawa 1993). Dmochowski'southward verse form was intended to serve as a textbook for the pupils of Piarist colleges, but the range of its influence turned out to be much broader. The poem's synthesis of his perspectives as a literary theorist, codifier, and critic made it possible for him to nowadays the totality of poetic experience of his era.iv) Run across M. Klimowicz, Oświecenie (The Enlightenment), Warszawa 1988, p. 283; T. Kostkiewiczowa, „Franciszek Ksawery Dmochowski", in Pisarze polskiego oświecenia (Writers of the Polish Enlightenment), vol. 2, ed. T. Kostkiewiczowa, Z. Goliński, Warszawa 1994, p. 259. Dmochowski based his work on Boileau'southward 50'Art poètique, but dealt with the newest tendencies in literature, to faithfully reflect the actually existing country of things.5) See Z. Libera, Rozważania o wieku tolerancji, rozumu i gustu. Szkice o XVIII stuleciu, Warszawa 1994, p. 231. He illustrated his views on the theory of literature with discussion of Shine works, thereby making a contribution to the evolution of Smoothen literary criticism. He called for the abandonment of zoilism and the development of a new model of evaluation, in which the wise critic would be an advisor to the author and his instructor at successive stages on his artistic path. Dmochowski's didactic poem went considerably across the premises of its pattern, becoming both a rhyming literary theory treatise and a testimony to the modern view of literary cosmos. The Piarist lecturer saw poetry as a treasure-house for storing the wisdom of generations and assigned it a vital role in shaping the principles of social concomitance. The guidelines set down by Quintilianus and his definition of rhetoric as vir bonus dicendi peritus (the practiced homo speaking well), were extended in the age of the Enlightenment to include literature. Eighteenth-century iterations of ars poetica demanded from the poet not just fluency in his fine art, but also service to the common expert and a focus on ethical values.
The almost important task that the authors of ars poetica prepare for themselves was the formulation of theories of literary genres, setting down the rules governing each genre by item conventions, and establishing the hierarchy among the genres. With regard to genres, references to antiquity had an instrumental function, though most of these Enlightenment treatises and poems expressed a longing for a Smooth heroic ballsy verse form, as that genre was unquestionably ranked highest. For Enlightenment sensibilities, the heroic epic verse form constituted a sit-in of poetic craftsmanship and a proof of the creative development of the Polish language, showing it to exist equal to classical Latin and Greek in its possibilities. Unfortunately, eighteenth-century ideology, relying on empiricism and rationalism, to a large extent fabricated information technology impossible to create the sense of the miraculous crucial to the functioning of the much-desired genre's conventions.
The prescriptions of Enlightenment classicism for creating a successful work that were contained in popular treatises on rhyming, while disappointing with regard to the heroic ballsy poem, were straightforward and easy to implement within the conventions of other genres. Anyone, contemporary stance held, could write a clever occasional verse form, a love elegy, a joking epigram or a faultless panegyric, as long as he possessed a minimum of talent and good his craft diligently. Versificatory skills were valued in the globe of the gentry and at courtroom, poems were given as gifts to neighbors (past, for example, Mikołaj Sęp Szarzyński), presented at competitions (similar the short poems almost the male monarch's dog written by, amid others, Stanisław Trembecki), presented as messages fastened to keepsakes (including, probably, Adam Naruszewicz'southward poem "Filiżanka" [The Teacup]), recorded in the register of the nobility, often giving a poetic course to reminiscences or reflections. Varied poems written with varying degrees of success past unknown authors bear witness to the universality of writing competencies, developed in the class of education at Jesuit or Piarist colleges. The abundance of like shooting fish in a barrel tasks on which pupils daily had to concentrate their attending for a half hour or more allowed even the least gifted amidst them to form the habits of a journeyman author. In the age of the Enlightenment, the power to write occasional poetry was as universal and useful as drawing up an SMS message or vacation greetings in our mean solar day. The various levels of skill in these areas, from functional competency to a sit-in of undoubted creative talent, reflects their universal, ubiquitous use.
Innate abilities of varying magnitude (sometimes reaching the level of genius) need to exist shaped through the analysis of good models and the report of the rules of writing. Faux should serve toward the development of one's ain creative choices and private style. Blind observance of rules can lead– co-ordinate to the theoreticians of the eighteenth century– to derivative, bogus piece of work. The injunction of classical antiquity to practise imitatio receives a unlike estimation in the Enlightenment than it did in the Renaissance, and the individual nature of creative work gradually takes on greater significance. Breaking existing rules in a justified style in order to introduce some new creative quality becomes desired and opens the door to the modern view that prioritizes originality and individualism. Subsequent eras failed to produce new renditions of the ars poetica. The onetime ars poeticas nonetheless remain a valuable certificate of how literary consciousness and aesthetic sensitivity were shaped in the by. The formal demands were revived to some extent in the modernist poetic manifestoes, but their largely avant-garde aesthetic and strong ideological tendencies discourage the states from treating them as a continuation of the earlier ars poetica poems, which exuded the optimistic belief that though immortal masterpieces are few, the basics of writing poetry are available to pretty much anyone.
Ad two In the nineteenth century the demand to formulate and instruct through literary works yielded to a heightened need for authorial reflection on personal creativity and the new role of poetic art in general. The Romantic view of poetry as an individual creative act, independent from formal rules, put an end to the popularity of didactic and theoretical treatises on the art of rhyming. For modernistic (mail-Enlightenment) poetry, broadly defined, however, the new blazon of poem that became dominant can, by analogy with ekphrasis, a poem about an paradigm, exist considered an arts poetica, or poem virtually poetry. The category is thus defined in this case not equally a formal criterion, but as a thematic one.
An ars poetica lyric poem can be said to be a modernist statement par excellence, emerging from the idea of the autonomy of aesthetic values and the thematic apply of the search for new means of expression in social club to convey the variously understood trouble of "modernity," relativized to a historically defined time and identify. The popularity of the ars poetica genre resulted from numerous dominants in modernism: essentialism (the ars poetica as an endeavor to respond the question of what constitutes literature'southward essence from the perspective of its autonomy), poeticism (insistence on form and metatextuality), and constructionism (the sense of the poet's arts and crafts and the thematic use of the rules of verse in accordance with the view that meaning is found not in the content only in its new organization).half-dozen) See West. Bolecki, "Modernizm w literaturze polskiej 20 westward. (rekonesans)" (Modernism in Twentieth-Century Polish Literature [an exploration]), Teksty Drugie (Alternate Texts) 2002, four, pp. 24-25. The structuralist and phenomenological view of literature that privileges a centripetally-oriented model of verse, emphasizing the linguistic character of the utterance, its course and structure, is relevant here. The ars poetica problematizes those issues with particular intensity, subjecting them to extensive consideration, and at times illustrating past its own example the understanding of poetry it is proposing. The modernist sense of the crisis of language and difficulties with the expressibility of the modern subject'due south experiences, the intermission with mimesis and tendency toward the programmatic and toward providing theoretical justification of creative choices7) See J. Ziomek, "Epoki i formacje w dziejach literatury polskiej" (Periods and Formations in the History of Smoothen Literature), in Ziomek, Prace ostatnie (Last Works), Warszawa 1994, p. 53 onward. fundamentally privilege cocky-conscious poems of the ars poetica blazon, which aspire to the condition of a prototypical genre of modernism. A work which is "thinking nigh itself"eight) M. Głowiński, "Powieść jako metodologia powieści" (The Novel equally Methodology of the Novel), in Głowiński, Porządek, chaos, znaczenie. Szkice o powieści współczesnej (Order, Chaos, Meaning. Sketches on the Contemporary Novel), Warszawa 1968, p. 64. is here understood as a programme or plan for a particular understanding of and approach to literature, a model of construction, built to demonstrate the possibilities offered by that view of poetic art. This pertains to both private, "personal" authorial proposals and philosophically engaged ones belonging to such key currents in modernism as Symbolism, Futurism, the avant-garde, or classicism. If we place the autonomous, elitist school of modern literauture at the center of the artistic and cultural constellation nosotros call modernism,9) Meet R. Nycz, "Literatura nowoczesna: cztery dyskursy (tezy)" (Modern Literature: 4 Discourses [Theses]), Teksty Drugie (Alternate Texts) 2002, 4, p. 38. and so the ars poetica will constitute its model representative. Information technology establishes the exclusionary approach unremarkably attributed to modernism, here based on the definition of the separate status of "poetry," a "verse form," or "writing" on the basis of its differentiation from what is not proper to the class of literary art thus defined. It thereby assimilates the bipolar trend typical of modernism: even if the writer'south proposal contradicts the very idea of the programmatic, refuses to offering a definition, or declares an anti-poetic stance, in so doing the author still takes a position against what poetry is non, polemicizing or playing with an "other" version of literariness. This modernist ars poetica thus would rightly abdicate its normative and didactic function in favor of innovation and individuality, a kind of anti-instructional quality setting it apart from both the old Shine version and later guides to creative writing.
A poem signals its function as an ars poetica by referring in its title to the semantic field to the lexeme "poetry," though this is not obligatory; i of the most well-known programmatic, metapoetic nineteenth-century poems is Charles Baudelaire's sonnet "Correspondances" from his book Les Fleurs du Mal (1857), translated into Polish past Antoni Lange as "Oddźwięki" (Resonances). In the canon of French lyric poetry, crucial to the development of modernist poetry, the following ars poeticas also have a permanent place: Théophile Gautier's "Fifty'Fine art" (1852), Artur Rimbaud'south "Voyelles" (1872), Paul Verlaine'south "Art poétique" (1874) and Guillaume Apollinaire's "La jolie russe" (1919). Works entitled "Ars poetica" number amidst the accomplishments of Jorge Luis Borges (Argentyna), Eliseo Diego (Cuba), Blaga Dimitrova (Bulgaria), Norman Dubie (Usa), Vicente Huidobro (Chile), Dana Levin (US), Archibald Macleish (U.s.), and Rafael Felipe Oteriño (Argentine republic). The editor of a gimmicky album presenting "poems nigh poesy" (Wiegers 2003) included in it 108 poems from diverse national literatures (mainly in the West) and nether a multitude of titles. Poland is represented in the anthology by Anna Swir (Anna Świrszczyńska)'s poems "Literatka robi pranie" (A Woman Writer Does Laundry, translated by Czesław Miłosz) and "Spotkanie autorskie" (Verse reading, translated past L. Nathan).
Twentieth-century Smoothen verse includes poems entitled "Ars poetica" by Krzysztof Kamil Baczyński, Konstanty Ildefons Gałczyński, Stanisław Grochowiak, Czesław Miłosz, and Leopold Staff. These works are among those poets' most frequently quoted and interpreted poems, merely the full number of works of poesy in Polish devoted to poetic art would be difficult to summate; among the well-nigh well-known nosotros can name Tuwim's "Poezja" (Poesy), and his fragment "Kwiaty polskie" (Smooth Flowers), beginning with the line "Poezjo! Jakie twoje imię?" (Poetry! What is your name?), W. Broniewski'south "Poezja" (Poetry) or Szymborska'southward "Radość pisania" (The Joy of Writing). An experimental poem by Zenon Fajfer shows the vitality of this lyrical tradition; Fajfer is the inventor of so-chosen "liberatura" (liberature), "full literature, in which the text and the infinite of the book go an inseparable whole."10) <http://world wide web.liberatura.pl> [accessed: thirty.01.2015]. One form of liberature is the "emanational poem" and its electronic version, the "kinetic poem." Fajfer's "liberary" ars poetica, entitled "ten messages" (translated from the original, entitled "dwadzieścia jeden liter" [twenty-i letters], by Katarzyna Bazarnik) can be found at the website world wide web.ha.art.pl.11) Accessed: 30.01.2015.Accessed: 30.01.2015.
Advertisement 3 Although the original formula ars poetica is now associated strictly with lyric poetry, in the works of the codifiers of artifact it was by no means express to that domain; on the contrary, the lyric lay at the margins of its purview. Aristotle devoted his treatise to the mimetic arts: tragedy and (in the part of his Poetics lost to posterity) comedy, every bit well equally the heroic epic poem; dramatic fine art is likewise the focus of Horace's attending in his Ars poetica.
As late as the eighteenth century, and fifty-fifty at the showtime of the nineteenth, the term "poetry" could exist used to mean literature in general– that is the sense in which Gotthold Ephraim Lessing uses it in his 1766 report Laocoon, An Essay on the Limits of Painting and Poetry. The term "ars poetica" can thus be used more broadly in the context of the theory of genres, extending to include treatises on fiction writing, or what Kundera, writing in French, called L'art du roman, the art of the novel (Kundera 1986), i.e., the art of storytelling. In this sense, the form would include essays past writers of both genders and various ranks, dealing with the secrets of their own or others' writerly craft, a full general or more detailed history of the genre, and meditations on its current country, every bit well as the popular and plentiful "how to" books of self-instruction, the "ABCs of writing." In the starting time category, nosotros would take to place both masterwork essays on the novelist'south craft (such equally Thomas Mann'southward Die Entstehung des Doktor Faustus, 1946), and the autobiographical and career reflections of talented horror and thriller writer Stephen Male monarch (On Writing: A Memoir of the Craft, 2000).
In the Smoothen context, this type of ars poetica never achieved the level of popularity that information technology did in Anglophone culture. A classic of the genre is Jan Parandowski's 1951 Alchemia słowa (Alchemy of the Word), reprinted many times since. In the preface to the fourth edition in 1965, the author wrote: "Some of my readers sought to find hither the story of my own writing craft, masked past examples of other writers, and a want to shape immature literary men who accept non even so learned the secrets of their merchandise. In truth, I had such an intention once, only I sought to fulfill it in a different style, namely, by creating an institute chosen the School of the Fine art of Writing. The project was met with astonishment, outrage, antipathy. I was accused of wanting to institute a 'nursery of geniuses,' and nobody thought of the fact that an introduction to the art of writing is something needed not only by time to come geniuses, but by many who, using words in their work, will never be writers."
The reaction that Parandowski describes was rooted in the view, even so active in Shine literary culture, that writing is merely an fine art, not a craft. The subjection of literary communication to the rules of the market which accompanied the systemic transformation of Poland in the late 1980s and early on 1990s, however, radically changed the situation. Today, in spite of statistics indicating a crunch of readership, an increasing number of people are engaged in producing texts that aspire to the status of literature, and thus the need for cocky-instruction manuals to guide them through the nuts of the writing profession is also growing in Poland. One of the first home-grown books of this type was Twórcze pisanie dla młodych panien (Creative Writing for Young Ladies) by Izabela Filipiak (1999), whose title jokingly references the wave of splendid first books by female authors in Poland in the mid-1990s. Withal, the publications of that sort bachelor on the shelves of Polish bookstores largely remain translations from English language, such every bit Nigel Watts's Writing a Novel (translated past East. Kraskowska, 1998) or, in the aforementioned "Teach Yourself" series from Wydawnictwo Literackie, Screenwriting past Raymond Chiliad. Frensham (translated by P. Wawrzyszko, 1998) and Writing Criminal offense and Suspense Fiction by Lesley Grant-Adamson (translated into Polish by Grand. Rusinek, 1999). Information technology should be noted that these authors continue to rely on the undying Aristotelian rules for creating a plot. Dissimilar the modernist cult of high art, the contemporary dictates of the market place and the postmodern erasure of the boundaries between literary currents have created perfect weather for developing i's writerly arts and crafts. The guidebooks that encourage such evolution may be seen as a throwback– if not necessarily a deliberate one–to the tradition of the erstwhile scholastic treatises on "the fine art of rhyming."12) J. Parandowski, Alchemia słowa (Abracadabra of the Word), Warszawa 1998, pp. ten-11.
Poland has besides seen the rise of creative writing schools and courses, and then popular in the United States, on its soil; one of the longest-operating of the institutions in the business is the Department of Literary-Artistic Studies at the Shine Studies Faculty of Jagiellonian Academy, created in 1994 at the initiative of Professor Gabriela Matuszek. Another space in which literary advice has found splendid conditions for growth is, plain, the Cyberspace: wait at the way information technology has expanded new genres of writing such as the web log or fan fiction. Today, with the assist of an internet search engine, one can find guides on how to write all unlike kinds of texts: from the practical (CV, letter, application) to book reports and senior or doctoral theses, up to every type of pop genre novel: detective story, fantasy, historical fiction, novel of manners, romance, etc. Nigh of the publishers who specialize in belles lettres include on their official websites formal guidelines for the presentation of texts and advice for potential authors, including, amidst other pointers, "Write one word at a time. When you find the appropriate word, write it down."thirteen) http://www.artefakty.pl/viii-zasad-dobrego-pisania-autorstwa-neila-gaimana [Accessed: 2.02.2015]. The Cyberspace, as a medium of instantaneous communication, has stimulated a especially powerful and universal need to externalize individuals' writing possibilities; at that place is, therefore, no indication that contemporary iterations of the ars poetica volition die out someday soon.
translated by Timothy Williams
Przejdź practise polskiej wersji artykułu
A b southward t r a c t :
The term „ars poetica" can refer both to a relatively new (sub)genre of poesy and to the classical Latin works (oft) bearing the championship ars poetica. The article proposes to use information technology to cover 3 areas of literary and metaliterary work: ane) classical normative-descriptive poetics; 2) cocky-reflexive poems devoted to the art of poetry; 3) guides to creative writing and essays on secrets of the author's craft.
Przypisy [ + ]
Source: http://fp.amu.edu.pl/please-translate-in-en_us-ars-poetyka/
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