Dionysian imitatio
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Dionysian imitatio is the influential
History
Three centuries after Aristotle's Poetics, from the 4th century BCE to the 1st century BCE, the meaning of mimesis as a
Latin orators and rhetoricians adopted the literary method of Dionysius' imitatio and discarded Aristotle's mimesis; the imitation literary approach is closely linked with the widespread observation that "everything has been said already", which was also stated by Egyptian scribes around 2000 BCE. The ideal aim of this approach to literature was not
Mimesis
Dionysius' concept marked a significant departure from the concept of mimesis formulated by Aristotle in the 4th century BCE, which was only concerned with "imitation of nature" instead of the "imitation of other authors."[1] Latin orators and rhetoricians adopted the literary method of Dionysius' imitatio and discarded Aristotle's mimesis.[1] In Aristotle's Poetics, lyric poetry, epic poetry, drama, dancing, painting are all described as forms of mimesis.
Notes
- ^ a b c d e f g h Ruthven (1979) pp. 103–4
- ^ a b c d e West (1979) pp.5–8
- ^ a b Jansen (2008), quote from the summary:
The variety of ways to adapt and enrich source texts, as discussed by Erasmus in De Copia Rerum, are discussed in chapter 5. [...] Classical rhetoric had already developed a theory of these kinds of intervention, drawing attention to the process of adaptation [...] If a topic had been treated by an earlier author, this was no reason to avoid it, but one had to try to emulate one's predecessor. The use of rhetoric enabled authors to discuss the same topic in several ways, to be little a great subject, and to accord greatness to something small, for example, or to renew the old, and express the new in an old-fashioned manner. [...] Using these formulas, a pupil could render the same subject or theme in a myriad of ways. For the mature author, this principle offered a set of tools to rework source texts into a new creation. In short, the quadripartita ratio offered the student or author a ready-made framework, whether for changing words or the transformation of entire texts. Since it concerned relatively mechanical procedures of adaptation that for the most part could be learned, the techniques concerned could be taught at school at a relatively early age, for example in the improvement of pupils’ own writing.
References
- Jansen, Jeroen (2008) Imitatio ISBN 978-90-8704-027-7 Summarytranslated to English by Kristine Steenbergh.
- Ruthven, K. K. (1979) Critical assumptions
- West, David Alexander and Woodman, Anthony John and Woodman, Tony (1979) Creative imitation and Latin literature