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HORACE's 'UT PICTURA POESIS': the ARGUMENT for STYLISTIC DECORUM Author(S): WESLEY TRIMPI Reviewed Work(S): Source: Traditio, Vol

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HORACE's 'UT PICTURA POESIS': the ARGUMENT for STYLISTIC DECORUM Author(S): WESLEY TRIMPI Reviewed Work(S): Source: Traditio, Vol HORACE'S 'UT PICTURA POESIS': THE ARGUMENT FOR STYLISTIC DECORUM Author(s): WESLEY TRIMPI Reviewed work(s): Source: Traditio, Vol. 34 (1978), pp. 29-73 Published by: Fordham University Stable URL: http://www.jstor.org/stable/27831040 . Accessed: 19/06/2012 17:22 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Fordham University is collaborating with JSTOR to digitize, preserve and extend access to Traditio. http://www.jstor.org HORACE'S 'UT PICTURA POESIS': THE ARGUMENT FOR STYLISTIC DECORUM By WESLEY TRIMPI Horace opens his Ars poetica with several comparisons between the arts to illustrate the 'structural' decorum which all unified works must share. Later, he develops an extended analogy between painting and poetry, intro duced by the phrase ut piciura poesis, to illustrate the nature of the 'stylistic' decorum necessary to please, and to continue to please, the critical reader. In an earlier essay entitled 'The Meaning of Horace's Ut Pictura Poesis,' I tried to show how this analogy (361-5) concludes the preceding discussion of faults which may and may not be overlooked in a long work (347-60). In the present paper, in addition to collecting further evidence for this interpretation, I shall argue that the lines in question (361-5) form, at the same time, a tran sitional introduction to the following analysis of the kind of pleasure ap propriate to poetry and of how itmay best be protected (366-90).1 In the lines preceding these sections, Horace has just discussed the more inclusive requirements, primarily with regard to subject matter, that a poem treat things which are iucunda and idonea vitae, dulce and utile (333-46). He now turns, with tarnen, to the reader's critical expectations in relation to stylistic decorum in order to define precisely the type of pleasure a skillfully written poem must continue to give (347-90). sunt delieta tarnen, quibus ignovisse velimus: nam neque chorda sonum reddit quern volt manus et mens, poscentique gravem persaepe remittit acutum, nec semper feriet quodcumque minabitur arcus. verum ubi plura nitent in carmine, non ego paucis offendar maculis, quas aut incuria fudit aut humana parum cavit natura, quid ergo est ? ut scrip tor si peccat idem librarius usque, quamvis est monitus, venia caret, et citharoedus ridetur, chorda qui semper ob errat eadem, sic mihi, qui multum cess?t, fit Choerilus ille, quem bis terve bonum cum risu miror; et idem indignor, quandoque bonus dormitat Homerus; 1 The Journal of the Warburg and Courtauld Institutes 36 (1973) 1-34 (hereafter cited as MHP). The passages already cited there which it has been necessary to mention again in a new context or to re-emphasize for purposes of presenting the additional materials are clearly indicated. Since the evidence presented in both essays supports a single interpretation, the reader is encouraged to examine these additions in connection with the passages assembled in the text and notes of MHP. 30 TRADITIO verum operi longo fas est obrepere somnum. ut pictura poesis: erit quae, si propius stes [AJ, te capiat magis, et quaedam, si longius abstes [A2]; haec amat obscurum [JBJ,volet haec sub luce videri, iudicis argutum quae non formidat acumen [Z?2]; haec placuit semel [CJ, haec deciens repetita placebit [C2].2 (347-65) The last five lines make three comparisons based on degrees of distance, of light, and of the power to please on repeated occasions, which I have indicated by A, B, and C respectively. Each comparison consists of two terms; the first terms of each I have designated Av Bl9 and Cv and the second A2, B2, and C2. In my original interpretation I attempted to account for two dif ficulties in understanding the literal meaning of the lines themselves. The first problem is the evaluative relation of the first to the second term in each of the three comparisons; the second is the nature of the picture (and the poem) which could be said to prefer inferior 'lighting' in the sense that it amat ob scurum. Until a more probable explanation is presented than that deriving, unquestioned, from the scholiastic tradition, which recognizes neither problem, my suggestions offer, I believe, the most plausible solution to both. In the commentaries the three 'better' terms refer to viewing the picture from close at hand, to seeing it in full light, and to enjoying it on repeated occasions. Av therefore, falls logically parallel to B2 and C2, combining A2 with B1 and Cv and thus disturbs the rhetorical parallelism of the syntax. If the commentaries are correct in their choice of the better term in the first are comparison, which I have argued they not, then the four terms of the first a two comparisons fall in 'chiastic' criss-cross pattern: better [AJ, worse [A2], worse [J5J, better [B2]. The terms of the third comparison then repeat the order of the second, thus producing the following pattern of the six terms taken 2 Q. Horati F lacci Opera, ed. F. Klingner (Leipzig 1959) 307. (The internal bracketed additions are mine.) ['Yet faults there are which we can gladly pardon; for the string does not always yield the sound which hand and heart intend, but when you call for a flat often returns you a sharp; nor will the bow always hit whatever mark it threatens. But when the beauties in a poem are more in number, I shall not take offence at a few blots which a careless hand has let drop, or human frailty has failed to avert. What, then, is the truth? As a excuse copying clerk is without if, however much warned, he always makes the same mistake, and a harper is laughed at who always blunders on the same string: so the poet who often defaults, becomes, methinks, another Ghoerilus, whose one or two good lines cause laughter and surprise; and yet I also feel aggrieved, whenever good Homer "nods," but when a work over is long, a drowsy mood may well creep it. A poem is like a picture: one strikes your nearer stand the farther This courts shade fancy more, the you [AJ; another, away [A2]. the to be seen in the and dreads not the critic of the [B,];that will wish light, insight judge [B2J. but once ten times called will Trans. This pleased [CJ; that, though for, always please [C2].' II. Px. Fairclough, Loeb Classical Library (hereafter LGL [London 1936] 479, 481). All future Latin citations of Horace will be from Klingner's edition. 'ut pictura poesis' 31 worse worse together: better [AJ, worse [AJ, [EJ, better [BJ, [CJ, better a [C2]. Since the terms of the third comparison do not have correspondingly chiastic relation to those of the second, the order appears arbitrary in that a or single chiasma disrupts, without warning syntactical clarification, the six a made (rather than four) terms of passage up of three (rather than two) com parisons. This arbitrariness, unclarified by such distinguishing pronouns as hie and Ule, threatens these Unes with an enigmatic abstruseness, antithetical to Horace's avoidance of obscurity in the epistolary sermo (cf. Suetonius, Vita Horati), and encourages the reader to return to the simpler and more obvious rhetorical parallelism for their meaning. Such a parallelism demands, however, that the pictorial and literary style to be seen from a distance have, in contradiction to both ancient and modern commentators, a recognizable value, in some particular regard, which is not shared by the style to be scrutinized from close at hand. The explanation of this advantage must account, at the same time, for the type of style which could plausibly 'love' the obscurum. In evaluating poems, I believe Horace is saying, allowances must be made for unintentional (minor) errors when excellences greatly outnumber faults some and/or when the work is long. Since flaws in detail, distracting to the closely scrutinizing reader, would have been 'absorbed' in oral presentation, the stylistic conventions of epic, which the responsible critic should take into a consideration, permit certain lack of finish, however much one might wish To extent that otherwise. the Augustan critical expectations may no longer have been comfortable with the abrupt transitions and dramatic repetition ? of the older epic that is, to the extent that the critic might treat the Ho meric now read not as poems, heard, if they had originally been composed to ? be read and become thereby a Zoilus carping at detail Horace is, in the first place, reminding his reader of the stylistic price to be paid for the greatness of Homer's achievement. more he But, important, may also be cautioning him to allow for the adaptation of certain oral effects to the written epic by poets like Virgil, and perhaps Varius, who were criticized for imitating Homer too an and as an closely.3 As illustration, only illustration, of how the 'reading' of poems in (or drawing upon) the oral tradition with the close scrutiny ap propriate to written genres is to read them out of context, Horace borrows a pictorial analogy from the rhetorical tradition where analogies between the were common. arts had been and still Although the poet is to be regarded 3 For see Vita Virgil's detractors, Suetonius, Vergili 43-6, and for his imitation of Homer, Saturnalia 5.2-13 ? even his Macrobius, imitation of Homer's faults, which, apparent to the lector was criticized some out diligens (5.14.8), by of ignorance (5.14.1).
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