INTRODUCTION
The Roman Poet Quintus Horatius Flaccus is best known for his Satires, epistles, and Odes. He penned down his most influential critical work around the year 15 B.C., so many years after the publication of Aristotle's “Poetics”, he wrote this towards the end of his long successful career as a Poet. Horacis Ars. Poetica is an epistle presented as an informal letter to members of the Piso family. It was originally written in dactylic hexameter, the piece is typically translated into prose.
This work was written as a recommendation of a list of advice to beginning poets, Horace however, maintains an intimate tone while sharing many of his thoughts that have continued to frame our Approach to Poetry, including “its picture Poesis”. Horace explains painting to be a form of poetry; thus some pieces will strike through more if you stand near, and some, if you are at a greater distance; one loves the dark; another, is not afraid of the critics’ subtle judgment, chooses to be seen in the light; the one has pleased once the other will give pleasure if ten times repeated…”
Horace laid particular emphasis on the relevance of decorum (coordination) in poetry and on the necessity of joining the instructive with the agreeable. He urged the poet to have in mind his audience at all times and counsels the young writers to “either follow tradition or invent such fables as are congruous (in agreement or in harmony) to themselves’.
Horace’s Ars Poetica is a practical essay that addresses a wide range of issues concerning craft with recourses to translation, emotional effect, playwriting, and above all the dangers of publishing (“a word once sent abroad can never return”), engaging in critical feedback and the comportment of a poet.
Textual Analysis
This work shall be done concerning the recommendations of Horace to the field of poetry and the art of painting under the following sub-headings:
- The nature of poetry
- Forms of poetry
- Media res (plot)
- Characterization
- The qualities of a poet
The Nature of Poetry
Horace began his work by drawing a little convergence and divergence between a written verse (poem) and a piece of painting. First, he admits thus; that the poet and the painter are often looked upon from the same angle as having the same authority of attempting anything” yet there is the divergence from an examination of their both creation as this; the work of a painter from this analogy is first a desire to come up with a beautiful piece of art such as painting in which he attempts to unite the neck of a horse to the head of a human and then spread a variety of different animals take from every part, in such a manner that, “what is a beautiful woman in the upper part terminates unsightly in an ugly fish below”.
Eventually, the end product of the painter's desire will be a laughable object to the audience (public) such that it is comparable to the dreams of a sick man, which in the end always materializes to being vain and fictitious; because ‘neither head nor foot can correspond to any one form”.
It is in this vain that we demand and allow in turn but not such a degree, that the fame showed associate with the savage, nor that serpents should be coupled with birds, lamb with tigers. In very lucid terms, he compares a painter’s work to drawings used for funerals (cypress) of which its purpose is as questionable as “Swimming hopelessly out of a shipwreck?” This analogy simply goes to say: in a wind, no matter what subject it is that you are discussing, let it be but in simple and uniform terms devoid of ambiguity.
A poem in this regard must have “Organic unity” which entails that all the parts must be virtually connected with one another. Although the poet is free to utilize and indulge his cravings (fancy), he must not lapse into absurdity wherein he creates monsters and impossible figures. Concisely, the poet must concern himself only with subjects which he can deal with, and which must suit both his power (ability) and style as a poet.
The poet must always exercise caution in his choice of words, he has the liberty to invent new words and recreate (revive) old ones, yet this must be done with much discretion and only “ye who write, make choice of a subject suitable to your abilities: and involve in your thoughts a considerable time what your strength declines, and what it can support. For neither elegance of styles nor a perspicuous disposition, shall desert the man, by whom the subject matter is chosen judiciously.
Each particular genre should stick strictly to the ‘meter’ apportioned to it by the ancient Greeks: which includes, Iambic hexameter for the epic; elagic verse, poems of complaint, tragedy and comedy: adhere to iambic verse, whole hymns and odes, as well love poems should adhere to the lyrical meter.
Furthermore, he advises that One who must be a poet must not show himself to be capable, and skilful, to observe the distinction described and the complexions of works (of genius), the poet must not assume a false identity by pretending ignorance to being learned, therefore, comedy should not be handled in tragic verse, but, each genre ought to adhere to rule accustomed to it, although comedy out some point tries to make sense in a rather timid manner.
Forms of Poetry
When writing on a given genre, it is expedient that, the plot be based around familiar old stories which might be told in a new pattern through acquiring adequate skill and craftsmanship. The poet is free at this point to invent new themes and focus, yet he must be very apt in doing so, while retelling an old story, it is wrong to go about it with a slavish imitation, rather than this, the poet should task his creativity such old stories, making every possible effort to avoid inconsistencies and absurdities. The themes of comedy should not be treated as would be in high esteem as tragedy and in the same way, the theme of tragedy should never be treated with scorn and levity, but rather each should be accorded its proper place.
- The plot (media res)
the poet in constructing his plot should strive to follow the example of Homer, wherein the events of the story should correspond with themselves i.e. the vicarious interconnectivity of the beginning, middle and end, the incidents in the play must be presented in such a manner that it is deserving of applause, this certain incidents such as murder and crime should not be displayed on the stage as they would offend the sense of the spectator thus: “You must take away from view many actions, which elegant description may soon after delivering in the presence (of the spectators)… whatever you show to me in this manner, not able to give credit to, I detest”
Any play, that is worth its onus, should not be shorter nor longer than five acts. “Neither should a god interfere, unless a difficulty worthy as gods unravelling should happen and each scene should not have more than three characters at the same time. The beginning of a play should be simple and devoid of ambiguity with the incidents having a logical connection.
- Characterization
Characters must be consistent and true to type. Characters drawn from traditional legends must present their traditional traits. Treating such characters from a different point of view would make them unreal and unconvincing. In the same vein, characters must fit their ages.
The style of the play must vary per characters, mood and the circumstances surrounding them.
Different moods and personality traits should be used with verisimilitude.
The chorus should be there to support the actor, who must also be manly, and the chorus should desist from singing anything that is not in line with the incidents in the acts, and his role (the chorus must fit in a synchronized manner with the main design of the play.
Both the chorus and the actor should play alongside each other, rendering friendly advice whenever it becomes necessary.
The chorus should regulate the passion and love to appease with rage (thou who swells) they should praise any meal presented to them, applaud and open the gates.
The chorus must conceal whatever is disclosed to them in confidence and make supplications imploring the gods for the return of prosperity to the wretched and abandon the proud.
The accompaniment of music should assist the chorus, to satisfy the audience of a small number who are sober, chaste and modest in their coming together.
The chorus is only different from the oracle at Delphi by teaching morals while the oracle tells the future.
The Qualities of a Poet
First and foremost, the poet, is to bear this in mind: that the art of poetry demands hard work and dedication and as such, the poet should take pains in going through his works. For as much as possible to acquire a level of excellence. He should at the same time, show his works to those who are wiser and more skillful than he is, to gain guidance and corrections from him. Horace is the view that before the work of a poet gets to be published it must be allowed to stand for about a decade.
A poet must be a curious observer of men and their dictions (manners) and must strive in his writing to replicate (produce) characters who are true to life that is characters with a universal appeal and identity.
A poet should be desirous to instruct or please (satisfy needs) or better still, combine perfectly both functions. But, he must take caution so as not to indulge in romantic ecstasy just for the purpose of pleasing. But, he should strive to combine pleasure and gain. He should be very concise and avoid verbosity as it is only when he observes this that people (audience) will be able to pay attention to his message.
Minor faults or errors should be pardoned, but it is up to the poet to exert his utmost best to avoid fault in whichever way he can.
Great poets at the same time double as prophets and such the poet should go about his office with pride and dignity.
To achieve a great piece of poetry, the perfect interconnectivity of nature and artistic prowess is in-esteemable, therefore, wit and natural ability should be interchanged forthwith.
Conclusion
It is pertinent to end this piece with this excepts about the poet from Ars Poetica; let poets have the license to die as they please, for he who saves a man against his will, does the same with him who kills him against his will.
From all indications, the poet is somewhat misunderstood to be made just as Plato deems him unfit for morality, apart from Aristotle’s poetics, there is no other classical proposal on poetry that equate Ars Poetica, though it has its own limitations.
REFERENCES
Smart C. and E.H. Blakeney (Horace on the Art of Poetry), London: Scholartis press, 1428.
www.poetryfoundation.org/articles/69381/ars-poetica
NB: Please note that this is not an authority, however, be sure to find this article invaluable piece that will broaden your horizons you can also contribute your comment to this post if it has been useful to you
