Every Bit a Cowboy Jennie Marts

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Books. Change. Lives.

Copyright © 2023 by Jennie Marts

Cover and internal design © 2023 by Sourcebooks

Cover design by Eileen Carey/No Fuss Design

Cover images ©Rob Lang Photography, Ninestock, Virrage

Images/Shutterstock, GCC

Photography/Shutterstock

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All rights reserved. No part of this book may be reproduced in any
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The characters and events portrayed in this book are fictitious or are
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Contents

Front Cover

Title Page
Copyright

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Chapter 6

Chapter 7

Chapter 8

Chapter 9

Chapter 10

Chapter 11

Chapter 12

Chapter 13

Chapter 14

Chapter 15

Chapter 16

Chapter 17

Chapter 18

Chapter 19
Chapter 20

Chapter 21

Chapter 22

Chapter 23

Chapter 24

Chapter 25

Chapter 26

Chapter 27

Chapter 28

Excerpt from A Cowboy State of Mind

Acknowledgments

About the Author

Back Cover

This book featuring a hairstylist has to be dedicated to my own

hairstylist heroine:

Melissa Chapman

Hair Therapist Extraordinaire

For the last fourteen years, you’ve cheered on my writing career

while we’ve spent hours talking

plots and character motivation in between laughing, crying, and

sharing life wisdom.
You’ve cut and curled and colored my hair,

but most of all you’ve been my friend.

Thank you

Chapter 1

It had seemed like just another ordinary day at Carley’s Cut & Curl for
salon owner Carley Chapman

—until her stylist’s water broke in the middle of doing a highlight. And
then a pissed-off customer

barged in the front door as the salon’s receptionist was helping the
pregnant hairdresser out the back,

leaving Carley with a half-finished perm, an incomplete color, and a

brawling catfight as one angry

customer confronted another.

Carley forced her voice to remain calm as she slowly took a step
away from the two women, their

faces contorted in rage as one held her best pair of shears while the
other brandished her flat iron like

it was a sword. “Just put the scissors down, Amber,” she said to the
one closest to her. “I’m sure we

can work this out.”

Amber Wilcox and Brandi Simms were two of her best customers, so
she didn’t want it to seem like

she was taking sides. They each could be counted on for a regular
cut and color appointment every
other month, although Brandi was the bigger tipper. But she didn’t
want to lose either one of them due

to anger or a hair-care-tool–related injury caused by an argument

over a man. Especially the man in

question. Buster Jenkins was no prize, and certainly not worth losing
a finger for.

It had happened so fast. Carley was still reeling over Erica, her stylist,
going into labor—she

wasn’t due for another week—when Amber had charged into the
salon. The bell over the door was

still jingling as Amber grabbed the shears off the tray, her eyes wild
and flashing with anger. The pink

ends of the cape flapped as Brandi shot out of the chair and grabbed
the flat iron from the next station.

“There’s nothing to work out,” Amber said, waving the shears

recklessly through the air. “Except

the end of our so-called friendship. I heard about the way you were
flirting with Buster down at the

Creed last night,” she practically spat as she referred to the

Creedence Tavern, one of the town’s most

popular restaurant and pubs. “I ran into Monica Morris in the grocery
just now, and she couldn’t wait

to tell me how you belted back three raspberry margaritas and then
tried to turn Taco Tuesday into

Topless Tuesday by claiming the strap of your cheap-ass dress just

happened to break.”
A gasp came from the direction of the hair dryers where two more of
Carley’s regular customers

sat. Lyda Hightower, who was married to the mayor of their small
mountain town of Creedence,

Colorado, loved to drop in for a blowout before her numerous charity

events, and Evelyn Chapman,

who was not just a customer but also Carley’s former grandmother-
in-law.

The downtown building where her salon was housed and the
adorable eighty-year-old woman were

the only things of value Carley had gotten out of her failed three-year
marriage to Paul Chapman, and

Evelyn had a regular Wednesday afternoon appointment for a weekly

wash-and-style and a quarterly

perm.

Evelyn, the one getting the permanent that day, sat waiting in the
chair next to Lyda, a magazine in

her lap and her head covered in neat rows of purple rods. She
reached over to turn off the other

woman’s hair dryer, presumably to be able to hear better, just as Lyda

was speaking, and her voice

carried loudly through the salon. “I wouldn’t believe a thing that

comes out of that woman’s mouth.

Monica loves gossip more than sugar, and I’ve seen that woman
positively inhale the better part of a
chocolate cake.”

Brandi ignored the comment as she held her ground, the layers of foil
covering her head flapping as

she yelled back. “For your information, I only had one margarita, the
strap of my dress really did

break, and Buster was the one flirting with me.”

“How dare you,” Amber shrieked, flames practically shooting from her
narrowed eyes. “My Buster

would never flirt with the likes of you.”

“Her Buster would flirt with the likes of anything in a skirt,” Lyda
whispered to Evelyn, although

everyone in the shop heard.

Before Amber had stormed in, it had been a fairly normal Wednesday
afternoon at the salon. A

haircut, a blowout, and a perm or highlight and cut was an average

day for Carley, who had been

running the salon mostly on her own for the last several years. Erica,
already a mother of two, took

clients by appointment only and usually came in a few days a week.

Their receptionist, Danielle,

worked the desk a few afternoons after school and did an occasional
shampoo, but that was more as a

favor to Dani’s mom, who secretly paid the bulk of the girl’s salary.
But otherwise, Carley ran the
shop herself.

She swept the floors and put the stations back together each night,
so everything was in place and

ready when she opened the door the next morning. She loved
walking into the shop and seeing the

black-and-white-checked floors and bubble-gum pink walls with Paris-

themed decorations, the air

still carrying the scent of the lemongrass and eucalyptus candles she
burned daily to mask the smell of

some of the stronger hair-care products.

It was her happy place—where she created beauty and made others
feel good about themselves. Not

just through her skills as a stylist, but also the way she listened and
tried to offer helpful advice when

customers shared their problems with her. She loved that her shop
was a haven for sharing and

friendship. It meant everything to her—which is why she’d literally

sold her soul to keep it.

She had seen a lot of things in her days as a hairstylist, weeping

hysterics over a color job gone

wrong, more Bridezillas than she could shake a piece of wedding

cake at, and had even had a request

to do a cut and curl on a beloved Afghan hound, but this was the first
time she’d seen two women

screaming and threatening each other with her hair tools.

She shifted from one foot to the other, weighing what to do. She
could maybe toss a spare cape over

Amber’s head and try to wrestle the scissors from her. Or an easier,
and less dangerous, option might

be to offer them each a free blowout.

Before she had time to decide, the bell of the shop door jangled, and
Deputy Knox Garrison eased

in, the worn soles of his cowboy boots silently sliding across the
polished tile floor.

Conversation stopped as every woman turned her attention to the

handsome lawman. Well over six

feet tall, he wore jeans and a neatly pressed light-gray uniform shirt
with a shiny gold star pinned

above his chest pocket, his muscled biceps stretching the fabric of
the sleeves. His chiseled jaw was

clean-shaven, and his thick, dark hair curled a little at the nape of his
neck, just visible below the rim

of his gray felt Stetson.

Knox tipped his hat, his shoulders loose as he drawled out an easy
greeting. “Afternoon, ladies.”

His gaze was sharp as he took in the scene, but he stayed calm and
relaxed as he eased closer to the

women. “I hear there’s a bit of a dustup going on in here.”

Carley swallowed at the dustup happening inside her—as if three

dozen monarch butterflies had
just taken off and were flying around her stomach like they were
trying to get out.

She’d met the tall deputy last month at the Heaven Can Wait Horse
Rescue Ranch where her sister,

Jillian, and her ten-year-old nephew, Milo, volunteered. Then she’d

seen him again a few weeks ago,

also at the horse rescue ranch, when her sister married the newly
appointed Sheriff Ethan Rayburn,

who she guessed was now Knox’s boss. Or he would be, after the
happy couple returned from their

honeymoon.

No time to think about the dance they’d shared at the wedding or the
harmless flirting or the deep

brown color of his eyes that made a girl want to melt into them.
Nope, no time for that. Not when she

had a beauty shop brawl she was trying to contain.

Amber snorted. “There’s no dustup. Nothing for you to worry about

anyway. This is between me

and the floozy who’s been hitting on my man.”

Brandi waved the flat iron like she was conducting an orchestra. “I
was not hitting on anyone. I’d

ordered the Nacho Average Nachos platter—you know the one where
they pile the chips and cheese

as tall as your head—and I was reaching across the bar in front of

Buster to grab the hot sauce when
my strap broke.”

Knox nodded. “Those nachos are amazing. And in no way average.

Now, I can see how a situation

like this could be misunderstood and certainly upsetting, but I’m still
gonna need you each to set down

your weapons and take a step back.”

“And be careful with those scissors, Amber,” Carley said. “Those are
my best shears, and I just got

them sharpened last week.”

“They are good shears,” Lyda agreed, nodding toward Evelyn. “She
gave me the wispiest bangs

with them last week.”

Carley glanced at Knox. “I’m serious—those things are razor sharp.

They could probably be

classified as a deadly weapon.”

“I’ll keep that in mind,” he said to Carley before addressing the

women again, this time in a slightly

more authoritative voice. “Did you hear that, ladies? You are wielding
deadly weapons. Nobody

really wants to kill anyone here, do they?”

Amber’s face paled as she looked down at the scissors. “No, of course
not.”

Whispers of foil sounded as Brandi shook her head. She gingerly set
the flat iron back down on the
tray. “I never wanted to hurt anyone.”

“Me neither.” Amber shoved the scissors onto the stylist station next
to her. They hit a wooden box

of hair clips and sent it flying off the station.

Carley reached for it—the box had been a gift from her grandmother
—but she was too late. She

winced as it crashed to the floor and the hair clips scattered across
the linoleum.

“Oh, no,” Amber said, drawing her hands to her mouth. “Sorry about
that.”

Not as sorry as I am. Carley swallowed as she peered down at the

box. The top had broken off in

the fall, and several small pieces of wood had fallen out of the inlaid
design on the lid and had slid

across the floor. She pressed her hands to her legs to keep from
dropping onto the floor and collecting

the precious pieces. “I’m just glad no one got hurt,” she forced
herself to say. Although she was glad

neither of the women had resorted to using their weapons of choice.

“Are you going to let this go?” Knox asked Amber. “Or do we need to
go down to the station to

discuss this some more?”

“The station? ” the two women asked in unison.

He dipped his chin, his expression stern. “This is a pretty serious
situation. It sounds like threats

were made and accusations were thrown.” He tilted his head toward
Brandi. “Are you thinking about

pressing charges?”

Brandi shook her head so hard one of the foils almost broke free.
“Heck no.”

“No? You sure? Even though she came at you with a deadly
weapon?”

“’Course I’m sure. Amber’s my cousin. Our moms would be so mad if

one of us got the other

thrown in jail.”

Amber nodded vigorously. “Yeah, they would.”

“Listen, Amber, I’m sorry about all this. That was a cheap-ass dress. I
bought it at the church garage

sale for two dollars, and I swear the strap just broke last night.
Thanks to my cravings for those stupid

nachos, the dress was too dang tight, so it’s not like it fell off or
anything—it didn’t even move. And

there was no way in heck I was coming on to Buster. Besides him

being your guy, you know I’ve been

in love with Jimmy for just about as long as I can breathe. There will
never be any other guy for me.”

Amber’s shoulders slumped, and she let out a heavy sigh. “Yeah, all
right. Sorry about that. See you
at Aunt Suzy’s on Sunday?”

“You know it. Kickoff starts at two, and we haven’t missed a Broncos
game in years. Even though

we all know they haven’t been the same since we lost Peyton
Manning.”

A murmur of agreement rippled through the salon.

Amber acted as if she wasn’t sure what to do with her hands, then
finally settled on crossing them

over her chest. “You bringin’ your spinach dip?”

“Always do.”

“Okay, see you there.” She turned to leave then gazed back at Knox.
“Okay if I just slink out of here

with my tail between my legs?”

Knox nodded. “Stay out of trouble, though.” He raised his hand for a
fist bump. “Go Broncos.”

Amber offered him a sheepish grin as she bumped his fist, then
slipped out. He ran his glance over the

rest of the salon as if assessing the situation. “Everybody else, okay?

Anybody get hurt?”

“Only my heart,” Carley muttered as she glanced forlornly at the

shattered box.

“Don’t worry,” Knox said, bending down to scoop up the pieces. “I

can fix that.” He gingerly
placed the broken pieces of wood inside the box and carefully set the
lid on top.

“No, you don’t have to.”

“It’s no problem. I’ve got woodworking tools in my shop, and I like to

fix stuff.”

“He does,” Lyda Hightower said. “He fixed my back gate just last
week. That last windstorm nearly

tore it off its hinges. Which reminds me, I’ve got a box of Twinkies
sitting in the front seat of my car

just in case I ran into you.”

Carley raised an eyebrow in his direction. “Twinkies?”

Knox shrugged and offered her a sheepish grin. “I noticed her gate
was broken on one of my patrols

and told her I’d fix it for a box of Twinkies. I don’t know what it is
about the silly things, but I can’t

help it, I love them.”

“My car is unlocked,” Lyda told him. “Just grab them on your way by.”

“Will do.” He took another step closer and lowered his voice as he
reached into his chest pocket,

pulled out a business card, and passed it to Carley. “My personal cell
is written on the back. Call me

if you need anything. Or just text me if you want to talk. Or

whatever.” A slow grin tugged at the
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 The Project Gutenberg eBook of A history of
criticism and literary taste in Europe from the
earliest texts to the present day. Volume 2 (of 3),
From the Renaissance to the decline of
eighteenth century orthodoxy
 This ebook is for the use of anyone anywhere in the United
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Title: A history of criticism and literary taste in Europe from the

earliest texts to the present day. Volume 2 (of 3), From
the Renaissance to the decline of eighteenth century
orthodoxy

Author: George Saintsbury

Release date: March 9, 2024 [eBook #73128]

Language: English

Original publication: Edinburgh: William Blackwood and Sons,

1902

Credits: Jonathan Ingram, KD Weeks, and the Online

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*** START OF THE PROJECT GUTENBERG EBOOK A HISTORY

OF CRITICISM AND LITERARY TASTE IN EUROPE FROM THE
EARLIEST TEXTS TO THE PRESENT DAY. VOLUME 2 (OF 3),
FROM THE RENAISSANCE TO THE DECLINE OF EIGHTEENTH
CENTURY ORTHODOXY ***
 Transcriber’s Note:
Footnotes have been collected at the end of each
chapter, and are linked for ease of reference. Internal
references in the text and index are also linked.
The marginal notes follow the topics enumerated in the
table of contents, and appeared several lines after the
paragraph opening. Here, they usually appear mid-
topic paragraph. On occasion, where the opening
phrase sentence is inordinately lengthy or the
paragraph short, the note will appear adjacent to the
opening line.
There are a number of issues in the Index regarding
misnumbered or missing references. These explanatory
notes are linked from the name of the entry.
Minor errors, attributable to the printer, have been
corrected. Please see the transcriber’s note at the end of
this text for details regarding the handling of any textual
issues encountered during its preparation.
Any corrections are indicated as hyperlinks, which will
navigate the reader to the corresponding entry in the
corrections table in the note at the end of the text.
 A HISTORY OF CRITICISM

AND LITERARY TASTE

Ignorantium temeraria plerumque sunt judicia.
—Polycarp Leyser.
 A History of Criticism
AND

LITERARY TASTE IN EUROPE

FROM THE EARLIEST TEXTS TO THE PRESENT DAY

BY

GEORGE SAINTSBURY
M.A. Oxon.; Hon. LL.D. Aberd.

PROFESSOR OF RHETORIC AND ENGLISH LITERATURE IN THE

UNIVERSITY OF EDINBURGH

IN THREE VOLUMES

VOL. II.

FROM THE RENAISSANCE TO THE DECLINE OF

EIGHTEENTH CENTURY ORTHODOXY

SECOND EDITION

WILLIAM BLACKWOOD AND SONS

EDINBURGH AND LONDON
MCMV
 PREFACE.

In presenting the second volume of this attempt, I feel no

compunction, and offer no apology, for what may seem to some the
surprisingly large space given to English critics. That the book itself
is intended primarily for English readers would be but a poor-spirited
plea; and the greatness of English literature as a whole, though a
worthier, is still an unnecessary argument. For the fact is, that the
positive value and importance of English criticism itself are far
greater than has been usually allowed. Owing very mainly to the not
unintelligible or inexcusable, but unfortunate, initiative of Mr Matthew
Arnold, it has become a fashion to speak of this branch of our
national literature, if not even of the function of the national genius
which it expresses, with bated breath, and with humble
acknowledgment of the superiority of German, and still more of
French, critics. This superiority, I say without the slightest fear, is a
fond thing vainly invented. English criticism was rather late, and for a
long time rather intermittent; nor did it fail, after the manner of the
nation, to derive fresh impulses and new departures in the sixteenth
century from Italian, in the seventeenth and again in the nineteenth
century from French, and at the end of the eighteenth from German.
But it is not true that in so much as one of these cases it was
contented slavishly to imitate; and it is not true that, with the doubtful
exception of Sainte-Beuve, foreign countries have had any critics
greater than our own, while they have, even put together, hardly so
many great ones. In everything but mere superficial consistency
Dryden is a head and shoulders above Boileau as a critic; Coleridge
a head, shoulders, and body above the Schlegels, whom he
followed. Long before Sainte-Beuve, Hazlitt had shown a genius for
real criticism, as distinguished from barren formula-making, which no
critic has surpassed. And Mr Arnold himself, with less range, equity,
and sureness than Sainte-Beuve, has a finer literary taste and touch.
As for that general superiority of French criticism of which we have
heard so much, the unerring voice of actual history will tell us that it
never existed at all, except, perhaps, for a generation before 1660,
and a generation before 1860, the latter being the period which
called forth, but misled, Mr Arnold’s admiration. With this last we do
not here deal; nor with the Romantic revolt, in dealing with which it
will be pertinent to appraise the relative excellence of Lessing and
Goethe as compared with Coleridge and Hazlitt. But we have within
our present range an almost better field of comparison, in that “neo-
classic” period from Boileau to La Harpe, and from Dryden to
Johnson, in which, on the whole, and taking recognised orthodoxy
only, the critics of France and of England worshipped the same idols,
subscribed the same confessions of faith, and to no small extent
even applied their principles to the same texts and subjects. I am,
after careful examination, certain myself, and I hope that the results
of that examination may make it clear to others, that they did not
“order these things better in France,” that they did not order them
nearly so well.
The subject of this volume has more unity than that of the last; and
I have thought it permissible to avail myself of this fact in the
arrangement of the Interchapters. The whole of so-called Classical
or Neo-classic Criticism is so intimately connected that almost any of
its characteristic documents from Vida to La Harpe might be made
the text of a sermon on the entire phenomenon in its complete
development. And in the same way, though with an opposite effect,
all general comment might, without any grave historical or logical
impropriety, have been postponed to the end of the volume. But this
would, in the first place, have broken the uniformity of the book; in
the second, it would have necessitated a final Interchapter (or “inter-
conclusion”) of portentous and disproportionate length; and in the
third, it would have too long withheld from the reader those resting-
places and intermediate views, as from various stations on Pisgah,
which seem to me to be the great advantages and conveniences of
the arrangement. I have therefore, while keeping the historical
character and distribution of the summaries of the three centuries
which happen pretty accurately to coincide with the three stages of
the whole phase, made the logical gist of the first to concern chiefly
the rise of the classical-critical attitude; of the second that constituted
creed or code which was explicitly assented to, or implicitly
accepted, by the entire period except in the case of rebels; while in
the third I have concentrated criticism of this criticism as a whole.
The three Interchapters are thus in manner consecutive and
interdependent; but they will, I hope, serve not less to connect and
illuminate the contents of the several books and of the whole volume
than to conduct the story and the argument of the entire work duly
from the beginning to the end of the appointed stage. They are
perhaps specially important here because of the mass and number
of minor figures with whom I have had to deal. I know that some
excellent judges dislike this numerus and would have attention
concentrated on the chiefs. But that is not my conception of literary
history.
After full consideration of the matter, I have thought it better not to
attempt any comment on criticisms of the first volume of this History
of Criticism. I am much indebted to many of my critics, and perhaps I
may be permitted to say that I was not a little surprised, and, to
speak as a fool, very much pleased, by the generally favourable
reception given to, rather than deserved by, an undoubtedly
audacious undertaking. In cases where those critics obliged me with
a substantive correction (as, for instance, in that relating to Trissino’s
version of the De Vulgari Eloquio, v. infra, p. 40), I have taken
opportunity, wherever it was possible, to acknowledge the obligation,
and I subjoin some corrigenda and addenda in a flyleaf. But beyond
this I do not think it desirable to go. In the case of merely snarling or
carping censure, the conduct of Johnson as regards Kenrick gives
the absolute precedent, even for those who have to acknowledge
how far nearer their censors have come to Kenrick than they
themselves can ever hope to come to Johnson. To those who
pronounce a task impossible the best answer is to go and do it; to
those who object to style and manner one may once more plead
those disabilities of la plus belle fille de France which attach also to
those who are neither French, nor girls, nor beautiful; for those who
hate jokes and literary allusions one can only pray, “God help them!”
And in the case of bona fide misunderstanding the wisest thing for
an author to do is to make his meaning plainer, if he can, in the rest
of his book.
It would probably be still more idle to attempt to anticipate
strictures on the present volume. That its subject might
advantageously have been dealt with in twice or thrice the space is
obvious, and perhaps I may say without impropriety that the writer
could have so treated it with no additional labour except the mere
writing—for the preparation necessitated would have sufficed for
half-a-dozen volumes. But to keep proportion, and observe the plan,
is one of those critical warnings to which Classic and Romantic alike
had much better attend. In the division which I have adopted of
eighteenth-century writers into those who, as adherents of Neo-
Classicism, are to be treated here, and those who, as forerunners or
actual exponents of Modern Criticism, are to be reserved for our
next, there must necessarily be much which invites cavil, and not a
little which excuses objection. I shall only say that the distribution
has not been made hastily; and that it may be possible to make its
principle clearer when the reserved writers have been treated. The
advantage of keeping the subject of the volume as homogeneous as
possible seemed paramount.
In writing Vol. I. it was possible, with rare exceptions, to rely upon
texts in my own possession. This has, of course, here been
impossible: though I possess a fair collection of the Italians of the
Renaissance, while I have long had many of the French and English
writers of the whole time. For the supply of deficiencies I have not
only to make the usual acknowledgment to the authorities of the
British Museum—than which surely no institution ever better
deserved the patronage of its name-giving goddesses—but also to
thank those of the libraries belonging to the Faculty of Advocates
and the Society of Writers to the Signet in Edinburgh, which bodies
admit others besides their own members with remarkable liberality.
In the library of the University of Edinburgh I suppose I may consider
myself at home; but I owe cordial thanks to Bodley’s Librarian, to the
University Librarian at Cambridge, and to the librarian of the John
Rylands collection at Manchester, for information about books which
I have been unable to find elsewhere. There are one or two
mentioned in the notes which I have not been able to get hold of yet;
and I shall be extremely obliged to any reader of this history who
may happen to know their whereabouts, and will take the trouble to
tell me of it.
I am only the Satan of this journey across Chaos, and I daresay I
have been driven out of the best course by the impact of more than
one nitrous cloud. In other words, I not merely daresay, but am pretty
sure, that I have made some blunders, especially in summary of
readings not always controllable by reference to the actual books
when the matter came before me again in print. And I daresay,
further, that these will be obvious enough to specialists. I have found
some such blunders even in the first volume, where the literature of
the subject was far less extensive and, even in proportion to its
extent, far more accessible; and I have thought it best to include
corrections of some of these in the present volume, in order that
those who already possess the first may not be in an inferior position
to those who acquire the new edition of it which is, or will shortly be,
ready. When the work reaches its close (if it ever does so) will be the
proper time to digest and incorporate these alterations as Fortune
may allow. The kindness of Professor Elton, King Alfred Professor of
English in University College, Liverpool, of Professor Ker iterum, and
of my colleague Mr Gregory Smith, has beyond all doubt enabled me
to forestall some part of these corrections in regard to the present
volume. These friends were obliging enough to undertake between
them the reading of the whole; others have assisted me on particular
points, in regard to most of which I have, I think, made due
acknowledgment in the notes. As before, I have taken some trouble
with the Index, and I hope it may be found useful.
GEORGE SAINTSBURY.
Edinburgh, September 1902.
 ADDENDA AND CORRIGENDA TO VOLUME II.

P. 23 sq. A reference of Hallam’s (Literature of Europe, iii. 5, 76,

77) to the Miscellanies of Politian has led some critics, who
apparently do not know the book itself, and have not even read
Hallam carefully, to object to its omission here. Their authority might
have saved them; for he very correctly describes these Miscellanies
as “sometimes grammatical, but more frequently relating to obscure
customs and mythological allusions.” In other words, the book—
which I have read—is hardly, in my sense, critical at all.
P. 80, note. When I wrote on Castelvetro I was not aware that the
Commentary on Dante (at least that on Inf., Cantos i.-xxix.) had been
recovered and published by Signor Giovanni Franciosi (Modena,
1886) in a stately royal 4to (which I have now read, and possess),
with the owl and the pitcher, but without the Kekrika, and without the
proper resolution in the owl’s countenance. This may be
metaphysically connected with the fact that the editor is rather
unhappy about his author, and tells us that he was long in two minds
about sending him out at last to the world. He admires Castelvetro’s
boldness, scholarship, intellect; but thinks him sadly destitute of
reverence for Dante, and deplores his “lack of lively and cheerful
sense of the Beautiful.” If it were not that my gratitude to the man
who gives me a text seals my mouth as to everything else, I should
be a little inclined to cry “Fudge!” at this. Nobody would expect from
any Renaissance scholar, and least of all from Castelvetro, “unction,”
mysticism, rapture at the things that give us rapture in Dante. All the
more honour to him that, as in the case of Petrarch, he thought it
worth while to bestow on that vernacular, which too many
Renaissance scholars despised, the same intense desire to
understand, the same pains, the same “taking seriously,” which he
showed towards the ancients. This is the true reverence: the rest is
but “leather and prunella.”
 P. 107. Some time after vol. ii. was published I came across (in the
catalogues of Mr Voynich, who might really inscribe on these
documents for motto

“Das Unzulängliche
Hier wird’s Ereignis”)

quite a nest of Zinanos, mostly written about that year 1590, which
seems to have been this curious writer’s most active time; and I
bought two of them as specially appurtenant to our subject. One is a
Discorso della Tragedia, appended (though separately paged and
dedicated) to the author’s tragedy of Almerigo; the other Le Due
Giornate della Ninfa overo del Diletto e delle Muse, all printed by
Bartholi, at Reggio, and the two prose books or booklets dated 1590.
The Discorso is chiefly occupied with an attack on the position that
Tragedy (especially according to Aristotle) ought to be busied with
true subjects only. The Giornate (which contain another reference to
Patrizzi) deal—more or less fancifully, but in a manner following
Boethius, which is interesting at so late a date—with philosophy and
things in general, rather than with literature.
P. 322, bk. IV. chap. i. I ought, perhaps, to have noticed in this
context a book rather widely spread—Sorel’s De La Connaissance
des Bons Livres, Paris, 1671. It contains some not uninteresting
things on literature in general, on novels, poetry, comedy, &c., on the
laws of good speaking and writing, on the “new language of French.”
But it is, on the whole, as anybody acquainted with any part of the
voluminous work of the author of Francion would expect, mainly not
disagreeable nor ignorant chat—newspaper work before the
newspaper.
P. 350. The opposition of the two “doctors” is perhaps too sharply
put.
P. 436. I should like to add as a special “place” for Dennis’s
criticism, his comparatively early Remarks on Prince Arthur and
Virgil (title abbreviated), London, 1696. It is, as it stands, of some
elaboration; but its author tells us that he “meant” to do things which
would have made it an almost complete Poetic from his point of view.
It is pervaded with that refrain of “this ought to be” and “that must
have been” to which I have referred in the text; and bristles with
purely arbitrary preceptist statements, such as that Criticism cannot
be ill-natured because Good Nature in man cannot be contrary to
Justice and Reason; that a man must not like what he ought not to
like—a doctrine underlying, of course, the whole Neo-classic
teaching, and not that only; almost literally cropping up in
Wordsworth; and the very formulation, in categorical-imperative, of
La Harpe’s “monstrous beauty.” The book (in which poet and critic
are very comfortably and equally yoked together) is full of agreeable
things; and may possibly have suggested one of Swift’s most
exquisite pieces of irony in its contention that Mr Blackmore’s
Celestial Machines are directly contrary to the Doctrine of the Church
of England.
P. 546. Denina. This author is a good instance of the things which
the reader sometimes rather reproachfully demands, when the writer
would only too fain have supplied them. I could write more than a
page with satisfaction on Denina’s Discorso sopra le Vicende della
Litteratura, which, rather surprisingly, underwent its second edition in
Glasgow at the Foulis press (1763), and which not only deals at
large with the subject in an interesting manner, but accepts the
religio loci by dealing specially with Scottish literature. But, once
more, this is for a fourth volume—or even a fifth—things belonging to
the Thinkable-Unthinkable.
P. 554, l. 3. For the Paragone see vol. iii. under Conti, Antonio.
 CONTENTS.

BOOK IV.

RENAISSANCE CRITICISM.

CHAPTER I.

INTRODUCTORY—ERASMUS.
PAGE PAGE
The Critical starting-point 3 Not necessarily anti- 8
of the Renaissance. mediæval
Influences at work: General 4 But classical 9
Particular 5 And anti-Puritan 9
Weakness of Vernaculars 6 Erasmus 10
Recovery of Ancient 6 The Ciceronianus 11
Criticism The Colloquies 13
Necessity of defence 7 The Letters 15
against Puritanism Distribution of the Book 17
The line of criticism 7
resultant

CHAPTER II.

EARLY ITALIAN CRITICS.

The beginnings 19 Theorists: Daniello 42
Savonarola 20 Fracastoro 44
Pico, &c. 22 Formalists: Mutio. Tolomei 46
Politian 23 and classical metres
The Manto 24 Others: Tomitano, Lionardi, 47
The Ambra and Rusticus 25 B. Tasso, Capriano
The Nutricia 25 Il Lasca 48
Their merits 26 Bembo 49
And danger 26 Caro 49
Petrus Crinitus: his De 27 Varchi 49
Poetis Latinis Minturno 51
Augustinus Olmucensis: his 27 The De Poeta 52
Defence of Poetry The Arte Poetica 55
Paradoxical attacks on it by 28 Their value 57
Cornelius Agrippa, Landi, Giraldi Cinthio’s Discorsi 58
Berni On Romance 58
Vida 29 On Drama 59
Importance of the Poetics 30 Some points in both 59
Analysis of the piece 30 On Satire 61
Essential poverty of its 34 Pigna 62
theory
Lilius Giraldus: his De Poetis 63
Historical and symptomatic 34 Nostrorum Temporum
significance
Its width of range 64
The alleged appeal to 35
reason and Nature But narrowness of view 64
The main stream started 37 Horror at preference of 64
vernacular to Latin
Trissino 38
Yet a real critic in both kinds 65
Division of his Poetic 39
Short précis of the dialogues 66
His critical value 40
Their great historic value 68
Editors, &c., of the Poetics 41
Pazzi 41
Robortello, Segni, Maggi, 42
Vettori

CHAPTER III.

SCALIGER, CASTELVETRO, AND THE LATER ITALIAN CRITICS

OF THE SIXTEENTH CENTURY.
Julius Cæsar Scaliger 69 His exceptional interest and 88
The Poetic 70 importance
Book I.: Historicus 71 Tasso and the controversies 89
Book II.: Hyle 72 over the Gerusalemme
Books III. and IV.: Idea and 73 Tasso’s Critical writings 92
Parasceve And position 93
Books V. and VI.: Criticus 73 Patrizzi: his Poetica 94
and Hypercriticus The Deca Istoriale 95
Book VII.: Epinomis 75 The Deca Disputata 96
General ideas on Unity and 76 The Trimerone on Tasso 100
the like Remarkable position of 101
His Virgil-worship 77 Patrizzi
His solid merits 78 Sed contra mundum 101
Castelvetro 80 The latest group of 102
The Opere Varie 81 sixteenth-century Critics
The Poetica 82 Partenio 102
On Dramatic conditions 83 Viperano 103
On the Three Unities 83 Piccolomini 103
On the freedom of Epic 84 Gilio 104
His eccentric acuteness 84 Mazzoni 105
Examples: Homer’s nodding, 86 Denores 106
prose in tragedy, Virgil, Zinano 107
minor poetry Mazzone da Miglionico, &c. 107
The medium and end of 86 Summo 108
Poetry
Uncompromising 87
championship of Delight

CHAPTER IV.

THE CRITICISM OF THE PLÉIADE.

The Rhetorics of the 109 Vauquelin de la Fresnaye 128
Transition Analysis of his Art Poétique 129
Sibilet 111 The First Book 130
Du Bellay 112 The Second 130
The Défense et Illustration 113 The Third 132
de la Langue Française His exposition of Pléiade 133
Its positive gospel and the 114 criticism
value thereof Outliers: Tory, Fauchet, &c. 134
The Quintil Horatien 116 Pasquier: The Recherches 135
Pelletier’s Art Poétique 117 His knowledge of older 136
Ronsard: his general 119 French literature
importance And criticism of 137
The Abrégé de l’Art 120 contemporary French
Poétique poetry
The Prefaces to the 122 Montaigne: his references to 138
Franciade literature
His critical gospel 125 The Essay On Books 140
Some minors 127
Pierre de Laudun 127

CHAPTER V.

ELIZABETHAN CRITICISM.
Backwardness of English 144 Its minor shortcomings 174
Criticism not implying And major heresies 175
inferiority The excuses of both 175
Its cause 145 And their ample 176
The influence of Rhetoric 146 compensation
and other matters King James’s Reulis and 176
Hawes 146 Cautelis
The first Tudor critics 147 Webbe’s Discourse 178
Wilson: his Art of Rhetoric 149 Slight in knowledge 179
His attack on “Inkhorn 149 But enthusiastic 180
terms” If uncritical 180
His dealing with Figures 150 In appreciation 182
Cheke: his resolute 151 Puttenham’s (?) Art of 182
Anglicism and anti- English Poesie
preciosity
Its erudition 183
Hi iti i f S ll t 152
His criticism of Sallust 152
Systematic arrangement 184
Ascham 153
And exuberant indulgence in 185
His patriotism 154 Figures
His horror of Romance 154 Minors: Harington, Meres, 186
And of the Morte d’Arthur 155 Webster, Bolton, &c.
His general critical attitude 156 Campion and his 187
to Prose Observations
And to Poetry 156 Daniel and his Defence of 189
The craze for Classical 157 Rhyme
Metres Bacon 191
Special wants of English 157 The Essays 192
Prosody The Advancement of 192
Its kinds— Learning
(1) Chaucerian 158 Its denunciation of mere 193
(2) Alliterative 158 word-study
(3) Italianated 159 Its view of Poetry 194
Deficiencies of all three 159 Some obiter dicta 194
The temptations of Criticism 160 The whole of very slight 195
in this respect importance
Its adventurers: Ascham 160 Stirling’s Anacrisis 196
himself Ben Jonson: his equipment 197
Watson and Drant 161 His Prefaces, &c. 198
Gascoigne 162 The Drummond 199
His Notes of Instruction 163 Conversations
Their capital value 164 The Discoveries 200
Spenser and Harvey 165 Form of the book 203
The Puritan attack on Poetry 169 Its date 204
Gosson 169 Mosaic of old and new 204
The School of Abuse 170 The fling at Montaigne 205
Lodge’s Reply 170 At Tamerlane 206
Sidney’s Apology for Poetry 171 The Shakespeare Passage 206
Abstract of it 172 And that on Bacon 206
General character of the 208
book
INTERCHAPTER IV. 211

BOOK V.