Angl-Am - User contributions [en]

William Shakespeare, Antony and Cleopatra (1607)

2008-05-13T12:27:00Z

DBuhr: /* Act IV: Scene 4.5 */

*Shakespeare's Antony and Cleopatra, Folio edition from 1623 at [http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=99846615&FILE=../session/1207590341_11710&SEARCHSCREEN=CITATIONS&VID=11596&PAGENO=427&ZOOM=&VIEWPORT=&SEARCHCONFIG=var_spell.cfg&DISPLAY=AUTHOR&HIGHLIGHT_KEYWORD= EEBO]

==Act I==

===Act I: Scene 1.1===

Philo (follower of Antony) enters and introduces the plot by telling what a great warrior Antony was, and how addicted he is now to Cleopatra. Antony disappoints Demetrius and Philo with his change.

One gets the impression of the love affair between Antony and Cleopatra. She is able to dominate him because he adores her so much. They argue a lot, because The Queen of Egypt does not feel loved enough (he is married with Fulvia), and disrespects Antony for taking orders from Caesar and Rome.

===Act I: Scene 1.2===

==Act II==

==Act III==
===Act III: Scene 3.1===
This scene is set in Syria, after a victory against the Parthians, and shows a dialogue between Antony's lieutenant Ventidius and another of his followers, Silius. Silius tries to urge Ventidius into further heroic deeds, but Ventidius denies fearing that, although he "could do more to do Antonius good, but 'twould offend him, and in his offence should [Ventidius's] performance perish" (l. 25-27).

===Act III: Scene 3.2===
The beginning of the scene shows a dialogue between Enobarbus and Agrippa, discussing the love of the triumvirs for each other in a seemingly sarcastic manner. Later it shows the parting of Antony and Octavia from Caesar: Caesar 'advises' Antony to treat Octavia well, even makes it sound like a warning. However, they part on friendly conditions. Both Caesar and Octavia are sad to part, which shows their love for each other.

===Act III: Scene 3.3===
Cleopatra interrogates her messanger who comes from Rome about Octavia: He tells her about Octavia's unatractiveness, and Cleopatra is happy about that report.

===Act III: Scene 3.4===
A dialogue between Octavia and Antony. Caesar has started a war against Pompey and talks badly of Antony. Octavia is torn whether to support her husband or her brother. Antony suggests that she should withdraw her sympathies from the one who first shows the aggressions.

===Act III: Scene 3.5===
A dialogue between Enobarbus and Eros. Eros reports about Caesar's battle against Pompey: Pompey has been killed and Lepidus, who had joined Caesar in the war, has been attacked and imprisoned by Caesar. Antony's ships are being prepared to sail against Caesar.

===Act III: Scene 3.6===
In a dialogue between Caesar, Agrippa and Maecenas Caesar tells about Cleopatra's and Antony's and Cleopatra's sons' coronation to be monarchs of several kingdoms. At the same time, Antony accuses Caesar for not having offered him his part of Pompey's Sicily and of the unjustified disposal of Lepidus. Later Octavia comes back to Rome, unexpectedly. Caesar is shocked by her plain arrival. In Athens Octavia had heard about Caesar's preparations for a war against Antony, so she came back to Rome in order to stop Caesar's aggressions. But Caesar tells her the truth about Antony, that he no longer is in Athens but in Alexandria and that it is him who is preparing a war. That is how he convinces Octavia to stay in Rome.

===Act III: Scene 3.7===
In a dialogue between Enobarbus and Cleopatra Enobarbus points out that he is against Cleopatra's participation in the war, as she would only distract Antony. Cleopatra, however, is determined to participate. Later they discuss their fighting strategy with Antony: While Cleopatra and Antony want to fight by sea, Enobarbus points out that Caesar's fleet is much better equipped and his soldiers are better experienced in sea-battles, and that his land-army is a lot stronger than Caesar's. But Antony is determined to fight by sea, the determination seemingly influenced by Cleopatra.

===Act III: Scene 3.8===
Caesar advises his army to fight by sea, and not to divide the forces.

===Act III: Scene 3.9===
Antony's army is preparing for the battle.

===Act III: Scene 3.10===
Antony's followers watch the fight: At first, Cleopatra flees with her ships, whereupon Antony follows her. The allied kings surrender to Caesar.

==Act IV==
===Act IV: Scene 4.1===
Caesar plans to capture Antony using some men in Antony's service.

===Act IV: Scene 4.2===
Antony resolves to fight the next day and invites his company to a special meal. Cleopatra and Enobarbus talk about Antony's state of mind. Nobody talks to or with Antony in this scene.

===Act IV: Scene 4.3===
Soldiers hear strange music outside and think it is a bad omen for the battle to come.

===Act IV: Scene 4.4===
Antony prepares for battle and dons his amour.

===Act IV: Scene 4.5===
Enobarbus left Antony to follow Caesar. Antony sends his treasures and a kind letter after him.

===Act IV: Scene 4.6===
Caesar orders Antony to be taken alive and that the captured soldiers be placed in the middle of the field. Enobarbus tells of Alexas capture and execution by Caesar. He decides not to fight Antony because he regrets that he left him.

===Act IV: Scene 4.7===
Agrippa retreats and Antony with his company talk of their victory.

===Act IV: Scene 4.8===
Antony speaks of his victory and orders his troops to rest for the night. The whole city of Alexandria should celebrate tonight. Cleopatra bestows golden armour to Scarus for his deeds on the battlefield.

===Act IV: Scene 4.9===
Caesar's guards hear Enobarbus praying to the moon for forgiveness from Antony and a quick death. Enobarbus dies.

===Act IV: Scene 4.10===
Antony and Scarus talk about Caesar's plan to move the battle to sea.

===Act IV: Scene 4.11===
Caesar's plan to fight at sea was only a decoy and he orders his troops onto the field.

==Act V==

[[Category:17th century|1607]]
[[Category:1600s|1607]]
[[Category:By author|Shakespeare, William]]

William Shakespeare, Antony and Cleopatra (1607)

2008-05-13T12:25:39Z

DBuhr: /* Act IV: Scene 4.9 */

*Shakespeare's Antony and Cleopatra, Folio edition from 1623 at [http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=99846615&FILE=../session/1207590341_11710&SEARCHSCREEN=CITATIONS&VID=11596&PAGENO=427&ZOOM=&VIEWPORT=&SEARCHCONFIG=var_spell.cfg&DISPLAY=AUTHOR&HIGHLIGHT_KEYWORD= EEBO]

==Act I==

===Act I: Scene 1.1===

Philo (follower of Antony) enters and introduces the plot by telling what a great warrior Antony was, and how addicted he is now to Cleopatra. Antony disappoints Demetrius and Philo with his change.

One gets the impression of the love affair between Antony and Cleopatra. She is able to dominate him because he adores her so much. They argue a lot, because The Queen of Egypt does not feel loved enough (he is married with Fulvia), and disrespects Antony for taking orders from Caesar and Rome.

===Act I: Scene 1.2===

==Act II==

==Act III==
===Act III: Scene 3.1===
This scene is set in Syria, after a victory against the Parthians, and shows a dialogue between Antony's lieutenant Ventidius and another of his followers, Silius. Silius tries to urge Ventidius into further heroic deeds, but Ventidius denies fearing that, although he "could do more to do Antonius good, but 'twould offend him, and in his offence should [Ventidius's] performance perish" (l. 25-27).

===Act III: Scene 3.2===
The beginning of the scene shows a dialogue between Enobarbus and Agrippa, discussing the love of the triumvirs for each other in a seemingly sarcastic manner. Later it shows the parting of Antony and Octavia from Caesar: Caesar 'advises' Antony to treat Octavia well, even makes it sound like a warning. However, they part on friendly conditions. Both Caesar and Octavia are sad to part, which shows their love for each other.

===Act III: Scene 3.3===
Cleopatra interrogates her messanger who comes from Rome about Octavia: He tells her about Octavia's unatractiveness, and Cleopatra is happy about that report.

===Act III: Scene 3.4===
A dialogue between Octavia and Antony. Caesar has started a war against Pompey and talks badly of Antony. Octavia is torn whether to support her husband or her brother. Antony suggests that she should withdraw her sympathies from the one who first shows the aggressions.

===Act III: Scene 3.5===
A dialogue between Enobarbus and Eros. Eros reports about Caesar's battle against Pompey: Pompey has been killed and Lepidus, who had joined Caesar in the war, has been attacked and imprisoned by Caesar. Antony's ships are being prepared to sail against Caesar.

===Act III: Scene 3.6===
In a dialogue between Caesar, Agrippa and Maecenas Caesar tells about Cleopatra's and Antony's and Cleopatra's sons' coronation to be monarchs of several kingdoms. At the same time, Antony accuses Caesar for not having offered him his part of Pompey's Sicily and of the unjustified disposal of Lepidus. Later Octavia comes back to Rome, unexpectedly. Caesar is shocked by her plain arrival. In Athens Octavia had heard about Caesar's preparations for a war against Antony, so she came back to Rome in order to stop Caesar's aggressions. But Caesar tells her the truth about Antony, that he no longer is in Athens but in Alexandria and that it is him who is preparing a war. That is how he convinces Octavia to stay in Rome.

===Act III: Scene 3.7===
In a dialogue between Enobarbus and Cleopatra Enobarbus points out that he is against Cleopatra's participation in the war, as she would only distract Antony. Cleopatra, however, is determined to participate. Later they discuss their fighting strategy with Antony: While Cleopatra and Antony want to fight by sea, Enobarbus points out that Caesar's fleet is much better equipped and his soldiers are better experienced in sea-battles, and that his land-army is a lot stronger than Caesar's. But Antony is determined to fight by sea, the determination seemingly influenced by Cleopatra.

===Act III: Scene 3.8===
Caesar advises his army to fight by sea, and not to divide the forces.

===Act III: Scene 3.9===
Antony's army is preparing for the battle.

===Act III: Scene 3.10===
Antony's followers watch the fight: At first, Cleopatra flees with her ships, whereupon Antony follows her. The allied kings surrender to Caesar.

==Act IV==
===Act IV: Scene 4.1===
Caesar plans to capture Antony using some men in Antony's service.

===Act IV: Scene 4.2===
Antony resolves to fight the next day and invites his company to a special meal. Cleopatra and Enobarbus talk about Antony's state of mind. Nobody talks to or with Antony in this scene.

===Act IV: Scene 4.3===
Soldiers hear strange music outside and think it is a bad omen for the battle to come.

===Act IV: Scene 4.4===
Antony prepares for battle and dons his amour.

===Act IV: Scene 4.5===
Enobarbus left to follow Caesar. Antony sends his treasures and a kind letter after him.

===Act IV: Scene 4.6===
Caesar orders Antony to be taken alive and that the captured soldiers be placed in the middle of the field. Enobarbus tells of Alexas capture and execution by Caesar. He decides not to fight Antony because he regrets that he left him.

===Act IV: Scene 4.7===
Agrippa retreats and Antony with his company talk of their victory.

===Act IV: Scene 4.8===
Antony speaks of his victory and orders his troops to rest for the night. The whole city of Alexandria should celebrate tonight. Cleopatra bestows golden armour to Scarus for his deeds on the battlefield.

===Act IV: Scene 4.9===
Caesar's guards hear Enobarbus praying to the moon for forgiveness from Antony and a quick death. Enobarbus dies.

===Act IV: Scene 4.10===
Antony and Scarus talk about Caesar's plan to move the battle to sea.

===Act IV: Scene 4.11===
Caesar's plan to fight at sea was only a decoy and he orders his troops onto the field.

==Act V==

[[Category:17th century|1607]]
[[Category:1600s|1607]]
[[Category:By author|Shakespeare, William]]

William Shakespeare, Antony and Cleopatra (1607)

2008-05-13T12:19:27Z

DBuhr: /* Act IV */

*Shakespeare's Antony and Cleopatra, Folio edition from 1623 at [http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=99846615&FILE=../session/1207590341_11710&SEARCHSCREEN=CITATIONS&VID=11596&PAGENO=427&ZOOM=&VIEWPORT=&SEARCHCONFIG=var_spell.cfg&DISPLAY=AUTHOR&HIGHLIGHT_KEYWORD= EEBO]

==Act I==

===Act I: Scene 1.1===

Philo (follower of Antony) enters and introduces the plot by telling what a great warrior Antony was, and how addicted he is now to Cleopatra. Antony disappoints Demetrius and Philo with his change.

One gets the impression of the love affair between Antony and Cleopatra. She is able to dominate him because he adores her so much. They argue a lot, because The Queen of Egypt does not feel loved enough (he is married with Fulvia), and disrespects Antony for taking orders from Caesar and Rome.

===Act I: Scene 1.2===

==Act II==

==Act III==
===Act III: Scene 3.1===
This scene is set in Syria, after a victory against the Parthians, and shows a dialogue between Antony's lieutenant Ventidius and another of his followers, Silius. Silius tries to urge Ventidius into further heroic deeds, but Ventidius denies fearing that, although he "could do more to do Antonius good, but 'twould offend him, and in his offence should [Ventidius's] performance perish" (l. 25-27).

===Act III: Scene 3.2===
The beginning of the scene shows a dialogue between Enobarbus and Agrippa, discussing the love of the triumvirs for each other in a seemingly sarcastic manner. Later it shows the parting of Antony and Octavia from Caesar: Caesar 'advises' Antony to treat Octavia well, even makes it sound like a warning. However, they part on friendly conditions. Both Caesar and Octavia are sad to part, which shows their love for each other.

===Act III: Scene 3.3===
Cleopatra interrogates her messanger who comes from Rome about Octavia: He tells her about Octavia's unatractiveness, and Cleopatra is happy about that report.

===Act III: Scene 3.4===
A dialogue between Octavia and Antony. Caesar has started a war against Pompey and talks badly of Antony. Octavia is torn whether to support her husband or her brother. Antony suggests that she should withdraw her sympathies from the one who first shows the aggressions.

===Act III: Scene 3.5===
A dialogue between Enobarbus and Eros. Eros reports about Caesar's battle against Pompey: Pompey has been killed and Lepidus, who had joined Caesar in the war, has been attacked and imprisoned by Caesar. Antony's ships are being prepared to sail against Caesar.

===Act III: Scene 3.6===
In a dialogue between Caesar, Agrippa and Maecenas Caesar tells about Cleopatra's and Antony's and Cleopatra's sons' coronation to be monarchs of several kingdoms. At the same time, Antony accuses Caesar for not having offered him his part of Pompey's Sicily and of the unjustified disposal of Lepidus. Later Octavia comes back to Rome, unexpectedly. Caesar is shocked by her plain arrival. In Athens Octavia had heard about Caesar's preparations for a war against Antony, so she came back to Rome in order to stop Caesar's aggressions. But Caesar tells her the truth about Antony, that he no longer is in Athens but in Alexandria and that it is him who is preparing a war. That is how he convinces Octavia to stay in Rome.

===Act III: Scene 3.7===
In a dialogue between Enobarbus and Cleopatra Enobarbus points out that he is against Cleopatra's participation in the war, as she would only distract Antony. Cleopatra, however, is determined to participate. Later they discuss their fighting strategy with Antony: While Cleopatra and Antony want to fight by sea, Enobarbus points out that Caesar's fleet is much better equipped and his soldiers are better experienced in sea-battles, and that his land-army is a lot stronger than Caesar's. But Antony is determined to fight by sea, the determination seemingly influenced by Cleopatra.

===Act III: Scene 3.8===
Caesar advises his army to fight by sea, and not to divide the forces.

===Act III: Scene 3.9===
Antony's army is preparing for the battle.

===Act III: Scene 3.10===
Antony's followers watch the fight: At first, Cleopatra flees with her ships, whereupon Antony follows her. The allied kings surrender to Caesar.

==Act IV==
===Act IV: Scene 4.1===
Caesar plans to capture Antony using some men in Antony's service.

===Act IV: Scene 4.2===
Antony resolves to fight the next day and invites his company to a special meal. Cleopatra and Enobarbus talk about Antony's state of mind. Nobody talks to or with Antony in this scene.

===Act IV: Scene 4.3===
Soldiers hear strange music outside and think it is a bad omen for the battle to come.

===Act IV: Scene 4.4===
Antony prepares for battle and dons his amour.

===Act IV: Scene 4.5===
Enobarbus left to follow Caesar. Antony sends his treasures and a kind letter after him.

===Act IV: Scene 4.6===
Caesar orders Antony to be taken alive and that the captured soldiers be placed in the middle of the field. Enobarbus tells of Alexas capture and execution by Caesar. He decides not to fight Antony because he regrets that he left him.

===Act IV: Scene 4.7===
Agrippa retreats and Antony with his company talk of their victory.

===Act IV: Scene 4.8===
Antony speaks of his victory and orders his troops to rest for the night. The whole city of Alexandria should celebrate tonight. Cleopatra bestows golden armour to Scarus for his deeds on the battlefield.

===Act IV: Scene 4.9===
Caesar's guards hear Enobarbus praying for forgiveness and a quick death. Enobarbus dies.

===Act IV: Scene 4.10===
Antony and Scarus talk about Caesar's plan to move the battle to sea.

===Act IV: Scene 4.11===
Caesar's plan to fight at sea was only a decoy and he orders his troops onto the field.

==Act V==

[[Category:17th century|1607]]
[[Category:1600s|1607]]
[[Category:By author|Shakespeare, William]]

Pierre Daniel Huet, Traitté de l’origine des romans (1670)

2007-10-30T18:43:00Z

DBuhr: /* 115 */

==Editions==
*Pierre Daniel Huet, ''Treatise of Romances'', 1670, first English translation (1672). [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1672_huet__treatise_of_romances.pdf Oldenburg Anglistikserver]
*Pierre Daniel Huet, ''History of Romances'', 1670, translated by Stephen Lewis (1715) [http://galenet.galegroup.com/servlet/ECCO?vrsn=1.0&dd=0&locID=bis&b1=KE&srchtp=b&d1=0143100500&SU=All&c=2&ste=10&d4=0.33&stp=DateAscend&dc=tiPG&n=10&docNum=CW110602030&b0=huet&tiPG=1 ECCO] [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1715_huet__history_of_romances.pdf Oldenburg Anglistikserver]
unter diesem [http://www.wiki.uni-oldenburg.de/fk3/angl-am/index.php?title=Pierre_Daniel_Huet%2C_Traitt%C3%A9_de_l%E2%80%99origine_des_romans_%281670%29&action=history link] könnt Ihr einsehen, wie der nachfolgende Text zusammengebaut wurde.

__NOTOC__

==Text of the English edition published in 1715==

==Short Title==

[ornament] THE| HISTORY| OF| ROMANCES [ornament]

==Title page==

THE| HISTORY| OF| ROMANCES.| AN| Enquiry into their ''Original'';| ''Instructions for Composing them'';| AN| Account of the most Eminent| AUTHORS;| With Characters, and Curious Observations| upon the Best Performance of that Kind.| [rule]| Written in ''Latin'' by HUETIUS;| Made ''English'' by| Mr. ''STEPHEN LEWIS.''| [rule] ——juvat integros accedere fontes,| Atque haurire. ''Lucr.''| [rule]| Rrinted for J HOOKE, at the ''Flower-de-luce'',| and T. CALDECOTT, at the ''Sun''; both against St.| ''Dunstan''’s Church in ''Fleetstreet''. 1715.

==i==

THE

PREFACE.

''THERE is not any Speculation, which affords a more agreeable Pleasure to the Mind, than that of beholding from what Obscure and Mean Beginnings, the most Polite and Entertaining Arts have''

==ii==

''risen to be the Admiration and Delight of Mankind. To pursue them up to the most abstruse Fountains, and then to view by what Steps they arise to Perfection; does not only excite an Amazement at their Increase; but an Impatient Desire of Inventing some New Subject, to be improv'd and advanc'd by Posterity.''

''The first Occasion of introducing'' ROMANCE ''into the World, was, without Dispute to mollify the Rigour of Precepts, by the Allurements of Example. Where the Mind can't be subdued into Virtue, by Reason and Philosophy; nothing can''

==iii==
''influence it more, than to present to it the Success and Felicity, which Crowns the Pursuit of what's Great and Honourable. As the'' Poet ''very elegantly alludes to'' Homer;

:Qui quid sit pulchum, quid turpe, quid utile, quid non
:Planius & melius, Chrysippo & Crantore dicit.

''And since in all Ages there were very few real Instances, fit to be proposed for Exact Patters of Imitation; the Ingenious'' Fabulist ''was forced to supply them out of his own Invention.''

==iv==
''Hence it appears, that the Original of'' Romance ''is very Ancient; since this Way of Promoting Virtue has been received in the Earliest Ages; as is evident from the first Records of Mankind. And as it stands very remote from Modern Ages; so, That is found out, must be an High Satisfaction to the Curious in Antiquity.''

''Upon this Account, They are very much indebted to the Labour and Penetration of'' Huetius; ''who has, with great Judgement, traced the Subject he undertook to Illustrate, till he found it in''

==v==
''its Infancy, involved in the Umbrage of'' Fable, ''and perplexed in the Folds of'' Mystery ''and'' Riddle.

''This Task was enjoin'd Him (He informs us)

==vi==

==vii==

==viii==

''Especially since ''Romance'' has of late convey'd it self very far into the Esteem of this Nation, and is become the Principal Diversion of the Retirement of People of all Conditions.''

==ix==

==xi==
has; This, I presume, is not the first Case, where a Good Design has aton'd for some slight Imperfections in the Prosecution of it.

==[xii]==

==1==
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have fince explained, illustrated, and digested them in their particular Works; and beside this have composed several Poems, Prologues and Apologues.<br>
The ''Cyprians'' and ''Cilicians'' have invented certain Fables which bore the Name of the People of those Nations; and the particular Disposition of the ''Cilicians'' to Lying gave rise to one of the Ancientest Proverbs in ''Greece''.<br>
In short, Fables have been in such Vogue all over these Countries, that (according to the Testimony of ''Lucian'',) there were particular Orders of Men among the''Affyrians'' and ''Arabians'', whose fole (whole?) Province was to explain Fables; and who observed such a Regularity

==35==
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Cyrus fubdued them by making Crasus his Captive, with whom he received all Asia Minor into his Subjection. The Persians upon this Success admitted their Manners with their Laws, and mixed their Debauches with those their own Inclinations fupplied them with, and so grew to be the most Voluptuous Nation in the World. They began to refine upon the Pleasures of the Table, by making the Addition of Flowers and Perfumes. They first invented the Ornaments for their houses. The finest Wools, and the richest Tapestries in the World were their Productions. They invented the lascivious Dance, call'd the Ionic; and became so remarkable for Effeminacy,

==37==
==38==
But there were the first who corrupted them, and filled them with Lascivious and Amorous Narrations. Their Works are devoured by Time: We hear of no more than ''Aristides'' of them, who was the most Famous of the Romancers, and wrote several Books of Verse, called the ''Milesian'' Fables. I find that one ''Dionyius'', a ''Milesian'', who lived under the Reign of ''Darius'' the First, composed some Fabulous Histories; but since I can't certain wether this was any more than a compiling of Ancient Fables, and can't see sufficient Reason to believe, that they could properly be called ''Milesian'' Fables; I can't number

==39==
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'''Romances.'''

with much more Policy and Judgment, relates some part of his Works only to expose and ridicule them, in the Book which he called ''Lucius's Ass''; to intimate that the Fiction was originally his. 'Tis in Effect an Abridgment of the two first Books of ''Lucius's Metamorphosis'' ; and this Fragment lets us see, That ''Photius'' had great Reason to arraign and decry his obscene and smutty Expressions. This ingenious and celebrated Ass, whose History these Authors wrote, was extremely like another of the same Worth and Merit, which ''Photius'' speaks of from ''Damascius'' in this Manner: "This Ass, says he, was the "Best of a Grammarian named"

==45==

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to one Principal Action, follow the Rules of an Heroick Poem ; as ''Athenagoras'' and ''Heliodorus'' have done, tho' not so accurately : But our Old ''French'' have multiplied them without Order, Connexion, or Art. These the ''Italians'' have imitated, borrowing of them their Romances, with their Imperfections. Here we ''Giraldi'' in a worse Error than the former : He endeavours to commend this Vice, and turn it into a Virtue : Whereas, if it be true what himself asserts, that a Romance should resemble a Perfect Body , and consist of many different Parts and Proportions all under one Head ; it follows , that the Principal Action of a Romance should be

==66==
equal Beauty and Eminence, it was as impossible to digest them into one regular body, as it would be to erect a compleat structure with no materials but sand. The applause which the faulty romances of his nation have received, does yet justify him the less: We are not to judge of a performance by the number, but sufficiency of the approbators. Every one assumes to himself the license to judge of, and censure poesie and romance: The sumptuous palaces and common streets are made tribunals, where the meritsof the greatest works receive a supreme decision. There every one shoots his bolt, and boldly prefumes to fet an estimate of

==67==

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is attended by them) espouses Philology (which is the Love od Good Letters) he gives her whatever is Excellent in them, for a Nuptial Present: So that it is a continued Allegory, which properly does not deserve the Name of Romance, but rather that of a Fable. For, as I have already observed, a Fable represents Things which never have, or ever can happen; and a Romance takes notice of Things which may, but never have happen'd. The Artifice of this Allegory is not very subtle; he Style is Barbarism it self; so bold and extravagant in its Figures, that they are unpardonable in the most Desperate Poet. Tis disguised with so great an

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to be the first Romance of Chivalry which was printed in ''Spain'', and the Model, and Best of all the other.
''Palmerin'' of ''England'', which some believe was composed by a King of ''Portugal'', met with an Easy Sentence, to be put in a Box like that of ''Darius'', wherein ''Alexander'' kept the Works of ''Homer''. Don ''Belianis'', the Mirror of Chilvalry, ''Tirante'' the ''White'', and ''Kyrie'' ''Eleison'' of ''Montauban''; (for in those Good Old Times it was believed, that ''Kyrie Eleison'', and ''Paralipomenon'', were the Names of some Saints) where the Subtleties of Madam ''Pleasure-of-my-Life'', and the Love and Intrigues of the Widow ''Reposada'', are highly

==116==
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with Herbs and Roots; so when the Knowledge of Truth, which is the Proper and Natural Aliment of the Mind, begins to fail, we have Recourse to Falshood, which is the Imitation of Truth. As in Plenty we refuse Bread, and our ordinary Viands, for Ragousts; so our Minds, when acquainted with the Truth, forsake the Study and Speculation of it, to be entertained with its Image, which is Fiction. This Imitation, according to Aristotle, is often more agreeable than the Original itself; so that two oppositely different Paths, which are Ignorance and Learning, Rudeness and Politness, do often conduct uss to the same End; which is, an

==123==
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have recourse to what's past, and to come, in Truth and in Fiction, in Imaginary Spaces and Impossibilities, For Objects to exert it sels upon. The Objects of sense fill the Desires of the Soul of Brutes, who have no farther Concern; so that we can't discover in them these restless Emotions, which continually actuate the Mind of Man, and carry it into the Pursuit of a recent Information, to proportion (if possible) the Object to the Faculty; and enjoy a Pleasure, resembling that which we perceive in the Applealing a Violent Hunger, and Extinguishing a Corroding Thirst. This is that which ''Plato'' intends, in the Marriage of Dorus

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Monsieur D'Vrfee was the first who retrieved them from Barbarity, and reduced them to Rules, in his Incomparable Afirea, The most Ingenious and Polite Work which has appeared in this Kind, and which Eclipsed the Glory which Greece, Italy and Spain, had acquired.
However, he has not discouraged those who come after him, to undertake what he has performed. He has not so far engroffed the Public Admiration, but that some are still left for the many Excellent Romances wgich displayed themselves in France since His

==146==
itself against Scrupulous Censures, not only by the Commendations which the Patriarch Photius gives it, but by the great Examples of those who have applied themselves to it, might justify itself by Her's: That that which has been improved by Philosophers, as Apuleis, and Athenagoras; by a Roman Prator, as Sisenna; by a Consul, as Petronius; by a Pretender to the Empire, as Clodius Albinus; by a Priest, as Theodorus Prodromus; by Bishops, as Heliodorus, and Achilles Tatius; by a Pope, as Pius Secundus, who wrote the Loves of Euryalus and Lucretia; by a Saint, as John Damascenus; might have the Honour

==147==

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[[Category:17th century|1670]]
[[Category:1670s|1670]]
[[Category:By author|Huet, Pierre Daniel]]

Pierre Daniel Huet, Traitté de l’origine des romans (1670)

2007-10-30T18:37:50Z

DBuhr: /* 115 */

==Editions==
*Pierre Daniel Huet, ''Treatise of Romances'', 1670, first English translation (1672). [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1672_huet__treatise_of_romances.pdf Oldenburg Anglistikserver]
*Pierre Daniel Huet, ''History of Romances'', 1670, translated by Stephen Lewis (1715) [http://galenet.galegroup.com/servlet/ECCO?vrsn=1.0&dd=0&locID=bis&b1=KE&srchtp=b&d1=0143100500&SU=All&c=2&ste=10&d4=0.33&stp=DateAscend&dc=tiPG&n=10&docNum=CW110602030&b0=huet&tiPG=1 ECCO] [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1715_huet__history_of_romances.pdf Oldenburg Anglistikserver]
unter diesem [http://www.wiki.uni-oldenburg.de/fk3/angl-am/index.php?title=Pierre_Daniel_Huet%2C_Traitt%C3%A9_de_l%E2%80%99origine_des_romans_%281670%29&action=history link] könnt Ihr einsehen, wie der nachfolgende Text zusammengebaut wurde.

__NOTOC__

==Text of the English edition published in 1715==

==Short Title==

[ornament] THE| HISTORY| OF| ROMANCES [ornament]

==Title page==

THE| HISTORY| OF| ROMANCES.| AN| Enquiry into their ''Original'';| ''Instructions for Composing them'';| AN| Account of the most Eminent| AUTHORS;| With Characters, and Curious Observations| upon the Best Performance of that Kind.| [rule]| Written in ''Latin'' by HUETIUS;| Made ''English'' by| Mr. ''STEPHEN LEWIS.''| [rule] ——juvat integros accedere fontes,| Atque haurire. ''Lucr.''| [rule]| Rrinted for J HOOKE, at the ''Flower-de-luce'',| and T. CALDECOTT, at the ''Sun''; both against St.| ''Dunstan''’s Church in ''Fleetstreet''. 1715.

==i==

THE

PREFACE.

''THERE is not any Speculation, which affords a more agreeable Pleasure to the Mind, than that of beholding from what Obscure and Mean Beginnings, the most Polite and Entertaining Arts have''

==ii==

''risen to be the Admiration and Delight of Mankind. To pursue them up to the most abstruse Fountains, and then to view by what Steps they arise to Perfection; does not only excite an Amazement at their Increase; but an Impatient Desire of Inventing some New Subject, to be improv'd and advanc'd by Posterity.''

''The first Occasion of introducing'' ROMANCE ''into the World, was, without Dispute to mollify the Rigour of Precepts, by the Allurements of Example. Where the Mind can't be subdued into Virtue, by Reason and Philosophy; nothing can''

==iii==
''influence it more, than to present to it the Success and Felicity, which Crowns the Pursuit of what's Great and Honourable. As the'' Poet ''very elegantly alludes to'' Homer;

:Qui quid sit pulchum, quid turpe, quid utile, quid non
:Planius & melius, Chrysippo & Crantore dicit.

''And since in all Ages there were very few real Instances, fit to be proposed for Exact Patters of Imitation; the Ingenious'' Fabulist ''was forced to supply them out of his own Invention.''

==iv==
''Hence it appears, that the Original of'' Romance ''is very Ancient; since this Way of Promoting Virtue has been received in the Earliest Ages; as is evident from the first Records of Mankind. And as it stands very remote from Modern Ages; so, That is found out, must be an High Satisfaction to the Curious in Antiquity.''

''Upon this Account, They are very much indebted to the Labour and Penetration of'' Huetius; ''who has, with great Judgement, traced the Subject he undertook to Illustrate, till he found it in''

==v==
''its Infancy, involved in the Umbrage of'' Fable, ''and perplexed in the Folds of'' Mystery ''and'' Riddle.

''This Task was enjoin'd Him (He informs us)

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''Especially since ''Romance'' has of late convey'd it self very far into the Esteem of this Nation, and is become the Principal Diversion of the Retirement of People of all Conditions.''

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has; This, I presume, is not the first Case, where a Good Design has aton'd for some slight Imperfections in the Prosecution of it.

==[xii]==

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Cyrus fubdued them by making Crasus his Captive, with whom he received all Asia Minor into his Subjection. The Persians upon this Success admitted their Manners with their Laws, and mixed their Debauches with those their own Inclinations fupplied them with, and so grew to be the most Voluptuous Nation in the World. They began to refine upon the Pleasures of the Table, by making the Addition of Flowers and Perfumes. They first invented the Ornaments for their houses. The finest Wools, and the richest Tapestries in the World were their Productions. They invented the lascivious Dance, call'd the Ionic; and became so remarkable for Effeminacy,

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But there were the first who corrupted them, and filled them with Lascivious and Amorous Narrations. Their Works are devoured by Time: We hear of no more than ''Aristides'' of them, who was the most Famous of the Romancers, and wrote several Books of Verse, called the ''Milesian'' Fables. I find that one ''Dionyius'', a ''Milesian'', who lived under the Reign of ''Darius'' the First, composed some Fabulous Histories; but since I can't certain wether this was any more than a compiling of Ancient Fables, and can't see sufficient Reason to believe, that they could properly be called ''Milesian'' Fables; I can't number

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'''Romances.'''

with much more Policy and Judgment, relates some part of his Works only to expose and ridicule them, in the Book which he called ''Lucius's Ass''; to intimate that the Fiction was originally his. 'Tis in Effect an Abridgment of the two first Books of ''Lucius's Metamorphosis'' ; and this Fragment lets us see, That ''Photius'' had great Reason to arraign and decry his obscene and smutty Expressions. This ingenious and celebrated Ass, whose History these Authors wrote, was extremely like another of the same Worth and Merit, which ''Photius'' speaks of from ''Damascius'' in this Manner: "This Ass, says he, was the "Best of a Grammarian named"

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to one Principal Action, follow the Rules of an Heroick Poem ; as ''Athenagoras'' and ''Heliodorus'' have done, tho' not so accurately : But our Old ''French'' have multiplied them without Order, Connexion, or Art. These the ''Italians'' have imitated, borrowing of them their Romances, with their Imperfections. Here we ''Giraldi'' in a worse Error than the former : He endeavours to commend this Vice, and turn it into a Virtue : Whereas, if it be true what himself asserts, that a Romance should resemble a Perfect Body , and consist of many different Parts and Proportions all under one Head ; it follows , that the Principal Action of a Romance should be

==66==
equal Beauty and Eminence, it was as impossible to digest them into one regular body, as it would be to erect a compleat structure with no materials but sand. The applause which the faulty romances of his nation have received, does yet justify him the less: We are not to judge of a performance by the number, but sufficiency of the approbators. Every one assumes to himself the license to judge of, and censure poesie and romance: The sumptuous palaces and common streets are made tribunals, where the meritsof the greatest works receive a supreme decision. There every one shoots his bolt, and boldly prefumes to fet an estimate of

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is attended by them) espouses Philology (which is the Love od Good Letters) he gives her whatever is Excellent in them, for a Nuptial Present: So that it is a continued Allegory, which properly does not deserve the Name of Romance, but rather that of a Fable. For, as I have already observed, a Fable represents Things which never have, or ever can happen; and a Romance takes notice of Things which may, but never have happen'd. The Artifice of this Allegory is not very subtle; he Style is Barbarism it self; so bold and extravagant in its Figures, that they are unpardonable in the most Desperate Poet. Tis disguised with so great an

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to be the first Romance of Chivalry which was printed in Spain, and the Model, and Best of all the other.
Palmerin of England, which some believe was composed by a King of Portugal, met with an Easy Sentence, to be put in a Box like that of Darius, wherein Alexander kept the Works of Homer. Don Belianis, the Mirror of Chilvalry, Tirante the White, and Kyrie Eleison of Montauban; (for in those Good Old Times it was believed, that Kyrie Eleison, and Paralipomenon, were the Names of some Saints) where the Subtleties of Madam Pleasure-of-my-Life, and the Love and Intrigues of the Widow Reposada, are highly

==116==
==117==
==118==
==119==
==120==
==121==
==122==

with Herbs and Roots; so when the Knowledge of Truth, which is the Proper and Natural Aliment of the Mind, begins to fail, we have Recourse to Falshood, which is the Imitation of Truth. As in Plenty we refuse Bread, and our ordinary Viands, for Ragousts; so our Minds, when acquainted with the Truth, forsake the Study and Speculation of it, to be entertained with its Image, which is Fiction. This Imitation, according to Aristotle, is often more agreeable than the Original itself; so that two oppositely different Paths, which are Ignorance and Learning, Rudeness and Politness, do often conduct uss to the same End; which is, an

==123==
==124==
==125==
have recourse to what's past, and to come, in Truth and in Fiction, in Imaginary Spaces and Impossibilities, For Objects to exert it sels upon. The Objects of sense fill the Desires of the Soul of Brutes, who have no farther Concern; so that we can't discover in them these restless Emotions, which continually actuate the Mind of Man, and carry it into the Pursuit of a recent Information, to proportion (if possible) the Object to the Faculty; and enjoy a Pleasure, resembling that which we perceive in the Applealing a Violent Hunger, and Extinguishing a Corroding Thirst. This is that which ''Plato'' intends, in the Marriage of Dorus

==126==
==127==
==128==
==129==
==130==
==131==
==132==
==133==
==134==
==135==
==136==
==137==
==138==
==139==
==140==
==141==
==142==
==143==
==144==
==145==
Monsieur D'Vrfee was the first who retrieved them from Barbarity, and reduced them to Rules, in his Incomparable Afirea, The most Ingenious and Polite Work which has appeared in this Kind, and which Eclipsed the Glory which Greece, Italy and Spain, had acquired.
However, he has not discouraged those who come after him, to undertake what he has performed. He has not so far engroffed the Public Admiration, but that some are still left for the many Excellent Romances wgich displayed themselves in France since His

==146==
itself against Scrupulous Censures, not only by the Commendations which the Patriarch Photius gives it, but by the great Examples of those who have applied themselves to it, might justify itself by Her's: That that which has been improved by Philosophers, as Apuleis, and Athenagoras; by a Roman Prator, as Sisenna; by a Consul, as Petronius; by a Pretender to the Empire, as Clodius Albinus; by a Priest, as Theodorus Prodromus; by Bishops, as Heliodorus, and Achilles Tatius; by a Pope, as Pius Secundus, who wrote the Loves of Euryalus and Lucretia; by a Saint, as John Damascenus; might have the Honour

==147==

==148==
==149==

[[Category:17th century|1670]]
[[Category:1670s|1670]]
[[Category:By author|Huet, Pierre Daniel]]