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Dionysian imitatio is the influential literary method of imitation as formulated by Greek author Dionysius of Halicarnassus in the first century BCE, which conceived it as the rhetorical practice of emulating, adapting, reworking and enriching a source text by an earlier author. [1] [2] It is a departure from the concept of mimesis which only is concerned with "imitation of nature" instead of the "imitation of other authors." [1]
Three centuries after Aristotle's Poetics, from the 4th century BCE to the 1st century BCE, the meaning of mimesis as a literary method had shifted from "imitation of nature" to "imitation of other authors". [1] No historical record is left to explain the reason of this change. Dionysius' three volume work On mimesis (On imitation), which was the most influential for Latin authors, is lost. [1] Most of it contained advice on how to identify the most suitable writers to imitate and the best way to imitate them. [1] [2] For Dionysian imitatio, the object of imitation was not a single author but the qualities of many. [2]
Latin orators and rhetoricians adopted the literary method of Dionysius' imitatio and discarded Aristotle's mimesis; the imitation literary approach is closely linked with the widespread observation that "everything has been said already", which was also stated by Egyptian scribes around 2000 BCE. The ideal aim of this approach to literature was not originality, but to surpass the predecessor by improving their writings and set the bar to a higher level. [1] A prominent Latin follower of Dionysius was Quintilian, who shared with him the view of imitatio as the practice that leads to an historical progress of literature over time. [2] Both Dionysius and Quintilian discuss imitation exclusively from the point of view of rhetoric. [2] In Quintilian, and in classical rhetoric in general, rhetoric drew much attention to the process of imitatio; the four operations of quadripartita ratio that organize all the figures of speech, defined as a "ready-made framework" of "relatively mechanical procedures" for the emulation, adaptation, reworking and enrichment of a source text by an earlier author. [3] This view of rhetoric was taken by Erasmus in De Copia Rerum . [3]
Dionysius' concept marked a significant departure from the concept of mimesis formulated by Aristotle in the 4th century BCE, which was only concerned with "imitation of nature" instead of the "imitation of other authors." [1] Latin orators and rhetoricians adopted the literary method of Dionysius' imitatio and discarded Aristotle's mimesis. [1] In Aristotle's Poetics , lyric poetry, epic poetry, drama, dancing, painting are all described as forms of mimesis.
The variety of ways to adapt and enrich source texts, as discussed by Erasmus in De Copia Rerum, are discussed in chapter 5. [...] Classical rhetoric had already developed a theory of these kinds of intervention, drawing attention to the process of adaptation [...] If a topic had been treated by an earlier author, this was no reason to avoid it, but one had to try to emulate one's predecessor. The use of rhetoric enabled authors to discuss the same topic in several ways, to be little a great subject, and to accord greatness to something small, for example, or to renew the old, and express the new in an old-fashioned manner. [...] Using these formulas, a pupil could render the same subject or theme in a myriad of ways. For the mature author, this principle offered a set of tools to rework source texts into a new creation. In short, the quadripartita ratio offered the student or author a ready-made framework, whether for changing words or the transformation of entire texts. Since it concerned relatively mechanical procedures of adaptation that for the most part could be learned, the techniques concerned could be taught at school at a relatively early age, for example in the improvement of pupils’ own writing.
Rhetoric is the art of persuasion. It is one of the three ancient arts of discourse (trivium) along with grammar and logic/dialectic. As an academic discipline within the humanities, rhetoric aims to study the techniques that speakers or writers use to inform, persuade, and motivate their audiences. Rhetoric also provides heuristics for understanding, discovering, and developing arguments for particular situations.
Marcus Fabius Quintilianus was a Roman educator and rhetorician born in Hispania, widely referred to in medieval schools of rhetoric and in Renaissance writing. In English translation, he is usually referred to as Quintilian, although the alternate spellings of Quintillian and Quinctilian are occasionally seen, the latter in older texts.
Dionysius of Halicarnassus was a Greek historian and teacher of rhetoric, who flourished during the reign of Emperor Augustus. His literary style was atticistic – imitating Classical Attic Greek in its prime.
Mimesis is a term used in literary criticism and philosophy that carries a wide range of meanings, including imitatio, imitation, nonsensuous similarity, receptivity, representation, mimicry, the act of expression, the act of resembling, and the presentation of the self.
Aristotle's Poetics is the earliest surviving work of Greek dramatic theory and the first extant philosophical treatise to focus on literary theory. In this text Aristotle offers an account of ποιητική, which refers to poetry and more literally "the poetic art," deriving from the term for "poet; author; maker," ποιητής. Aristotle divides the art of poetry into verse drama, lyric poetry, and epic. The genres all share the function of mimesis, or imitation of life, but differ in three ways that Aristotle describes:
Commonplace books are a way to compile knowledge, usually by writing information into books. They have been kept from antiquity, and were kept particularly during the Renaissance and in the nineteenth century. Such books are similar to scrapbooks filled with items of many kinds: notes, proverbs, adages, aphorisms, maxims, quotes, letters, poems, tables of weights and measures, prayers, legal formulas, and recipes.
On the Sublime is a Roman-era Greek work of literary criticism dated to the 1st century C.E. Its author is unknown, but is conventionally referred to as Longinus or Pseudo-Longinus. It is regarded as a classic work on aesthetics and the effects of good writing. The treatise highlights examples of good and bad writing from the previous millennium, focusing particularly on what may lead to the sublime.
Jacopo Mazzoni was an Italian philosopher, a professor in Pisa, and friend of Galileo Galilei. His first name is sometimes reported as "Giacomo".
Hermagoras of Temnos was an Ancient Greek rhetorician of the Rhodian school and teacher of rhetoric in Rome, where the Suda states he died at an advanced age.
Memoria was the term for aspects involving memory in Western classical rhetoric. The word is Latin, and can be translated as "memory".
Aristotle's Rhetoric is an ancient Greek treatise on the art of persuasion, dating from the 4th century BCE. The English title varies: typically it is Rhetoric, the Art of Rhetoric, On Rhetoric, or a Treatise on Rhetoric.
Copia: Foundations of the Abundant Style is a rhetoric textbook written by Dutch humanist Desiderius Erasmus, and first published in 1512. It was a best-seller widely used for teaching how to rewrite pre-existing texts, and how to incorporate them in a new composition. Erasmus systematically instructed on how to embellish, amplify, and give variety to speech and writing.
Institutio Oratoria is a twelve-volume textbook on the theory and practice of rhetoric by Roman rhetorician Quintilian. It was published around year 95 AD. The work deals also with the foundational education and development of the orator himself.
Byzantine rhetoric refers to rhetorical theorizing and production during the time of the Byzantine Empire. Byzantine rhetoric is significant in part because of the sheer volume of rhetorical works produced during this period. Rhetoric was the most important and difficult topic studied in the Byzantine education system, beginning at the Pandidakterion in early fifth century Constantinople, where the school emphasized the study of rhetoric with eight teaching chairs, five in Greek and three in Latin. The hard training of Byzantine rhetoric provided skills and credentials for citizens to attain public office in the imperial service, or posts of authority within the Church.
Imitation may refer to:
The Rhetoric to Alexander is a treatise traditionally attributed to Aristotle. It is now generally believed to be the work of Anaximenes of Lampsacus.
In classical rhetoric, figures of speech are classified as one of the four fundamental rhetorical operations or quadripartita ratio: addition (adiectio), omission (detractio), permutation (immutatio) and transposition (transmutatio).
Imitation is the doctrine of artistic creativity according to which the creative process should be based on the close imitation of the masterpieces of the preceding authors. This concept was first formulated by Dionysius of Halicarnassus in the first century BCE as imitatio, and has since dominated for almost two thousand years the Western history of the arts and classicism. Plato has regarded imitation as a general principle of art, as he viewed art itself as an imitation of life. This theory was popular and well accepted during the classical period. During the Renaissance period, imitation was seen as a means of obtaining one's personal style; this was alluded to by the artists of that era like Cennino Cennini, Petrarch and Pier Paolo Vergerio. In the 18th century, Romanticism reversed it with the creation of the institution of romantic originality. In the 20th century, the modernist and postmodern movements in turn discarded the romantic idea of creativity, and heightened the practice of imitation, copying, plagiarism, rewriting, appropriation and so on as the central artistic device.
Mimesis criticism is a method of interpreting texts in relation to their literary or cultural models. Mimesis, or imitation (imitatio), was a widely used rhetorical tool in antiquity up until the 18th century's romantic emphasis on originality. Mimesis criticism looks to identify intertextual relationships between two texts that go beyond simple echoes, allusions, citations, or redactions. The effects of imitation are usually manifested in the later text by means of distinct characterization, motifs, and/or plot structure.
On Training for Public Speaking is a short text written by Dio Chrysostom in the late first or early second century AD. The work takes the form of a letter to an anonymous man of affairs who has decided to train as a public speaker. It mostly consists of recommendations of authors for the recipient to read as examples of good style. The text is thus an important source on the formation of the Greek Classical canon in the early Roman empire.