Jonson's theoretical statements, especially on the Aristotelian-Horatian dramatic canon, and Cervantes's satirical remarks about chivalric romances have often been neglected. The main reason is that those factors seem to work poorly when critics try to reevaluate the two authors unexpected creativity or great imagination; the former implies intolerance and lack of originality, and the latter simple-minded jibes. Yet it is undeniable that neither ever ceased to feel their slogans worth defending to the last. Like Jonson, Cervantes was a frustrated classicist playwright, losing to Lope de Vega, the Spanish counterpart of Shakespeare. Like Cervantes, Jonson detested chivalric romances. For both the exemplar was Horace, a would-be playwright in the Aristotelian line, frustrated by the vulgar taste of the Romans. All had fought at Lepanto, Tunis, Flanders or Philippi.
Is there a close relationship between the two literary principles shared by Jonson and Cervantes? Did Aristotle and Horace really have nothing to do with books of chivalry? As a sort of detective story, the author invites the reader to work out this hitherto unsolved question.
Fine condition. No apparent evidence of use.