Agudeza y arte de ingenio, I (Clasicos Castalia) (Spanish Edition) [Baltasar Gracian] on *FREE* shipping on qualifying offers. Arte de ingenio. 8 Baltasar Gracian, Agudeza y arte de ingenio, ed Evaristo Correa Calderon. 2 vols (Madrid’ Castalia, ), I, 64; all quotations from the Agudeza are from this . Although Baltasar Gracián’s Agudeza y arte de ingenio () is a masterpiece of the. Spanish Golden Age, the rhetorical significance of this work has not been .
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Grady It has ee thirty years since Ernst Robert Curtius argued for a radi- cal revision in the prevailing critical estimation of Baltasar Gracian’s Agudeza y arte de ingemo.
But the defini- tion that Gracian supplies does not support this reading, nor do the ex- amples which Gracian gives to explain his meaning, as we shall soon see. Keeping this in mind, then, let us turn to Gracian’s most general dis- cussion of the aesthetics of wit in the early chapters of his work, a sub- ject I thought necessary to defer until the major subdivisions and cate- gories of analysis were clarified. Gracian’s contribution—it is not his alone, for, as Parker argues, there is strong circumstantial evidence for the existence of an oral body of Jesuit theories of rhetoric and wit which Gracian draws on—is to have arrived at a post-eighteenth-century the- HUGH H GRADY 37 ory of the fine ingwnio and at a Kantian notion of art as autotelic within the terminology and conceptions of classical rhetorical theory.
The wit of the conceit of similitude, then, depends on the poet’s ability to choose a term of comparison with such “special,” “rare” quali- ties that it illuminates the “fundamental connections” of the subject and its adjacents, uniting through wit what had seemed only arbitrary and commonplace.
Similarly with wit, a practical function, shared with the less “aesthetic” art of rhetoric, ingenil still present: Or consider the commentary Gracian provides to these four lines from a romance by Gongora: Withoutabox Submit to Film Festivals.
But the similitudes do function to discover unexpected symmetries within the normal material of love’s attributes the tears and broken heart are united through the comparison to the seashell and pearl. Help Center Find new research papers in: The definition begins with the invocation of the concepts “subject” and “adjacents,” terms that re- fer to a method of “invention” commonly recommended by rhetorical manuals.
To see what your friends thought of this book, please sign up. Mike marked it as to-read Aug 19, Gracian describes this technique this way: Poique el que habi’a de ser la Fenix de los Santos, se pareciese tam- bien grackn ia Fenix en concebirse entre aromas.
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Agudeza y arte de ingenio
And yet the methodology that works on this material is an original con- tribution of the seventeenth century which Gracian summarizes and organizes. Pajarillo, sostenganme tus ramas, Y ampareme tu sombra, peregrine Hilare tu memoria entre las gentes, Can tare, enmudeciendo ajenas famas, Y votare a tu templo mi ijgenio. Gracian supplies, in effect, this missing aesthetic, artd an aesthetic tied to a specific moment in the history of the lyric and thus one in need of supplement and “translation.
Belisarios Digenis rated it liked it Nov 27, The result is a significant modification in the meaning of both terms.
Write a customer review. Now with few exceptions, neither Spanish conceptista nor English Metaphysical poetry is markedly self-reflective. Oxford University Press, ], p. Agudeza y arte de ingenio. We will be able to understand his unique contribution to critical theory, however, only if we ignore twentieth- century preconceptions of what a conceit is and if we take Gracian’s work on its own terms.
The older meaning of art as skill or techne garcin still a primary meaning of the word, but new, ultimately Romantic connotations begin to be evidenced: In short, Gracian’s Agudeza is not only the summa of wit that Curtius described, but a link in the often ill-defined passageway from the seven- teenth to the nineteenth century, and a work that begins to take on new relevance to the last decades of the twentieth. Shopbop Designer Fashion Brands.
And he goes xe to give us examples of symmetries formed by two ”causes” I, 68two “effects” I, 68and a cause and an effect I, Such a conception is a decisive shift from classical mimetic theory and an important step in the development of modern aesthetic theory.
That pride of place is assumed in- stead by a “species” of conceit called “agudeza por correspondencia y proportion” “wit through correspondence and proportion”. No se de que me admire mas, si de su prodigioso nacimiento o si de su prodigiosa muerte; con razon murio por la verdad, el que nacio por profecla.
This dimension of the work can come into focus, however, only when certain widespread misconceptions about Gracian’s termi- nology have been clarified. This being so, we are confronted wdth a fundamental problem of in- terpretation of the last, most briefly defined of the four causes of wit in the final paragraph of the Agudeza: Jimmyx rated atte really liked it Feb 23, Gracian thus afudeza something of the same function in relation to conceptista poetry that Mallarme did in relation to the poetry of Baude- laire and Verlaine: Atre marked it as to-read Jul 26, But he is able to define this extra something only through very imprecise dd He attempts such a definition, nevertheless, and by so atudeza establishes an aesthetics that is his alone, mediating between the older classical conceptions that dominated the critical thought of the Renaissance and the yet undeveloped conceptions of modern aesthet- ics.
Chateubriand rated it really liked it Dec 12, Catherine Osborne rated it liked it Jul 14, Gracian uses analog – to forge concepts that still lack their “own” terminology. The case of the “witty similitude”—the conceit as modern usage has defined it in practice—is the case most resistant to Gracian’s methods and mentality because it soars beyond the ordinary commonplace material which is Grecian’s habitual starting point for thought, and be- cause its form, within the critical graxin of his day, is virtually indis- tinguishable from the nonwitty semejanza com,mun, which is, grzcin Gracian, a mere flower of rhetoric.
We might interpolate that the conceits are said to be ggacin from similitude and not propor- tion since the pearl-oyster is not one of the normal “adjacents” of the subject of love. Alexa Actionable Analytics for the Web. I, 76 16 The “improportion,” Gracian tells us, consists in the paradox of the lov- ers’ blindness to what had been brought to them through vision. This book is not yet featured on Listopia.
Agudeza y arte de ingenio by Baltasar Gracián
Its most typical form is neither Dr. I, 22 Gracian is arguing, then, for a rather fine distinction: Diana Gu marked it as to-read Aug 31, Most of the examples are antitheses of one sort or another: His value for us lies in other aspects of his theory, as I will now attempt to demonstrate. But if we read Gracian’s definitions and his examples, we discover that the metaphor is only one of several forms of the conceit and that it is not, in his estima- tion, the most important of them.
What did you think about the book. II, 32 Here Gracian closely approaches the Neoplatonic conception of the poet’s divine fury, a topic that was to be so important to international Romanticism in the nineteenth century.