By Mario Praz
AW Mellon Lectures in positive Arts are offered each year on the nationwide Gallery of paintings in Washington. they're released within the prestigious Bollingen Series.
The Bollingen sequence is devoted to top quality scholarly monographs on paintings, tradition, and philosophy.
From the airborne dirt and dust jacket:
In his seek for the universal hyperlink among
literature and the visible arts. Professor Praz
draws upon the plentiful proof of lengthy
mutual figuring out and correspondence be
tween the sister alts even supposing parallels of
theme and notion are abundant, be is no longer
primarily involved with those. fairly, he
examines the shut dating or air de fanulle
between the expression of the arts m any given
Each epoch has “ its unusual handwriting
or handwritings, which, if one might interpret
them, may exhibit a personality, even a physi
cal appearance.” even though handwriting is
taught and a few of its features hence
belong to the normal sort of the interval, the
personality of the author does now not fail to pierce
through. anything of the similar style, the au
thor proposes, happens in artwork. The kinship of
literature and portray rests on this circum
stance: a paintings of artwork, no matter if visible or liter
ary, needs to use the unique “ handwriting” of
its specific age, even as its originality pierces
through this handwriting.
The likeness among the arts inside a number of
periods o f background can finally be traced,
then, to structural similarities— similarities
that come up out of the attribute means in
which the humans of a sure epoch see and
memorize evidence aesthetically. Mnemosyne, at
once the goddess of reminiscence and the mom
of the muses, accordingly presides over this view
of ihe arts. In illustrating her iniluence. Pro
fessor Praz levels greatly via Western
sources, either literary and pictorial. There are
1 2 1 illustrations accompanying the text.
M A R IO P R A Z is Professor of English Lan
guage and Literature at the collage of
Rome. His past books contain The Roman
tic discomfort, experiences in Seventeenth-Century
imagery, and The Flaming Heart.
ackct layout through P J. Conkwright
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Additional resources for Mnemosyne: The Parallel between Literature and the Visual Arts (The A.W. Mellon Lectures in the Fine Arts) (Bollingen Series XXXV-16)
The only compositions which offer some sim ilarity to his are Donne’s Holy Sonnets: in both poets the “devout fitts come and go aw ay / Like a fantastique Ague” ; faith has proved such a difficult conquest for them, that they are continually afraid o f slackening in zeal; both of them try to overcome the aridity of their hearts, they feel between their hearts and God a barrier which only God can break. 19 As for Blake, if we do not restrict ourselves to com paring the poem “The T yger” to the “grotesque little anim al” intended for its illustration, but take into consideration the whole range o f Blake’s m ythical figures, there are plenty of fearsom e, awe-inspiring beings which can vie with the tiger of the poem in intensity and power: see for instance the title page to M ilton, T he House o f D eath, or N ebuchadnezzar .
With the passing of years the second of those two elem ents which I have mentioned is em phasized and exposed; and just as, in the film inspired bv Stevenson’s fam ous story Je k yll’s profile pierces through the face o f the dead Mr. Hyde little by little, so in forgeries the profile of the faker gradually em erges from underneath the disguise. " M ax J . Friedlander Time Unveils Truth 35 has acutely remarked, "Donatello in 19 3 0 looks different from w hat he did in 18 7 0 . That w hich is worthy of im itation appears different to each generation.
I he harmonious characteristics of architecture reappear in the serene Hardens rich in fruit* and flowers which stretch 111 trout of the luxurious Cfnquecento counts) houses, with calculated vistas that frequently a m v erg e into large oval spaces; even in the waterworks whose jets fall archwise into variously curvilinear ponds, in the swelling waterfalls which often pour their liquid lawn within the frame of large round niches of stagehke columned grottoes. . Dresses, particularly women’s, are on the whole conceived so as to am plify the human figure without altering its propor tions.
Mnemosyne: The Parallel between Literature and the Visual Arts (The A.W. Mellon Lectures in the Fine Arts) (Bollingen Series XXXV-16) by Mario Praz