The sources show that the word and the concept of "baroque" born with intent reprobate, not to mark an epoch in the history of spirit and an art form, but a way of artistic ugliness and perversion. In my opinion, it is necessary that they Serbin or take rigorous or scientific use, this office and meaning, expanding it and giving it the best determination logic ... There is no difficulty to point out the characteristic of the Baroque, those that distinguished from the 'academic', eg., or 'sentimental' or the 'mawkish', and that is to replace the poetic truth, and the charm that it is spreading, with the effect of the unexpected and the amazing, exciting, intriguing, amazes and delights the mercy of the particular form of shaking it yields. There is no difficulty, because, as is well known, this feature was exposed programmatically by the writers of that school, and the main one of them, Marino, that was given to the poet to "end" the "wonder", warning that "those who can not be surprised "to let the poet and 'go to curries," go and do the groom. The quotations in this part, you could easily accumulate, but would return unnecessary. And there was even then people began to contrast the ideal and pure emotion that the poem requires that emotion with a stranger, accusing " modern poets "of" serious mistake "in the" pathetic materials, "in which," using sophisticated concepts and subtleties from blood loose and not passion, it is not surprising then that does not bind passionino and not the others, "as the rate that" v'incappò any time, "Marino and that there was" quite shamefully fallen into "... Given the general lines on which we have held so far, the baroque can be found in every place and time, and more or less sparsely detected . It is unfortunate aesthetic, but also a human sin, and universal and perpetual, like all human sins, if only because the danger of incurring. Similarly we could build a generic concept of romance psychological or human that is said, and, under it, in all ages and people discover, here and there, romance. It is known that the Baroque, was studied especially in the so-called artists and poets of decay, particularly in those of Roman literature (Lucan, Statius, Persius, Martial, Juvenal, etc..), Who handed him a book of a subject in Nisard , somewhat biased, in truth, that is, implied polemic against the French literature of his time. A similar comparison of heated controversy and are back in fashion for the latest literature, foreign and Italian, and particularly the art of D'Annunzio. Nor did I say Before that such alignments are unlawful or rooms, and even admit that have some use, evidenced by the fact that it is used voluntarily, but it seems to me far more useful, such as PEL PEL baroque romance, use the concept in its meaning is not simply psychological but historical, referring to what led directly to build and shape its word, and therefore understood by the perversion of Baroque art, dominated by the need of wonder, which is observed in Europe, very nearly, in the last decades of the sixteenth century to the end of seicento.Un 'further definition of the historical concept of the Baroque, a determination of its character or its characters, it is not possible, because the character or characters are the same type of Baroque works, was then produced and which have to procure direct knowledge and experience, since we already excluded above as fallacious abstraction and classification of forms made extrinsic, which also has been attempted by studying, for example., metaphors and stylistic comparisons and other proceedings of Marino. With that knowledge and direct experience of the concept of the baroque town is filled with abstract and particular, and becomes the possession of the spirit alive critico.Importa use the concepts of the Baroque and Romanticism as a historical concept, precisely to avoid falling into the generic, by the way of general, and finally in nell'insignificante false, losing the character and the character and individual works that take to consider. Even granted that in French literature or Italian or English in the seventeenth century are some romantic moments (in the generic sense that we have said), their works were nevertheless profoundly different from the romantic of the nineteenth century for what only those who were born in the seventeenth and those in the nineteenth, after two centuries of life and spiritual struggles of mankind. Similarly (as last time I had occasion to warn) all the baroque can be seen in D'Annunzio, and all of its similarities with the other six hundred and Marino, not cancel the fact that D'Annunzio could not arise until after Romanticism, Realism, the Parnassians, the Nietzschean, and other events spiritual than the previous because it certainly Marino matured during the nineteenth century ... From which country the rest of Europe could come to the fashion of the Baroque? which could give an example? which could impose it? It is obvious: the country's major culture and civilization, which Europe, as he had received manufacturing and industry and commerce and law and geographical discoveries and technical inventions, allowed the arts and sciences and literature and poetry, and forms of conversation and festivals and ceremonies . And this country, in the sixteenth century, and even well into the next century, it was Italy, with Italy and, in some manifestations of the custom and culture, Spain, which gave strength to penetrate his political strength; so that the opponents of the English Italian polemicists would operate reasonable reconciliation and join together more with them. But we do honor or wrongly, the Baroque was, essentially, Italian, and as such he was accused in the early literature that rebelled against, the French rationalist critics, and as such was implicitly recognized by all lovers and patrons of 'art, until the end of the seventeenth century, and indeed almost to the end of the eighteenth century, considered Italy as the country that gave mainly painters, sculptors and architects, poets and musicians of the Baroque corte.Se non-artistic or poetic but practical, so in his work as occur in a single, and even more, in the production joint called the school or fashion, and that in itself is already a practical fact, the historian of poetry and art can not consider it positively but negatively, ie as a denial or limitation of what is really art and poetry. It also says 'baroque' and 'baroque', but never lose consciousness that, strictly speaking, what is really art is never Baroque, Baroque and what is not art ... For other would be very partial view in baroque fashion spread from Italy only bad taste, and not that training style, that course rhetorical, that beginning the secrets of the art, that refinement of in most of Europe had then need to get out of certain practices and to start again medieval poetry, prose, modern art in all its forms: that education literature and art, then, that Italy largely administered England as to France, Spain as Germany, not only with his books of verse and prose, but with his masters of language, with his court poets, painters and architects with his masters and chapel, with its pruning and comedians. It was like an ultimate benefit to the old dark made to European culture over the centuries in which it is customary to consider, Decadent or revoked: a benefit, of which history has not been hit as it deserves, or has been put under false light and surrounded by a sort of contempt out of place. The foreigners, oblivious to the benefit, pleasure regarded as the Italians' sonneteer "adventurers, charlatans and fools, and then kept them modestly countrymen x:-ashamed, because they did not like the times call for heroes of the fatherland.
"Despite the great success among his contemporaries, critics later (since the arcade) has devalued more and Baroque literature, accusing it of stylistic and rhetorical excesses and excessive lust and calling it decadent. L 800 and most of the 900 have continued along this path criticism, but in the second half the 900 has seen a steady recovery of the Baroque literature, the work of some important critics like John Getto, Marzio Pieri and John Wells. "
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