The word Renaissance indeed is now generally used to denote not merely that revival of classical antiquity which took place in the fifteenth century, and to which the word was first applied, but a whole complex movement, of which that revival of classical antiquity was but one element or synqjtom. For us the Renaissance is the name of a many of the things of the..intellect and the imagination of the things of the intellect and the imagination for their own sake, the desire for a more liberal and comely way of conceiving life, make themselves felt, prompting those who experience this desire to seek first one and then another means of intellectual or imaginative enjoyment, and directing them not merely to the discovery of old and forgotten sources of this enjoyment, but to divine new sources of it, new experiences, new subjects of poetry, new forms of art. (...) And coming after a long period in which this instinct had been crushed, that time 'dark age' in which so many sources of intellectual and imaginative enjoyment had actually disappeared. this outbreak is rightly called a Renaissance, a revival.
But it is not so much the ecclesiastical art of the middle age, its sculpture and painting,—woric certainly done in a great measure for pleasure's sake, in which even a secular, a rebellious spirit often betrays itself, —but rather the profane poetry of the middle age, the poetry of Provence, and the magnificent aftergrowth of that poetry in Italy and France, which those French writers have in view w^en they speak of this Renaissance witl/ithin the middle age. In that poetry, eartly passion, in it its intimacy, its freedom, its variety—the liberty of the heart—^makes itself felt; and the name of Abelard, the great clerk and the great lover, connects the expression of this Hbeity of heart with the free play of human intelligence round all subjects presented to it, with the liberty of the intellect, as that age understood it. Every one knows the legend of Abelard, that legend hardly less passionate, certainly not less characteristic of the middle age, than the legend of Tannhauser, how the famous and comely clerk, in whom Wisdom herself, selfpossessed, pleasant and discreet, seemed to sit enthroned, came to live in the house of a canon of the church of Notre-Dame, where dwelt a girl Heloise, believed to be his orphan niece, his love for whom he had testified by giving her an education then unrivalled, so that rumour even asserted that, diroug^ the knowledge of languages, enabling her to penetrate into the mysteries of the older world, she had become a sorceress, Celtic druidesses; and how as they sat together in that shadowy home, to refine a little ftirther on the nature of abstract ideas, 'Love made himself of the parly with them.' You conceive the temptations of the scholar in that dreamy tranquillity, who, amid the bright and busy spectacle of 'the Island,' lived in a world of something like shadows; and how for one wiio knew so well to assign its exact value to every abstract idea, those restraints which lie on the consciences of other men had been relaxed. It appears that he composed many verses in the vulgar tongue; already the young men sang them on the quay below the house. (...) it is the same spirit which has moulded the famous 'letters' written in the quaint Latin of the middle age. At the foot of that early Gothic tower, which the next generation raised to grace the precincts of Abelard's school on the 'mountain' of Saint Genevieve, the historian Michelet sees in thought 'a terrible assembly; not the hearers of Abelard alone, fifty bishops, twenty cardinals, two popes, the whole body of scholastic philosophy: not only the learned Heloise, the teaching of languages and the Renaissance; but Arnold of Brescia,—that is to say, the revolution.'
ec⋅cle⋅si⋅as⋅ti⋅cal
–adjective
of or pertaining to the church or the clergy; churchly; clerical; not secular.
pre⋅cinct
–noun
| 1. | a district, as of a city, marked out for governmental or administrative purposes, or for police protection. |
| 2. | Also called precinct house. the police station in such a district. |
| 3. | Also called election district. one of a fixed number of districts, each containing one polling place, into which a city, town, etc., is divided for voting purposes. |
| 4. | a space or place of definite or understood limits. |
| 5. | Often, precincts. an enclosing boundary or limit. |
| 6. | precincts, the parts or regions immediately surrounding a place; environs: the precincts of a town. |
| 7. | Chiefly British. the ground immediately surrounding a church, temple, or the like. |
| 8. | a walled or otherwise bounded or limited space within which a building or place is situated. |
'book review' 카테고리의 다른 글
| [review] Studies in the history of the Renaissance (2-1) (0) | 2009/09/05 |
|---|---|
| [review] Studies in the history of the renaissance (1) (0) | 2009/08/27 |
TRACKBACK http://rhetorics.tistory.com/trackback/4
Excerpts from Preface
Beauty, like all other qualities presented to human ejq)erience, is relative; and the definition of it becomes unmeaning and useless in proportion to its abstractness. To define beauty not in the most abstract, but in the most concrete terms possible, not to find a universal formula for it, but the formula which expresses most adequately this or that special manifestation of it, is the aim of the true student of aesthetics.
The objects with which aesthetic criticism deals, music, poetry, artistic and accomplished forms of human life, are indeed receptacles of so many powers or forces; they possess, like natural elements, so many virtues or qualities. What is this song or picture, this engaging personality presented in life or in a book, to me? What effect does it really produce on me? Does it give me pleasure? and if so, what sort or degree of pleasure? How is my nature modified by its presence and under its influence? The answers to these questions are the original facts with which the aesthetic critic has to do; and, as in the study of light, of morals, of number, one must realise such primary data for oneself or not at all. And he who experiences these impressions strongly, ana drives directly at the analysis and discrimination of them, need not trouble himself with the abstract question what beauty is in itself, or its exact relation to truth or experience,—metaphysical questions, as unprofitable as metaphysical questions elsewhere. He may pass them all by as being, answerable or not. of no interest to him.
re⋅cep⋅ta⋅cle
/rɪˈsɛptəkəl/ [ri-sep-tuh-kuhl]
–noun
1. a container, device, etc., that receives or holds something: a receptacle for trash.
2. Botany. the modified or expanded portion of the stem or axis that bears the organs of a single flower or the florets of a flower head.
3. Electricity. a contact device installed at an outlet for the connection of a portable lamp, appliance, or other electric device by means of a plug and flexible cord.
[Middle English, from Old French, from Latin receptāculum, from receptāre, to receive again, frequentative of recipere, to receive; see receive.]
All works of art and the fairer forms of nature and human life, as powers or forces, producing pleasurable sensations, each of a more or less peculiar and unique kind. This influence he feels and wishes to explain, analysing it, and reducing it to its elements. To him, the picture, the landscape, tiie engaging personality in life or of Mirandula, are valuable for their virtues, as we of Mirandula, are valuable for their virtues, as we say in speaking of a herb, a wine, a gem; for the property each has of affecting one with a special unique impression of pleasure. Education grows in proportion as one's susceptibility to these impressions increases in depth and variety.
What is important, then, is not that the critic should possess a correct abstract definition of beauty for the intellect, but a certain kind of temperament, the power of being deeply moved by the presence of beautiful objects. He will remember always that beauty exists in many forms.
The question he asks is always. In whom did the stir, the genius, the sentiment of the period find itself? who genius, the sentiment of the period fmd itself? who its taste? 'The ages are all equal,' says William Blake, 'but genius is always above its age.'
'book review' 카테고리의 다른 글
| [review] Studies in the history of the Renaissance (2-1) (0) | 2009/09/05 |
|---|---|
| [review] Studies in the history of the renaissance (1) (0) | 2009/08/27 |
TRACKBACK http://rhetorics.tistory.com/trackback/3
aphoristic sayings
similitudes (double indirect)
interrogative parables (double indirect)
"How much more" parables
narrative parables, of which there are three further distinctions
juridical parables, a particular type of double indirect narrative parables
single indirect narrative parables
Interrogative Parables. Even though these parables are like similitudes in that they do not have plot development and may logically function the same way, their form is different; ;r it groups those parables that are presented entirely as questions.
Double Indirect Narrative Parables. Narrative parables, parables in the restricted sense, are metaphors {contra Julicher) extended into narrative analogies with plots. If a metaphor is an implied comparison not using "like" or "as" (such as "You are the sak of the earth"), a parable is a fictitious story which narrates a particular event, is usually told in the past tense, and is intended to convey a moral or spiritual truth (e.g., the Prodigal Son). Narrative parables of all three types have plot development. Something happens in the narrative that creates a problem or possibility, and then other acts happen that bring, or potentially bring, resolution or closure.
Juridical Parables. As a subset of double indirect narrative parables these are among the best known and most forceful parables. By hiding their referent. juridical parables ehcit a self-condemnation from the hearer(s) through the aid of an image. . The hearer is forced to judge the circumstances of the parable, and then the lens drops and one realizes that he or she has judged him or herself. Kierkegaard described indirect communication as "thoughts which wound from behind," an especially apt description of juridical parables. Juridical parables nearly always and almost by necessity require concluding explanations, something that points the accusing finger at the hearer and makes explicit how the person has erred. The parable of the Good Samaritan is a single indirect parable, but it comes very close to being a juridical parable. Jesus' concluding question to the scribe requires an answer that is self-condemning.
Single Indirect Parables. Most of these parables have traditionally been called example stories. The usual explanation is that the primary purpose of these parables is to present a positive or negative character (or both) who serves as an example to be imitated or whose traits and actions are to be avoided. Either explicitly or implicitly the example story says, "Go and do [or do not do] likewise" Typically only four Gospel parables, all in Luke, are identified as example stories: the Good Samaritan, the Rich Fool, the Rich Man and Lazarus, and the Pharisee and the Toll Collector.
"How Much More" ' Parables. ?his category is not determined by form but by function, and "How much more" parables — for lack of a better term — will also belong to another classification as well. Some are interrogative parables without plot development, and some are narrative parables with plot development. Most of them explicitly or implicitly contrast human action with God's action. The logic, which is well known in rabbinic writings, is that found in Matt 7:ii/Luke 11:13: If a human father knows to give good gifts to his children, how much more will the heavenly Father give good gifts? Contrast between two persons or entities (such as the contrast between the Two Builders) is a feature of many parables, Dut "How much more" parables function to say that God's action far exceeds or is not at all like the person depicted in the parable. It is also possible for the contrast to be between human action and the action expected of God's people.
'trivium > rhetorics' 카테고리의 다른 글
| How Should Parables Be Classified? (0) | 2009/08/23 |
|---|---|
| Stories with intent - Klyne R. Snodgrass (0) | 2009/08/20 |
PREV
