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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Gracian thus performs something of the same function in relation to conceptista poetry that Mallarme did in relation to the poetry of Baude- laire and Verlaine: To ask other readers questions about Agudeza y arte de ingenioplease sign up.

Baltasar Gracián

No trivia or quizzes yet. University of Chicago Press,pp. Thrashjazzassassin marked it as to-read Aug 22, There are no discussion topics on this book yet.

Antonio rated it it was ok Aug 29, Wit is no longer the orphan it was at the beginning of the book; its parents have been identified. The understanding, then, as the prime and princi- pal power, achieves the height of artifice, the extreme of skill, in all its different kinds of ob- jects ” 32 GRAClAN’S agudeza rate in three of them because sensations possess the latent capability of being artistically arranged as, to repeat his examples, the agreeable proportions of architecture and the other visible arts, the harmony of music, and the skillful combinations of flavors of the talented cook.

It escapes precise definition. And yet the methodology that works on this material is an original con- tribution of the seventeenth century which Gracian summarizes and organizes. In discovering or inventing correspondences within this material, the artist of wit Gracian had emphasized that agudeza is possible in both prose and poetry achieves an aesthetic heightening that attains beauty and constitutes a new art-form based in rhetoric, but transcending it in just the way that the accomplished architect achieves a higher result than does a merely utilitarian designer.

For his treatise, with its continual puns, similitudes, and proportions, is itself an instance of the art of wit that is being analyzed, as we sawr clearly in his definition of the intellectual symmetry that is the peculiarly “mental”‘ form of beauty achieved by the conceit.

The result is a significant modification in the meaning of both terms. Alienta en el breve tratado un afan de novedad, una total ruptura contra las presceptivas clasicas, a las que trata de superar en el estudio y denominacion de los fenomenos estilisticos, empleados por los escritores clasicos o de su tiempo, que sobresalieron por la agudeza grwcin expresion o por la profundidad y novedad de sus conceptos. Trivia About Agudeza y arte de Eduardo Losada marked it as to-read Jun 26, 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 adte is Grecian’s habitual starting point for thought, and be- cause its form, within the critical vocabulary of his day, is virtually indis- tinguishable from the nonwitty semejanza com,mun, which is, for Gracian, a mere flower of rhetoric.


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Similarly, the correspondence Gracian finds between two “causes” of the Virgin, her parents Anna and Joa- chim, lies in the gloss their names meaning, he tells us, “grace” and “preparation” provide on the Immaculate Conception of Mary I, Es el arte cuarta y moderna causa de la sutileza. Amazon Renewed Refurbished products with a warranty. Wit works within the commonplace subject-adja- cents relations to discover additional, noncommonplace relations among them to form the conceit of proportion.

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Agudeza y arte de ingenio by Baltasar Gracián

Gracian’s arti- ficioso is transitional between two eras of aesthetic theory. He attempts such a definition, nevertheless, and by so doing establishes an aesthetics that is his alone, mediating between the older classical conceptions that dominated the critical xe of the Renaissance and the yet undeveloped conceptions of modern aesthet- ics. 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.

And, Gracian argues, since the understanding is analogous to the senses in perceiving objects its own thoughts and since the understanding is the highest mental faculty, the artistic arrangement of its objects is ijgenio cally the highest of all the arts.

We have seen that Gracian has had to have recourse gaudeza con- ceptions like “special” or “rare” circumstances and constant reversion to the suggestive but imprecise metaphor of the “living” nature of wit, as opposed to the “dead” figures and effects of mere rhetoric.

Agudeza y arte de ingenio | work by Gracián |

Guillermo De la Torre rated it it was amazing Apr 07, For the sake of clarity, I will at times use the more familiar terms “common- place” and “topics” to describe what Gracian means by the relation dw the subject to its adjacents. He assumed the vows of the Jesuits in and dedicated himself to teaching in various Jesuit schools. Lists with This Book. Kuberr rated it really liked it Apr 02, Horace’s Ars poetica, quoted more than once in the Agudeza, was a locus cimsicus for that critical ignenio of ancient poetics: If every art, if every science which tends to perfect the acts of the under- standing is noble, that which aspires to intensify its highest and most subtle good should merit fame as the sun of the intellect, the consort of the ingemo, and the begetter of the conceit and of wit.


From the very beginning, Gracian strives to define the relation of his subject to the rhetorical tradition that underlies it. Las demas que no tienen este realce, son seme- janzas comunes, muertas sin el picante de la connexion funda- mental. David marked it as to-read May 01, Remember me on this computer. The framework in which Gracian places his definition is not so much Scholastic philosophy as traditional rhetoric. The simile as such arises only when the poet draws his comparison from material outside the subject’s force- field, using some “alien term.

But the marriage has changed the nature of both spouses, for genius has been seen to have its tain spring, fet wit boast its mental source. The “art” of ingemo retains something of the indefinable quality captured by that other derivative of the Latin ingemum, “genius.

I’d like to read this book on Kindle Don’t have a Kindle? The sense in which I use the terms corresponds to the “general” or “analytic” meaning; these were lists similar to Gre- cian’s catalogue of cause, effect, contingency, etc. The proportion can be a metaphor, but not always, as can be clearly seen in the first example that Gracian adduces to illustrate this category of wit: The wit of the se 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.

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: We might reconstruct the structure of the comparison this way: Hence the “art” of wit that emerges from Gracian’s the- ory is one nearer to post-eighteenth-century conceptions of les beaux arts than it is to the medieval and Renaissance notion of the arts as bodies of rules.

We might interpolate that the conceits are said to be formed from similitude and not propor- tion since the pearl-oyster is not one of ingejio normal “adjacents” of the subject of love.