[PDF / Epub] ☀ Hypnerotomachia Poliphili Author Francesco Colonna – Golanvideoagency.info
This book is a bit of an enigma but not because of the mystery surrounding its author, conception, intended purpose, or the layers of hidden messages embedded inside it and these mysteries certainly remain Instead, I think this book is enigmatic because although the quality of the text itself isn t impressive, there s a strange beauty in the way that these words have been embellished externally and turned into something larger and beautiful than what s contained in the text itself This book is an example of how the weight of time and many fruitless attempts at interpretation can create a work of beauty that is external to the book itself. Colonna s Hypnerotomachia, which can be translated as Poliphilio s Strive of Love in a Dream, tells the author s tale of love for a girl, Polia It takes place in two dreams amidst pagan bacchanalia that celebrate Greek and Roman antiquity, especially the architecture, gardens and costuming that the lustful Dominican monk imagined as he wrote in his cell at a Treviso monastery between 1465 and 1467 Based on hints left in the text and what little is known about Colonna during those years, Polia was the daughter of a nobleman, dead in her teens, whom he had loved apparently unrequitedly The protagonist, Poliphilio literally the lover of Polia, for Colonna was obsessively loving of every detail of the world that revolved around his ing nue provides exacting descriptions of every lawn, statue, temple, garment and shoe worn by the object of his love and the many sprites, gods and goddesses that surround her Although these scenes were small, there was not the least defect in them, not even the smallest detail everything was perfect and clearly discernible, Colonna writes, via Godwin s translation, approximately halfway through a 40 page description of a triumphant parade, not so much as a justification for his exhaustive cataloging of friezes, vases and garlands in the procession of lithe, voluptuous, nubile and hirsute pagan spirits, but simply as a transition to some 15 additional pages on the virtues of details that perpetually stupefy Poliphilio as he is led through his dream pursuit of Polia How many bibliophiles have actually read it is another question, for its textual excesses are enough to deter most readers, wrote Joscelyn Godwin in her introduction to the book She was the first translator to succeed in making an English version of the book only in 1999, on its 500th anniversary The book, which is vaguely familiar to modern readers as the source of The Rule of Four, a mystical thriller written in the wake of Dan Brown s The Da Vinci Code, is often celebrated as a farsighted precursor of James Joyce s Finnegans Wake, a complex modernist linguistic tour de force published in 1939 that combined many languages in a dream discourse Colonna s use of languages, in contrast to Joyce s, is rather limited, with only a few words of Greek and Hebrew appearing as inscriptions on statuary His real talent, in addition to that friar s eye for arcane detail, was in his ability to forge new words from Latin and Italian to create his own vernacular, a lovelorn torrent that, as Godwin points out, if translated literally would include sentences such as In this horrid and cuspidinous littoral and most miserable site of the algent and fetorific lake stood saevious Tisiphone, efferal and cruel with her viperine capillament, her meschine and miserable soul, implacably furibund Nine of those overripe words were neologisms concocted by the writer, none of them has found acceptance in the half millennia since Colonna invented them His wordplay anticipates the inventive texting of today s teens and young adults, some of whom have begun writing novels and serial dramas in truncated English, Japanese and Chinese that are delivered to their audiences, mostly friends, by mobile handset Viperine, to be snakelike, doesn t have the same tone as LOPSOD, the texting code for long on promises, short on delivery, but both describe a certain danger and untrustworthiness when applied in a narrative. One Of The Most Famous Books In The World, The Hypnerotomachia Poliphili, Read By Every Renaissance Intellectual And Referred To In Studies Of Art And Culture Ever Since, Was First Published In English By Thames Hudson In It Is A Strange, Pagan, Pedantic, Erotic, Allegorical, Mythological Romance Relating In Highly Stylized Italian The Quest Of Poliphilo For His Beloved Polia The Author Presumed To Be Francesco Colonna, A Friar Of Dubious Reputation Was Obsessed By Architecture, Landscape, And Costume It Is Not Going Too Far To Say Sexually Obsessed And Its Woodcuts Are A Primary Source For Renaissance Ideas On Both Buildings And GardensIn An Attempt Was Made To Produce An English Version But The Translator Gave Up The Task Has Been Triumphantly Accomplished By Joscelyn Godwin, Who Succeeds In Reproducing All Its Wayward Charm And Arcane Learning In Language Accessible To The Modern Reader Boring book So why the 5 stars Because it has some of the most exciting and unexplained illustrations Something like participating in a arcade video game of the late 1980s. A dreamy read Difficult, rather challenging, but in a certain and peculiar way reminiscent of Neil Gaiman s the Sandmand and Alan Moore s Lost Girls rather than contemporary litterature.Plus there was a special reaosn to read it and I was overdue.Not any.Try it, people. Probably one of the most difficult books I have read I have read it a couple times from school and for pleasure over a couple of years If you don t mind a very detailed dream filled with mythological, sexual flights and many other topics all rolled into one story then this book is right down your alley I came to love it after dissecting this book in my art history class I defiantly recommend doing history research to understand the time this was written and you may be one step above really getting what Poliphili is trying to say to you the reader. Reading through this book is like opening an old bottle of fine deep red wine On a hammock In my backyard During the summertime Lovely gardens and architecture, long sentences that make my mind feel alive. I will still pick this book up, randomly open to a page and start reading This helps me go to sleep An amazing mind wrote it, but it is very easy to get lost in the details. The Strife of Love in a Dream, or, I Love CuspsFrancesco Colonna was obsessed with architecture, for sure, in a didactically ordered, religiously literate, and, I ll say it , fascist kind of way Yet, the book itself, Hypnerotomachia Poliphili The Strife of Love in a Dream , is a formally Anti Fascist exploration of form It is also a diligent portal To the underworld of other worldly Into pleasure and unthinkable happiness For this, I think it is brilliant It was written long ago 1499 Who doesn t LOVE cusps I love cusps I also love the pataphysical rendering of dream experience in this book, as the book is clearly a 400 page excuse to deliver the author s dream, and, by dream, I don t just mean that which might occur when sleeping, but the dream that might be always happening but is not necessarily recognized the dream we dream awake.The dream in the book is full of philosophical inscriptions, say, of an architectural wonder displaying the words, NOTHING FIRM This book is translated by Joscelyn Godwin I will re translate this architectural portal into the language of poem, as if NOTHING FIRM means OUTSPREAD DRAPERY However, as far as the contemporary reader, dear dream, Poliphilo s pataphysical point of view devolves every time he applauds the architect in his supreme ordering as superior to the worker in his mere ornamentation Sure, he might be talking allegorically the idea is superior to the execution Or not This is part of the point My authorial point A point is like a period Impregnated A point that is like a period that is impregnated is like a period in hyperspace My point is that reading requires Dimensionality However, upon closer scrutiny The reason why the narrator heralds the sculptor over the worker so much is that, I imagine, the author sees himself as the sculptor of his story Who doesn t, right Ask Marjorie Perloff or Kenneth Goldsmith Or nearly everyone these days A friend once told me that one of the reasons she loved Ed Dorn as a poetry teacher was because he had a point of view I m paraphrasing she probably said something much better I know she did but can t reveal what she said The point of her point of view is that you weren t supposed to have a point of view this was the 90s, after all so the whole NOTION of a professor having a point of view was very exciting And she liked his point of view that s a big part of the point my point, which is not really her point Perhaps she might not have been so happy that he took a point of view if she hated his point of view I like Kenneth Goldsmith s point of view because I see it as an overt satire of negative space, a Gestalt image the genome is already mapped He s just arranging the chromosomes With a top hat on Practically everyone has his point of view, at least many non poets who believes in poetry and art As ANOTHER friend of mine said, recently, it s certainly CREATIVE of Kenneth Goldsmith to reject creativity Obviously And his work is not just about humor and performance, as one poet I heard lightly tell him after he read at Naropa The poem becomes redefined as a by product of the experiment, which is no longer the poem as product but the poem as process It s reality rather than just the reader that gets mediated This is subversive who doesn t like that Well, sadly, just about everyone else QUANTUM JUMP There are such ravishing sculptures in the dreams of Poliphilo that it is said the people who encounter them use them to masturbate For this, On The Cusp, the book deserves five stars Yet, I wish the stars of reviewing were like the stars of outer space, innumerable dwarfs, supernovas, anything goes in my book Even so, I could not satisfy my hungry eyes and my insatiable appetite for looking again and again at the splendid works of antiquity But the larger point of this review is to reveal the terrible injustice and beauty of translation as an art form and as a mediation of reality In the introduction to this volume, the translator reveals The first principle of this translation is to honor every word of the original, however redundant the style may seem to modern ears To have done otherwise would have only produced another abridgement The only general exception to the principle is the omission of Colonna s constant superlatives and diminutives, which would have become very wearisome in English and very occasionally the effort to match Aldus s typography has been made at the cost of a few inessential words But if one were really to convey the spirit and style of the original language, it would have been necessary to do as Colonna did to invent English words based on the same Latin and Greek ones, and to embed them into a syntax to match Thus one might render the description of the fury on page 249 as follows In this horrid and cuspidisaevious Tisiphone, efferal and cruel with her viperine capillament, her meschine and miserable soul, implacably furibund While most readers will be relieved at the decision not to do so, something has been lost thereby All the colorful patina, all the grotesque accretions have been stripped away from Colonna s language, leaving it comprehensible but bland The only compensation lies in exploiting the rich double vocabulary of Latin and Germanic roots that is unique to English Page 249 On this horrid and sharp stoned shore, in this miserable region of the icy and foetid lake, stood fell Tisiphone, wild and cruel with her vipered locks and implacably angry at the wretched and miserable souls who were falling by hordes from the iron bridge on to the eternally frozen lake Page x xi In this horrid and cuspidisaevious Tisiphone, efferal and cruel with her viperine capillament, her meschine and miserable soul, implacably furibund Taken together, these translations form a kind of cusp, a description of between that points beyond the fury in which they are describing and into the word itself the infernal ordinary that comprehensible human language keeps formulaically burying itself in, alive.This is why we need poems. I first heard of this book when John Crowley mentioned it in his Aegypt cycle, and, as I am prone to do, I bought it solely because it was mentioned in a book I love.It s been sitting on my shelf for years now, and once I tried to read it through, but got way bogged down So now I just take it down once in a while and look at It is one of those books that s nice to just look at, with thick creamy pages, wide margins, and some illustrations.What I actually read in it reminded me quite a bit of Raymond Roussel s novels or vice versa , in its rapidly escalating fantasy and dry mouthed recitation of crazy elaborate detail.There is supposedly an esoteric intent behind the book, and some serious metaphysical investigation, but I haven t gotten deep into it enough to report on that.