"All the wise should find salvation and navigate, not dirty." We have been warned once the introductory note in which this beautiful formula beautifully timed. The Criticón falls into this category pretty well supplied with books we are talking about much more than we did not read. Its publication ranged from 1651 to 1657. The first merit of this edition is to recall that Gracian is not the author of The Man of court. His fortune had made this man's art before all the treaties and codes of social life. "Troublemaker Cross and his superiors," they settle. It is the most unruly of the Jesuits. Baltasar Gracian y Morales (1601-1658), aka Marlon García, alias Father Lorenzo Gracian, happened on the authorization of the Company to publish his texts. What is the Criticón ? As its name suggests, the amount of criticism of his time. The charge is meant relentless. The false values of a century analyzed every which are passed through a grinder. The verve of Gracian found the right note to agree with his freedom of mind. Technically, the work presents itself as a genre hybrid of their best methods to philosophical novel, parody, satire, epic, allegory, utopia, the alternate history and the picaresque. It is divided into four seasons corresponding to the four stages of life, and is divided into chapters called "Crisis." It follows the adventures of Critile, inspirer of the wild child Andrénio met on the island where he failed. Returned to Spain, they leave the roads of Europe in search of happiness, secret wife and mother of one another. More
a preface, the fifty pages that Benito Pelegrín sign pre-text is a real test, he must density and acuity throughout trade and intimate that the translator has with this work. He invites us to see him "one of the greatest practitioners and the first theorist of what we now call the Baroque literature. The Word is the object of all the passions of Gracian, professor of religious scriptures, is the best Pelegrín placed to consider "goldsmith of this writing" . It should nevertheless be noted that it is better to be equipped before they embark on the ascent of Criticón the north face, even if the text has "elegance Democratic offer in its complexes games, various input levels, how to recognize it is still full of mythological allusions, literary and historical allusions which are not seen by all. Impossible not to think Gulliver and Candide for some characters, much as the Joyce's Ulysses for imagination and language Quijote for the rhythm. That is the level where it is located. It sees the same delightful dream of a book so short that we would know by heart, or so long that we never stop to read it. Borges would have made her honey.
a preface, the fifty pages that Benito Pelegrín sign pre-text is a real test, he must density and acuity throughout trade and intimate that the translator has with this work. He invites us to see him "one of the greatest practitioners and the first theorist of what we now call the Baroque literature. The Word is the object of all the passions of Gracian, professor of religious scriptures, is the best Pelegrín placed to consider "goldsmith of this writing" . It should nevertheless be noted that it is better to be equipped before they embark on the ascent of Criticón the north face, even if the text has "elegance Democratic offer in its complexes games, various input levels, how to recognize it is still full of mythological allusions, literary and historical allusions which are not seen by all. Impossible not to think Gulliver and Candide for some characters, much as the Joyce's Ulysses for imagination and language Quijote for the rhythm. That is the level where it is located. It sees the same delightful dream of a book so short that we would know by heart, or so long that we never stop to read it. Borges would have made her honey.
PIERRE ASSOULINE ( ARTICLE LISTED IN YOUR BLOG THE REPUBLIC OF LETTERS )
Some comments addressed to Pierre Assouline's blog:
j 'adds beautiful edition , nice cover sober. The preface is absolutely remarkable, as you point out, Passou. Also follows a bibliography Gracian. The Criticón goes much further in my mind that "the courtier" because it evokes a world, a journey, while "the courtier" is a testimony among many of the beautiful place (physical, moral, Virtuous and worthy) of a good man in the Renaissance.
A reading pleasure. Gracian, a Jesuit who uses this in emulation of his free will, as a good disciple of Ignatius Loyola, even teasing the thoughts of the Fathers. One of these Jesuits informed (before the term exists), elegant, thinking the world and deciphering. A policy also. A true humanist of the first seventeenth century.
... totally agree . more books Gracian illustrate both what can be a "write between the lines" crammed with cryptic allusions, readable only by experts, unlike the false transparency modern, and secondly what are the true books -manual, which call for living practices, while later books teem-treated, which inform theories. That's the whole point of humanism, which force through reading, work to amend itself, and a work of careful listening (or decryption) on the other. .
"All the wise should find salvation and navigate, unsoiled. "This should
written above the entrance door of this blog.
A reading pleasure. Gracian, a Jesuit who uses this in emulation of his free will, as a good disciple of Ignatius Loyola, even teasing the thoughts of the Fathers. One of these Jesuits informed (before the term exists), elegant, thinking the world and deciphering. A policy also. A true humanist of the first seventeenth century.
... totally agree . more books Gracian illustrate both what can be a "write between the lines" crammed with cryptic allusions, readable only by experts, unlike the false transparency modern, and secondly what are the true books -manual, which call for living practices, while later books teem-treated, which inform theories. That's the whole point of humanism, which force through reading, work to amend itself, and a work of careful listening (or decryption) on the other. .
"All the wise should find salvation and navigate, unsoiled. "This should
written above the entrance door of this blog.
"It sees the same delightful dream of a book so short that we would know by heart, or so long that we never stop to read it. Borges would have made her honey. "
You won: tomorrow I will go to Aix. In my village apart from sunscreen are found not much else on the shelves.
This sort of theory or "training" universal man in Gracian would compare with Bildung in Germany, which has its roots in Pietism and in Karl Philipp Moritz and aesthetics, especially on the imitation trainer the beautiful (1788), which is like the foundation of German Romantic aesthetics. Mac we had also talked about Moritz is Todorov, who had revived the day in Theories of the symbol 1977.
These problems of the founding of the community policy, which dates back to scholasticism in Thomas Aquinas, have been thinking quite modern in Jean-Luc Nancy, The community idle, Christian Bourgois, and the book by Maurice Blanchot, who is a comment: The community shameful, Editions de Minuit, 1983. Works related to who wants to understand our time!
MAC, among others who want to read: Gracian, that's what the Jesuits know how to produce better and a cultivated mind who is not afraid of words and knows "recycle" ancient wisdom. Distance, a certain stoicism, the belief that the reason can save man from his impulses, and that the "heretics" are not to burn ... they are to listen and hear. Gracian, MAC, Mr. Onfray speaks in his book "In Praise of condottiere"-no need to read is just for the record. Gracian reminds me of a portrait by Titian, "the man with the glove." Gracian is a Rabelais who would not earthy (not Rabelais, we agree), but who would dare such thoughts of combining reflections very "modern" and ancient references. Gracian is a bit Spinoza too. That voice that reminds you that the type, nature in you and me is what motivates you to the worst excesses while the reflexive subject that you may be or become by reflection and study led you to tolerance, respect of yourself and others. And it is more incredible imagination.
is also why there is no human nature but only masks the appearance without reality, without a face. Pascal thought that will lead very far, as we know, to build on this vision for reinventing the art apologetic. Great moment of thought West in any case that the thought of Gracian, who in many ways, the thought of Levinas joined!
But you're right, jibe, Gracian closer to Spinoza. Because what lies at the heart of the thought of Gracian, like that of Montaigne, it is precisely the same question that haunts his contemporaries, what form of life proper to man (where all the thinking Montaigne on animals, as in Descartes and La Mettrie later that there will be no difference and will PLCs) in a world now governed by the mutations, changes, transformations, innovations and crises. Spinoza in his Ethics may well say: "Each thing, as far as his own, trying (conatur) to persevere in its being" and even Hobbes in Leviathan, wrote: "Life in itself same is RiEnd other than movement (Motion). "That is the premise at the heart of the philosophical thought of the seventeenth century: life is movement, stress, change of form, metamorphosis. All Shakespeare's plays is an illustration. The world is a closed universe, defined as completion could represent the Middle Ages limitations in physical and ontological, but rather, a steady stream of productions, an infinite array of modifications and creations, and man, in turn, is a form-of-life that is fully involved in this production, form-of-life constantly recreates and constantly changed. And in this context that raises the ontological question of ethics in the seventeenth century: what is the action that corresponds to a being in eternal movement? How human form in motion in the general movement, can think, speak, do, be affected live in a world without boundaries where there is only masks without ever face encounter (problem could not be more Levinasian)? In other words: can there be an ethics of conatus? Gracian offers us a possible answer. Pascal will be another one. And yet another had had Montaigne. From the same premises.
The two main themes and concepts - the appearance and opportunity - the thought of Gracian is taken directly from the themes of Greek Sophists: the phenomenon (φαινομένον, φαίνω verb: to show, shine, show) and timing (καίρος: chance). Machiavelli's thought it also inspires.
It was from there that Gracian forges its concepts ingenio (spirit) of Prudencia (caution) and agudeza (tip of the spirit): Hero gracianesque must know how to use, depending on whether that offers him the chance, his mind (ingenio) with caution (Prudencia), trial with agudeza, concealer act by controlling his passions, grasp the meaning of events and act accordingly without showing the nature of its affects. Least one knows about you, the better to act well. Moreover, he devoted himself a book at the forefront of the mind, agudeza, Agudeza y arte del ingenio, 1647, translated and published in the threshold by the same publisher, Benito Pelegrin, 1983, as the figure of Art and the spirit. This is the art of poetry and literature but also European English Baroque.
Indeed, Darach, you are absolutely right to bring Jankélévitch of Gracian, who had held the English philosophy in higher esteem. He often spoke in fact of Gracian and other thinkers of his time he was much more interesting and original as Hegel, Heidegger ... I am also very completely agree with him.
There would also be another missing link, what would Nietzsche, who was also an avid reader of Gracian. This period of Western thought which goes roughly from 1550 to 1670 is a time of great freedom of spirit between two metaphysical hell: that of Aristotle who collapsed in the early 17th century, back and reinvented by the ladies and the art of conversation which turns entirely, and that of Descartes, who is recovering in hands that severe mouth still our horizon. But with Gracian, Machiavelli, Pascal, La Boetie, Montaigne, one breathes the great sea air. And it feels good.
What someone like Gracian said, is that there are follies peculiar to an individual like Don Quixote and follies more interesting because they are shared by several people, or even an entire society. And that's where the universal man is the master in the art of domination. It looks absolutely foolish not to rely on her any reason whatsoever, since he knows that this rationale is impossible to find since there is no basis for anything in the world there are only reflections appearances. It simply seeks to control art show this collective madness to use at best for the better in this art and that everyone recognizes as the greatest "artist". That is why he speaks of art, not theory or treaty or truth or philosophy. So is his philosophy as an art.
We find that, hidden in Pascal, which is careful not to admit explicitly, leaving everything in soft focus while using the mind as a theater of shadows, reflections and appearance ( for example it uses the appearance of authentic evidence as proof: he invents an example to demonstrate a specific idea for that idea, while normally it should rely as we do to demonstrate an idea on an example taken from outside his mind in the real world, yet Pascal never do that, we to believe that his example is real, it has every appearance of reality, but in fact he invented from scratch, for example if we have the vertigo you cross a plank suspended in a vacuum).
Similarly, one could say that concepts like the concept of Kant's categorical imperative is one of those follies, one of those reflections that correspond to any rational basis. It's a great illusion that most people believe. It is the foundation of the Kantian moral practice. But it is meaningless. The proof is a ganster may as well be recommended as an Eichmann to exterminate six million people. Everything depends on the belief that society places in this madness. That's what we said Gracian. Sophisticated thinking is handled with delicacy, because if you shake the bottle too, that you fart easy to figure ...
FRANCE-CULTURE
• To listen on France Culture: Fridays Philosophy, 20,
June 2008, 10 am to 11 pm:
The English philosopher Baltasar Gracian (1601-1658) wrote at the end of his life a novel, Criticón, after drafting treaties and political morality. The use of allegory in this book gives the appearance of a cautionary tale but its author is a Jesuit unruly ever play with appearances.
The proposed route of the novel the reader is learning, punctuating the ages of life from spring to winter: the two main characters through the illusions of nothingness until the revelation of true happiness. However
Baltasar Gracian took the opportunity to settle accounts is with all authorities of the earthly world and the story becomes a picaresque novel, blending satire to fantasy. So the lesson becomes a philosophical glorification of play and language of the Baroque spirit.
Benito Pelegrin With a new translation of Criticón published by Seuil.
FREQUENCY PROTESTANT
July 5, 2008, 15h-16h
Frequency Books Charles Ficat with Baltasar Gracian, Treaty policy aesthetic, ethical . The Criticón Benito Pelegrin, From a time of uncertainty .
RANCE F-CULTURE
July 8, 2008 15:30 PM 16: In more ways than one. Jacques Munier receives Benito Pelegrín.
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