Arte Poetica Quotes

Where are there towns but no houses, roads but no cars, forests but no trees? Answer on a map (Riddle on children's breakfast TV)

For Poesy alone can tell her dreams, With the fine spell of words alone can save Imagination from the sable charm And dumb enchantment. Who alive can say, ‘Thou art no Poet may’st not tell thy dreams?’ Since every man whose soul is not a clod Hath visions, and would speak, if he had loved And been well nurtured in his mother tongue. Whether the dream now purpos’d to rehearse Be poet’s or fanatic’s will be known When this warm scribe my hand is in the grave.

Sono avvolto in te. Sciogliersi nella tua silhouette e diventare una cosa sola, uno strano contorno d'amore, che scorre con il vento.

La poesia non cerca seguaci, cerca amanti.

Ars Poetica To gaze at the river made of time and water And recall that time itself is another river, To know we cease to be, just like the river, And that our faces pass away, just like the water. To feel that waking is another sleep That dreams it does not sleep and that death, Which our flesh dreads, is that very death Of every night, which we call sleep. To see in the day or in the year a symbol Of mankind's days and of his years, To transform the outrage of the years Into a music, a rumor and a symbol, To see in death a sleep, and in the sunset A sad gold, of such is Poetry Immortal and a pauper. For Poetry Returns like the dawn and the sunset. At times in the afternoons a face Looks at us from the depths of a mirror; Art must be like that mirror That reveals to us this face of ours.

Paradoxul realismului socialist: "Pe de o parte, mergand pana la capat cu reflectarea stiintifica si obiectiva a realitatii, asa cum pretinde cultura stalinista ca face, ar iesi la suprafata multe "imperfectiuni" ale sistemului. De cealalta parte, o poetica non-mimetica ar rata, prin aspectul sau abstract, functia agitatorica a noii arte". (Alex Goldis, Critica in transee)

Ars Poetica To look at the river made of time and water And remember that time is another river, To know that we are lost like the river And that faces dissolve like water. To be aware that waking dreams it is not asleep While it is another dream, and that the death That our flesh goes in fear of is that death Which comes every night and is called sleep. To see in the day or in the year a symbol Of the days of man and of his years, To transmute the outrage of the years Into a music, a murmur of voices, and a symbol, To see in death sleep, and in the sunset A sad gold—such is poetry, Which is immortal and poor. Poetry returns like the dawn and the sunset. At times in the evenings a face Looks at us out of the depths of a mirror; Art should be like that mirror Which reveals to us our own face. They say that Ulysses, sated with marvels, Wept tears of love at the sight of his Ithaca, Green and humble. Art is that Ithaca Of green eternity, not of marvels. It is also like the river with no end That flows and remains and is the mirror of one same Inconstant Heraclitus, who is the same And is another, like the river with no end.

Having said that from pudor and libertas comes liberalitas, Vico does not discuss this further. Associated with the studia humanitatis, which Vico con- nects to the general meaning of humanitas, is Cicero’s term artes liberales (liberalis, relating to freedom). The liberal arts are the ‘‘humanities.’’ ‘‘Liberality’’ is the quality or state of being free, of kindness, courtesy, or generosity. If we speculatively extend Vico’s mention of liberalitas it suggests that the law, once beyond the enactment and support of rights basic to human nature, contains and promotes a humane wisdom. Law extends the original feeling of common humanity that takes shape in the basic uses of language in human society. This humane wisdom is justice, in the Platonic and humanist sense of proportion or balance in the faculties of the soul, and in the order of society. Vico adds to his principles of humanity two principles of history. He says universal history is the history of things and the history of words (rerum et verborum). Etymology is the history of words, and mythology is the first history of things (ch. 7). This establishes the detailed exposition of Varro’s obscure period of the nations that is reformulated as ‘‘poetic wisdom’’ (sa- pienza poetica) in the second book of the New Science, its longest book. Etymology, as in the Cratylus, allows us access to the original meanings of the words of languages. But at the end of the Cratylus Socrates turns from words to the things themselves. Mythologies give us the first histories, as Vico ex- plains in the Dissertationes of the third book of the Universal Law. Vico says in the New Science: ‘‘The first science to be learned should be mythology or the interpretation of fables’’ (NS 51).