作者: de Armas
DOI: 10.2307/44799371
关键词:
摘要: In his manual on grammar and rhetoric titled Elocuencia espanola en arte (1604), Bartolome Jimenez Paton discusses the five levels of meaning in a "fabula" —the literal, moral, allegorical, anagogical, tropological—giving as example myth Per seus slaying Gorgon. Curiously, he shifts myths when discussing anagogical level. Instead focusing Perseus, turns to Ganymede: "Anagogicamente es cuando por el rapto de Ganimedes entendemos arrobado espfritu contemplation cosas celestiales, y que la sabiduria humana ignorancia con Dios" (232). With one stroke pen, makes this youth from antiquity an apt subject Counter-Reformation Spain, something that fits well with treatise "de acusado corte contrarreformista"(Martin 11). Any hint pagan otherness is censored, absented. The reader may know Ganymede was abducted by Jupiter because beauty, but does not mention this. Mythographers such Natale Conti had taken great care transform Ganymede's bodily beauty into spiritual greatness: "En efecto, alma los hombres, que, segiin hemos dicho, Dios lleva junto si debido su notable prudencia. ... Pero, realmente, mas hermosa no esta absoluto contaminada las suciedades humanas acciones vergonzosas del cuerpo" (695-96). Conti, then, counteracts any sodomy, or what calls shameful actions body, soul. While mythographers create lengthy apolo gies for Ganymede, rejecting physical favor splendor, simply eliminates all previous argument. gathered youth's ascent heav ens, regardless cause. No longer do we have text condemns event, like fourteenth-century Ovide Moralise, where abduc tion seen as: "Against law against nature" (Saslow 42); nor Neo-Platonic apologetics Conti. Paton, it if erotic abduction never happened. This brief statement says