Sacred and profane love: four fountains in the Hypnerotomachia (1499) and the Roman de la Rose
2006; Taylor & Francis; Volume: 22; Issue: 1 Linguagem: Inglês
10.1080/02666286.2006.10435730
ISSN1943-2178
Autores Tópico(s)Renaissance Literature and Culture
ResumoAbstract As other critics have observed, notably Gilles Polizzi in his many valuable studies of the Songe de Poliphile,1 the Hypnerotomachia (1499)2 draws on the medieval Roman de la Rose as a source, most obviously in its consummation scene at the Fountain of Venus. Like the Roman, the Roman, the Hypnerotomachia is a dream-vision relating the story of a lover's quest for his beloved, unfolding in a dream landscape, a single garden in the former and a series of gardens and idealized landscapcs in the latter. Polizzi has argued that the Hypnerotomachia has many medieval features, some of which he traces specifically to the Roman, and it is true that, for example, the l{vpnerotomacizia has the episodic structure typical of medieval romance. It is also a narralive that is, like the Roman (although to a far greater degree), significantly structured and shaped by the fountains encountered by its protagonist. Within the Hypnerotomachia, fountains have very particular narratological, aesthetic and ethical functions, and to compare two of them with their analogues (and perhaps sources) in the Roman clarifies some specific issues concerning fiction, love and art in both the individual romances themselves and the relationship between them. Colonna draws obliquely on the Roman in creating a structural parallel between Guillaume de Lorris's Fountain of Narcissus and his own Fountain of Adonis; furthermore, in the Fountain of Venus, he rejects, or at least radically reconfigures, Jean de Meun's Fountain of the Lamb. To look back from Colonna's text, and not least its illustrations, to one of his key sources is therefore to understand it more deeply, and to gain a richer appreciation of its status as a quintessentially Renaissance text.
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