{"id":1312,"date":"2015-08-23T14:40:38","date_gmt":"2015-08-23T14:40:38","guid":{"rendered":"http:\/\/grupos.unileon.es\/mebar\/?page_id=1312"},"modified":"2015-09-18T13:46:36","modified_gmt":"2015-09-18T13:46:36","slug":"fictio-personae-critica-literaria-ingles","status":"publish","type":"page","link":"https:\/\/grupos.unileon.es\/mebar\/fictio-personae-critica-literaria-ingles\/","title":{"rendered":"Fictio Personae. Cr\u00edtica literaria ingl\u00e9s"},"content":{"rendered":"

CAMPBELL, George<\/strong>. The Philosophy of Rhetoric. <\/em>London: V. Strahan and T. Cadell, \u00a01776, 2 vols.<\/p>\n

Personification<\/strong><\/p>\n

\u00a0[v.\u00a02, p. 204)\u00a0A fourth way in which tropes may promote vivacity, is when things sensitive are presented to the fancy instead of things lifeless; or, which is nearly the same, when life, perception, activity, design, passion, or any property of sentient beings, is by means of the trope attributed to things inanimate. It is not more evident that the imagination is more strongly affected by things sensible than by things intelligible, than (v. 2, p. 205) it is evident that things animate awaken greater attention, and make a stronger impression on the mind, than things senseless. It is for this reason that the quality of which I am treating, hath come to be termed vivacity, or liveliness of style.<\/p>\n

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BLAIR, Hugh<\/span><\/strong>.<\/span>\u00a0Lectures on Rhetoric and Belles Lettr<\/em>es<\/em><\/span>. 1785.\u00a0<\/em>Ed.\u00a0de Linda Ferreira-Buckley and S. Michael Halloram. \u00a0Carbondale: Southern Illinois University Press, 2005<\/span>.<\/p>\n

Blair, Hugo.\u00a0Lecciones sobre la ret\u00f3rica<\/em>\u00a0<\/em>y las bellas letras.\u00a0<\/em>Trad.\u00a0<\/em>\u00a0Jos\u00e9 Luis Munarriz. \u00a0Madrid: Ibarra, 1817, 3\u00aa ed.<\/span><\/p>\n

Personification<\/span><\/strong><\/p>\n

Blair.<\/strong>\u00a0<\/strong>(Ed. \u00a0de Linda\u00a0Ferreira-Buckley and S. Michael Halloram)\u00a0<\/strong>2005<\/p>\n

[ p. 173] \u00a0\u2026that Figure by which we attribute life and action to inanimate objects.<\/p>\n

Blair\u00a0(trad. Munarriz, 1817, p. 82)<\/span><\/p>\n

\u2026figura por la cual atribuimos vida y acci\u00f3n a los objetos inanimados<\/span><\/p>\n

[p. 173] \u00a0 It is a Figure, the use of which is very extensive, and its foundation laid deep in human nature. At first view, and when considered abstractly, it would appear to be a Figure of the utmost boldness, and to border on the extravagant and ridiculous. For what can seem more remote from the track of reasonable thought, than to speak of stones and trees, and fields and rivers, as if they were living creatures, and to attribute to them thought and sensation, affections and actions? One might imagine this to be no more than childish conceit, which no person of taste could relish. In fact, however, the case is very different. No such ridiculous effect is produced by Personification, when properly employed; on the contrary, it is found to be natural and agreeable; nor is any very uncommon degree of passion required, in order to make us relish it. All poetry, even in its most gentle and humble forms, abounds with it. From prose, it is far from being excluded; nay, in common conversation, very frequent approaches are made to it.<\/p>\n

Blair<\/span>\u00a0(trad. Munarriz, 1817, p. 82-83)<\/span><\/p>\n

Esta es una figura cuyo uso es muy extensor; y tiene profundas\u00a0ra\u00edces\u00a0en la naturaleza\u00a0humana. A primera vista, y considerada en abstracto, parecer\u00eda una figura de extremada grandiosidad; y que toca el (\u00bf) extravagante y rid\u00edcula. Porque \u00bfqu\u00e9 cosa puede parecer mas distante de los tr\u00e1mites de un pensamiento racional, que hablar de piedras y de \u00e1rboles, de campos y riachuelos, como si fuesen criaturas vivientes, y atribuirles pensamiento, sensaci\u00f3n, afectos, y acciones? Pudiera uno imaginar que esto no era mas que un conceptillo pueril, que no pod\u00eda agradar \u00e1 quien tuviese buen gusto. Pero con todo sucede lo contrario. La personificaci\u00f3n empleada con propiedad no produce tal efecto rid\u00edculo: por el contrario se ve que es natural y agradable; y que no se requiere un grado de pasi\u00f3n muy singular para gustar de ella. Toda poes\u00eda, aun la mas delicada y humilde, abunda de ella. Ni debe desterrarse de la prosa: y aun en la conversaci\u00f3n ordinaria nos acercamos frecuentemente a ella.\u00a0<\/span><\/p>\n

[p. 174] \u00a0There are three different degrees of this Figure; which it is necessary to remark and distinguish, in order to determine the propriety of its use. The first is, when some of the properties or qualities of living creatures are ascribed to inanimate objects; the second, when those inanimate objects are introduced as acting like such as have life; and the third, when they are represented either as speaking to us, or as listening to what we say to them.<\/p>\n

Blair (trad. Munarriz, 1817, p. 85) \u00a0<\/span><\/p>\n

Tres son los diferentes grados de esta figura; lo cual es preciso advertir y distinguir, para determinar la propiedad de su uso. El primero es cuando se atribuyen \u00e1 objetos inanimados algunas de las propiedades y calidades [sic] de las criaturas vivientes: el segundo cuando se introducen objetos inanimados obrando como si tuvieran vida; y el tercero cuando se presentan habl\u00e1ndonos, o escuchando lo que les decimos.\u00a0<\/span><\/p>\n

[p. 176] \u00a0 \u2026in poetry, Personifications of this kind [segundo \u201cgrado\u201d] are extremely frequent, and are, indeed, the life and soul of it. We expect to find every thing animated in the descriptions of a poet who has a lively fancy.<\/p>\n

Blair (trad. Munarriz, 1817, p. 87) \u00a0<\/span><\/p>\n

En la\u00a0poes\u00eda\u00a0son muy frecuentes las personificaciones de esta clase; y son la vida y el alama\u00a0de ella. Todo queremos hallarlo animado en las descripciones de un poeta, que tiene viva\u00a0<\/span>fantas\u00eda.\u00a0<\/span><\/p>\n

[p. 177] \u00a0\u00a0\u2026this [tercer \u201cgrado\u201d] is plainly the boldest of all rhetorical Figures; it is the style of strong passion only; and, therefore, never to be attempted, unless when the mind is considerably heated and agitated. (\u2026) All strong passions (\u2026) have a tendency to use this Figure, not only love, anger, and indignation, but even those which are seemingly more dispiriting, such as, grief, remorse, and melancholy. For all passions struggle for vent, and if they can find no other object, will, rather than be silent, pour themselves forth to woods, and rocks, and the most insensible things; especially if these be in any degree connected with the causes and objects that have thrown the mind into this agitation.<\/p>\n

Blair (trad. Munarriz, 1817, p. 91-92) \u00a0<\/span><\/p>\n

\u2026es claramente la mas grandiosa de todas las figuras ret\u00f3ricas. Es el estilo de una pasi\u00f3n fuerte solamente; y por tanto jamas se debe intentar, sino cuando el \u00e1nimo est\u00e1 en gran manera agitado y acalorado. (\u2026) todas las pasiones fuertes se encaminan a usar de esta figura: y no solo usan de ella el amor, la c\u00f3lera y la indignaci\u00f3n; sino aun las que parecen mas desanimadas, como el dolor, el remordimiento y la melancol\u00eda: porque todas las pasiones\u00a0 se esfuerzan por hallar desahogo; y si no hallan otro objeto, preferir\u00e1n dirigirse \u00e1 los bosques, \u00e1 las rocas, y \u00e1 las cosas mas insensibles, antes que determinarse \u00e1 permanecer en silencio; especialmente si estas cosas\u00a0est\u00e1n\u00a0de alg\u00fan modo\u00a0conexas con con las causas y los objetos que han puesto el \u00e1nimo en\u00a0<\/span>agitaci\u00f3n<\/span>.\u00a0<\/span><\/p>\n

[p. 178] \u00a0There are two great rules for the management of this sort of Personification. The first rule is, never to attempt it, unless when prompted by strong passion, and never to continue it when the passion begins to flag.<\/p>\n

Blair (trad. Munarriz, 1817, p. 94) \u00a0<\/span><\/p>\n

Dos son las reglas principales, que se deben observar en el manejo de esta especie de personificaci\u00f3n [\u201ctercer\u201d grado]. La primera es no emprenderla jamas sino cuando somos impelidos de una pasi\u00f3n fuerte; y no continuarla cuando esta comienza a decaer.\u00a0<\/span><\/p>\n

[p. 178] The second rule is, never to personify any object in this way, but such as has some dignity in itself, and can make a proper Figure in this elevation to which we raise it.<\/p>\n

Blair (trad. Munarriz, 1817, p. 94) \u00a0<\/span><\/p>\n

La segunda regla es no personificar por este estilo objeto alguno, que no tenga en s\u00ed mismo alguna dignidad; y que no pueda hacer buena figura en la altura en que queremos colocarlo.\u00a0<\/span><\/p>\n

[p. 179] \u00a0In prose compositions, this Figure requires to be used with still greater moderation and delicacy. The same liberty is not allowed to the imagination there, as in poetry. The same assistances cannot be obtained for raising passion to its proper height by the force of numbers, and the glow of style. However, addresses to inanimate objects are not excluded from prose; but have their place only in the higher species of oratory.<\/p>\n

Blair (trad. Munarriz, 1817, p. 96-97) \u00a0<\/span><\/p>\n

En las composiciones en prosa se debe usar de esta figura con mayor moderacion y delicadeza: en ellas no tiene la misma libertad la imaginaci\u00f3n que en la poes\u00eda, para levantar la pasi\u00f3n \u00e1 la altura competente no basta la fuerza de los n\u00fameros, ni el brillo del estilo. Sin embargo no deben excluirse de la prosa los ap\u00f3strofes \u00e1 objetos inanimados: pero tampoco deben introducirse sino en la oratoria mas sublime.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

CAMPBELL, George. The Philosophy of Rhetoric. London: V. Strahan and T. Cadell, \u00a01776, 2 vols. Personification \u00a0[v.\u00a02, p. 204)\u00a0A fourth way in which tropes may promote vivacity, is when things sensitive are presented to the fancy instead of things lifeless; or, which is nearly the same, when life, perception, activity, design, passion, or any property […]<\/p>\n","protected":false},"author":16,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1312","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/pages\/1312","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/users\/16"}],"replies":[{"embeddable":true,"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/comments?post=1312"}],"version-history":[{"count":4,"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/pages\/1312\/revisions"}],"predecessor-version":[{"id":1965,"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/pages\/1312\/revisions\/1965"}],"wp:attachment":[{"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/media?parent=1312"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}