{"id":338,"date":"2014-07-08T02:38:31","date_gmt":"2014-07-08T02:38:31","guid":{"rendered":"http:\/\/grupos.unileon.es\/mebar\/?page_id=338"},"modified":"2015-06-19T05:32:28","modified_gmt":"2015-06-19T05:32:28","slug":"hyperbole-critica-literaria","status":"publish","type":"page","link":"https:\/\/grupos.unileon.es\/mebar\/hyperbole-critica-literaria\/","title":{"rendered":"Hyperbole. Cr\u00edtica literaria ingl\u00e9s"},"content":{"rendered":"

\u00a0<\/em>BLAIR, Hugh<\/strong>. Lectures on Rhetoric and Belles Lettres<\/em>, Linda Ferreira-Buckley and S. Michael Halloram (eds.), Carbondale: Southern Illinois University Press, 2005.
\n(La primera edici\u00f3n apareci\u00f3 en 1783<\/strong>)<\/p>\n

\u00a0Blair, Hugo<\/strong>: Lecciones sobre la ret\u00f3rica y las bellas letras<\/em>, Jos\u00e9 Luis Munarriz (trad.), Madrid: Ibarra, 1817, 3\u00aa ed.
\n(La primera edici\u00f3n apareci\u00f3 en los a\u00f1os 1798-1801<\/strong>. Creo que convendr\u00eda citar de ella la versi\u00f3n definitiva)<\/p>\n

 <\/p>\n

[Blair, 170] \u00a0It consists in magnifying an object beyond its natural bounds.<\/p>\n

[Blair 2: 73] \u00a0Consiste esta en engrandecer un objeto sac\u00e1ndolo de sus l\u00edmites naturales.\u00a0<\/span><\/p>\n

[Blair 170-71] \u00a0\u2026the Hyperbole is a Figure of difficult management; and ought neither to be frequently used, nor long dwelt upon. On some occasions, it is undoubtedly proper; being, as was before observed, the natural style of a sprightly and heated imagination ; but when Hyperboles are unseasonable, or too frequent, they render a composition frigid and unaffecting. They are the resource of an author of feeble imagination.<\/p>\n

[Blair 2: 75] … el hip\u00e9rbole es una figura dif\u00edcil de manejar: y que no debe usarse con frecuencia; ni se debe insistir mucho en ella. Hay ocasiones en que sin duda es oportuna; siendo, como ya he observado, el estilo natural de una imaginaci\u00f3n viva y acalorada: pero cuando son inoportunos, \u00f3 demasiado frecuentes los hip\u00e9rboles, hacen fria y l\u00e1nguida la composici\u00f3n: son el recurso de un autor de imaginaci\u00f3n d\u00e9bil.\u00a0<\/span><\/p>\n

\u00a0Hyperboles are of two kinds; either such as are employed in description, or such as are suggested by the warmth of passion. The best by far, are those which are the effect of passion (\u2026) All passions, without exception, love, terror, amazement, indignation, anger, and even grief, throw the mind into confusion, aggravate their objects, and of course, prompt a hyperbolical style. (Blair 171)<\/p>\n

[Blair 2: 75] De dos clases son los hip\u00e9rboles. Hay unos que se emplean para describir; y otros que los sugiere el ardor de la pasi\u00f3n (…) Todas las pasiones sin excepci\u00f3n, el amor, el terror, el asombro, la indignaci\u00f3n, la c\u00f3lera, y aun el dolor llenan de confusi\u00f3n el \u00e1nimo: abultan los objetos: y de consiguiente inspiran un estilo hiperb\u00f3lico.<\/span>\u00a0<\/span><\/p>\n

In simple description, though Hyperboles are not excluded, yet they must be used with more caution, and require more preparation, in order to make the mind relish them. Either the object described must be of that kind, which of itself seizes the fancy strongly, and disposes it to run beyond bounds; something vast, surprising, and new; or the writer’s art must be exerted in heating the fancy gradually, and preparing it to think highly of the objectwhich he intends to exaggerate. When a Poet is describing an earthquake or a storm, or when he has brought us into the midst of a battle, we can bear strong Hyperboles without displeasure. But when he is describing only a woman in grief, it is impossible not to be disgusted with such wild exaggeration as the following, in one of our dramatic Poets:<\/p>\n

\u2015I found her on the floor<\/p>\n

In all the storm of grief, yet beautiful;<\/p>\n

Pouring forth tears at such a lavish rate,<\/p>\n

That were the world on fire, they might have drown’d<\/p>\n

The wrath of Heaven, and quench’d the mighty ruin.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Lee<\/p>\n

This is mere bombast. The person herself who was under the distracting agitations of grief, might be permitted to hyperbolize strongly; but the spectator describing her, cannot be allowed an equal liberty; for this plain reason, that the one is supposed to utter the sentiments of passion, the other speaks only the language of description, which is always, according to the dictates of nature, on a lower tone: a distinction, which, however obvious, has not been attended to by many writers. (Blair 171-72)<\/p>\n

Aunque no deben excluirse los hip\u00e9rboles de la simple descripci\u00f3n; con todo deben usarse en esta con mas cautela: y deben ir mas preparados; para que hagan en el \u00e1nimo una impresi\u00f3n agradable. El objeto descrito debe ser de tal naturaleza, que de suyo embargue la fantasia, y la disponga \u00e1 salir de sus l\u00edmites: debe ser alguna cosa vasta, portentosa y nueva: \u00f3 el escritor debe poner su arte en ejercicio para acalorar por grados la fantasia, y prepararla \u00e1 pensar altamente del objeto que intenta describir. Cuando un poeta est\u00e1 describiendo un terremoto, \u00f3 una tormenta; cuando nos coloca en medio de una batalla, podemos sufrir sin disgusto hip\u00e9rboles fuertes: pero cuando est\u00e1 describiendo solamente una mujer dolorida, es imposible que no nos disguste una exageraci\u00f3n tan extravagante como la siguiente de uno de los poetas dram\u00e1ticos ingleses:<\/span><\/p>\n

\u00a0\u2015I found her on the floor
\nIn all the storm of grief, yet beautiful;
\nPouring forth tears at such a lavish rate,
\nThat were the world on fire, they might have drown’d
\nThe wrath of Heaven, and quench’d the mighty ruin.<\/p>\n

\u00a0La hall\u00e9 postrada en tierra, y congojosa;
\nDe dolor traspasada, pero hermosa;
\nL\u00e1grimas derramando en tal exceso,
\nQue si el mundo se ardiera, bastarian
\nPara inundar la c\u00f3lera del cielo;
\nY la ruina total apagarian.<\/span><\/p>\n

[Blair 2: 77-78] Esto no es mas que hinchaz\u00f3n. La persona embargada de las agitaciones del dolor, pudiera acaso exagerarlo con tanta fuerza: pero no se puede conceder igual libertad al espectador que la describe. La raz\u00f3n es bien clara: se supone que el uno derrama los sentimientos de la pasi\u00f3n, y el otro habla solamente el lenguaje de la descripci\u00f3n; el cual va siempre por un tono mas bajo seg\u00fan lo inspira la naturaleza; distinci\u00f3n que, por obvia que sea, ha sido desatendida de muchos escritores.\u00a0<\/span><\/p>\n

[Blair, \u00a0172] Good sense and just taste must determine the point, beyond which, if we pass, we become extravagant.<\/p>\n

[Blair 2: 78] El buen sentido, y un gusto correcto son los que han de determinar el punto; pasado el cual llegan ya \u00e1 ser extravagantes.\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0BLAIR, Hugh. Lectures on Rhetoric and Belles Lettres, Linda Ferreira-Buckley and S. Michael Halloram (eds.), Carbondale: Southern Illinois University Press, 2005. (La primera edici\u00f3n apareci\u00f3 en 1783) \u00a0Blair, Hugo: Lecciones sobre la ret\u00f3rica y las bellas letras, Jos\u00e9 Luis Munarriz (trad.), Madrid: Ibarra, 1817, 3\u00aa ed. (La primera edici\u00f3n apareci\u00f3 en los a\u00f1os 1798-1801. Creo […]<\/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-338","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/pages\/338","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=338"}],"version-history":[{"count":7,"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/pages\/338\/revisions"}],"predecessor-version":[{"id":895,"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/pages\/338\/revisions\/895"}],"wp:attachment":[{"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/media?parent=338"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}