By Yates, Frances Amelia
A progressive ebook approximately mnemonic ideas, and their relation to the heritage of philosophy, technological know-how, and literature
The old Greeks, to whom a educated reminiscence was once of important importance—as it was once to every body sooner than the discovery of printing—created an problematic reminiscence method, in response to a strategy of impressing "places" and "images" at the brain. Inherited and recorded via the Romans, this artwork of reminiscence handed into the ecu culture, to be revived, in occult shape, on the Renaissance, and especially by way of the unusual and noteworthy genius, Giordano Bruno. Such is the most subject of Frances Yates's specified and detailed ebook, during which she sheds mild on such assorted topics as Dante's Divine Comedy, the shape of the Shakespearian theater, and the heritage of historic structure. other than its intrinsic fascination, this e-book is a useful contribution to aesthetics and psychology, and to the heritage of philosophy, of technology, and of literature
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Additional info for Art of Memory: Selected Works (Volume 3)
Is t r u e that rules for places are not given; but the practice described of placing the notion or w o r d to be r e m e m b e r e d actually o n t h e i m a g e will r e c u r all t h r o u g h t h e h i s t o r y o f t h e art o f a n d was evidently rooted in T h e m e m o r y , antiquity. s k e l e t o n o u t l i n e o f t h e r u l e s o f t h e artificial m e m o r y is already in existence a b o u t half a c e n t u r y after t h e d e a t h of been though texts the rules, basically as w e they would have been u n k n o w n centuries to us before find refined they i n Ad t h e m a n d reached amplified the really Herennium, in Latin successive teacher four later.
Images, though Quintilian's m u c h stand than the weirdly populated m e m o r y Ad Herennium introduces I t is o n e o f t h e m a n y the history of the art though 8 Ad it will always Herennium, anchor a n d weapon less exciting, are easier to r u n places as under-- to which the author of us. difficulties give the which confront t h a t a n Ars of m e m o r y rules, I I I , xxii. 10 rarely the student memorativa gives of treatise, any concrete THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY a p p l i c a t i o n o f t h e r u l e s , t h a t is t o s a y i t r a r e l y s e t s o u t a s y s t e m o f m n e m o n i c images o n their places.
Or her image? Quintilian, an eminently sensible m a n and a very good the of the analogy of h o w the parts of the case against the accused of poisoning formed was their like s o m e o n e that w e k n o w , holding her of h o w memory. W o u l d P r u d e n c e , for e x a m p l e , h a v e taken o n a strikingly parts—on impor-- and artificial was have part I m e n t i o n e d earlier, w e h a v e n o m e a n s of k n o w i n g 'things' parts moral later wonders to m e m o r y prominence. THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY Like Cicero, h e introduces his account of it with t h e story of its invention b y Simonides of which h e gives a version which is in t h e main t h e same as t h a t told b y Cicero t h o u g h with some variant details.