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By Graham Reynolds

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From the dirt jacket:
In his seek for the universal hyperlink among
literature and the visible arts. Professor Praz
draws upon the ample proof of lengthy
mutual knowing and correspondence be­
tween the sister alts even if parallels of
theme and notion are considerable, be is now not
primarily involved with those. relatively, he
examines the shut courting or air de fanulle
between the expression of the arts m any given
epoch.
Each epoch has “ its bizarre handwriting
or handwritings, which, if one might interpret
them, could exhibit a personality, even a physi­
cal visual appeal. ” even if handwriting is
taught and a few of its features therefore
belong to the normal sort of the interval, the
personality of the author does now not fail to pierce
through. whatever of the related kind, the au­
thor proposes, happens in paintings. The kinship of
literature and portray rests on this circum­
stance: a paintings of artwork, even if visible or liter­
ary, needs to use the special “ handwriting” of
its specific age, even as its originality pierces
through this handwriting.
The likeness among the arts inside of quite a few
periods o f historical past can eventually be traced,
then, to structural similarities— similarities
that come up out of the attribute method in
which the humans of a sure epoch see and
memorize evidence aesthetically. Mnemosyne, at
once the goddess of reminiscence and the mom
of the muses, for that reason presides over this view
of ihe arts. In illustrating her iniluence. Pro­
fessor Praz levels generally via Western
sources, either literary and pictorial. There are
1 2 1 illustrations accompanying the text.
M A R IO P R A Z is Professor of English Lan­
guage and Literature at the collage of
Rome. His prior books contain The Roman­
tic pain, reports in Seventeenth-Century
imagery, and The Flaming Heart.
ackct layout through P J. Conkwright

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