Emanuele_Tesauro

Emanuele Tesauro

Emanuele Tesauro

Italian philosopher (1592–1675)

Emanuele Tesauro COSML (Italian: [emanuˈɛːle teˈzauro]; 28 January 1592 – 26 February 1675) was an Italian philosopher, rhetorician, literary theorist, dramatist, Marinist poet, and historian.

Quick Facts Born, Died ...

Tesauro left a considerable mark in the history of 17th century Italian culture and politics. In politics – after he left the Society of Jesus in 1634 – as a firm supporter of the «principist» party and of the House of Carignano, and in a way as its ideologist, in culture, as a theorist of the baroque concept, as a prominent dramatist and rhetorician, as historian of the Piedmontese Civil War, and finally as an educator of princes: after being tutor to Prince Thomas' children, he was tutor to Victor Amadeus II, and on that occasion wrote his Filosofia morale, which had many editions in the 18th century and, in its Russian translation, contributed Paul I's education.[1]

Tesauro is remembered chiefly for his seminal work Il cannocchiale aristotelico (The Aristotelian Telescope), the first and most important treatise on metaphor and conceit written in early modern Europe.[2] Tesauro's Cannocchiale aristotelico has been called "one of the most important statements of poetics in seventeenth-century Europe",[3] and "a milestone in the history of aesthetics".[4] In Umberto Eco's The Island of the Day Before, Tesauro's theories are self-consciously taken up, through the character Padre Emanuele and his metaphor-machine.[5]

Biography

Early life and education

Emanuele Tesauro was born in Turin on January 28, 1592, the son of a wealthy noble family. His father Alessandro was a noted diplomat, poet, and political figure, author of the didactic poem La sereide (1585).[6] At the age of nineteen, Tesauro entered the Jesuit order. After earning his first degree, he taught rhetoric, first at the Brera college in Milan and then in Cremona.

During this time Tesauro wrote his first literary works: his epigrams, published posthumously, as well as his first play, the Hermengildus. In 1619 he published his highly influential Caesares, a collection of latin elegies and verses on Roman emperors from Julius Caesar to Domitian and various other poems, reprinted in Oxford in 1637, and again in London in 1651.[7] He contributed eleven inscriptions to the celebrations which commemorated, at the behest of Pope Paul V, the beatification of Francis Xavier (Milan, 1620).

In 1622 Tesauro began his theological studies in Naples. The next year he moved to Milan to complete his studies. In 1624, while living in Milan, he was given permission to preach, and subsequently stayed in that city until 1630.

This is the period in which he produced the sacred panegyrics, including his most famous example, the Giudicio (1625), and the work entitled Idea delle perfette imprese, which remained unpublished until 1975. Subjects and objectives of this work would have been reabsorbed in the more extensive project of the influential Cannocchiale aristotelico.[8]

At the Savoy court

In 1626 Tesauro moved to the Savoy court at Turin and became preacher to the duchess Cristina. He also carried out diplomatic missions between Lombardy and Piedmont. Tesauro was ordained as Jesuit priest in 1627 at the insistence of Cardinal Maurizio di Savoia. Due to political contrasts, he left the order in 1634, although he remained a secular priest. After leaving the order, Tesauro followed the duke's brother Thomas Francis, prince of Carignano as court historiographer during his Flemish campaign and the Piedmontese Civil War; in this period he wrote a history of the siege of Saint-Omer (Sant’Omero assediato)[9] and Campeggiamenti, overo istorie del Piemonte, first published between 1640 and 1643.

In 1642 he returned to Turin, where he became Knight Grand Cross of the Order of Saints Maurice and Lazarus and preceptor of the princes of Carignano. He later tutored the future King of Sardinia Victor Amadeus II.[10] In 1653 he resumed his preaching activity. In 1654 he published his masterpiece, the Cannocchiale aristotelico. Two years later he was commissioned by the municipality of Turin to write a history of the city. From 1669 to 1674 Tesauro oversaw the publication of the various volumes of his Complete Works, including his own revised version of the Cannocchiale (1670). He died in Turin in 1675. He was buried in the chapel of his noble family in the Church of S. Francesco in Fossano.[11]

Tesauro was a very prolific author: he wrote tragedies, sacred poems, historical works, including Del Regno d'Italia sotto i Barbari (Of the Kingdom of Italy under the Barbarians, 1663–64), and philosophical works, such as La filosofia morale (1670), very widespread and appreciated. Tesauro's Filosofia morale saw twenty-seven editions over the course of the following century and translations in all of the major European languages, including French, German, Spanish, Greek, Russian and Armenian—as well as Latin (The Cambridge History of Seventeenth-Century Philosophy, 1282).

Il cannocchiale aristotelico

Frontispice of the 1670 edition of il Cannocchiale aristotelico

Tesauro's Cannocchiale aristotelico constituted, next to Baltasar Gracián's writings, the most ambitious and comprehensive theory of Baroque art.[12] Tesauro formulated much of his Cannocchiale well before the date of publication, probably during the time he spent teaching rhetoric in Milan in the 1620s.[13][14]

Right from the title, Il cannocchiale aristotelico (The aristotelian telescope), Tesauro's work aims to revolutionize rhetoric and poetry in a way similar to what Galileo did in astronomy.[15] The expression "aristotelian telescope" is an oxymoron:[16] it brings together two opposing ideas: the telescope, “one of the most significant scientific inventions from the beginning of the seventeenth century,” and Aristotle, the figure “in which modern science saw its greatest antagonist.”[17]

While having as a model the work of Aristotle, Tesauro tries for the first time to update the classical rhetoric to the new style of Baroque literature. He attempts to legitimise the Baroque “conceptist” style by arguing for its Aristotelian lineage.[18] Tesauro calls on Aristotle for his own uses, one might say, making the philosopher say things that in truth he never said.

For Tesauro, as for Gracián in Spain, the most important faculty for any poet is wit (ingegno) which can be described as the capacity to create metaphors.[19] Tesauro holds that, in opposition to intelletto (intellect), the faculty of seeking logical truth, ingegno is the faculty of “binding together the remote and separate notions of the proposed objects”, and thus exactly corresponds to “the very function of metaphor”, of “express[ing] one concept by means of another very different one,” of “finding similarity in things dissimilar”.[20][21]

The chief instrument of wit, metaphor is capable of achieving, through analogy, the marvelous and the new. Tesauro defined metaphor as the “madre di tutte le argutezze” [mother of all wit],[22] whose main aim is to generate “wonder in the reader”, as well as to penetrate the variety of creation. Tesauro identifies three kinds of metaphor: the simple metaphor, the metaphysical proposition (or allegory), and the metaphysical argument. These correspond to the three operations of the intellect: apprehension, judgement, and syllogistic reasoning. The intellect receives the images of the object and combines them to forge propositions in order to formulate a conclusion through syllogistic reasoning. Tesauro combines simple metaphor and allegory to propose eight further types: likeness (simiglianza), metonymy or synecdoche (attributione), punning (equivoco), hypotyposis (hipotiposi), hyperbole (hiperboli), laconism (laconismo), opposition or antithesis (oppositione), and deception (decettione).[23] Metaphor is the most incisive of all figures. Its purpose is more than just ornamental; it does not remain on the grammatical surface of words but penetrates and explores the most abstract notions, so that it may combine them and, in so doing, it turns words into concepts.[24]

Contrary to the Spanish term agudeza, which belongs solely to literary or political discourse, wit, according to Tesauro, is not confined merely to language. Besides linguistic arguzia, there also exists that symbolic arguzia, found in the different arts: painting, sculpture, emblems, architecture, pantomime, drama and dance. All the arts share this quality of cleverness, with some arts functioning through words and others by means of symbols.[25][26]

Tesauro attributes a well-nigh divine quality to wit.[27][28] He sees ingegno as “vestige of the Divine into the human” (vestigio della Divinità nell’Animo Humano).[29] Like Gracián, who believes that agudeza is our most sublime faculty, promoting us up the hierarchy of creatures, Tesauro considers wit [ingegno] “a marvelous force of the intellect,”[30] representing nothing less than the human person's direct participation in divine creative power: through the exercise of his ingegno, the artist or poet produces ex nihilo something completely new and original, in emulation of God's own initial act of creation. “Just as God brings forth that which is out of that which is not, so wit makes something out of nothing”.[31] The world is God's poem, which is written in conceits, and God is thus a “witty creator”.[32][33] Thus, the traditional notion of the world as book or the book of nature is subtly transformed into a baroque universe of metaphor, analogy, and conceit in Tesauro's poetics.[34] Connecting apparently unrelated concepts, metaphor reveals the vast net of correspondences which unites the whole multiplicity of being.[35] Metaphor, therefore, is not just a literary or rhetorical figure but an analytic tool that can penetrate the mysteries of God and His creation.[36]

Inventing a metaphor is therefore an act of discovery, an exploration of the subtle network of relationships knitting all things together.

— Emanuele Tesauro, Il cannochiale aristotelico (1654), quoted in summary in Ernest B. Gilman, The Curious Perspective: Literary and Pictorial Wit in the Seventeenth Century (New Haven CT: Yale UP, 1978): 70.

Il cannocchiale aristotelico met with enormous success. It was reprinted eight times between 1654 and 1679. In his Entretiens d'Ariste et d'Eugène published in 1671, the Jesuit Dominique Bouhours repeatedly discusses and criticizes the ideas developed by Tesauro. The influence of Emanuele Tesauro, Baltasar Gracián and Jakob Masen on European mannerism and the rise of the "argutia" movement is well documented in the studies by Miguel Battlori, K.-P. Lange, Wilfried Barner and Barbara Bauer.[37] Hugo Friedrich describes the Cannocchiale aristotelico as a “highpoint of Baroque poetics”.[38] Benedetto Croce wrote of Tesauro that he provided “a sketch, an idea, or at least a symbol of what aesthetics was to become”.[39] Tesauro's way of rethinking the history of rhetoric and its relationship with logic has been recalled during the eighteenth century by many thinkers, from Vico up to Baumgarten, that interpreted rhetoric tradition.[40]

In fiction

Emanuele Tesauro served as an inspiration for the creation of Father Emanuele, one of the main characters of Umberto Eco's novel The Island of the Day Before.[5]

Works

Frontispice of the 1679 edition of Historia dell’Augustissima Città di Torino

References

Notes

  1. [1]
    Doglio 2002, p. 613.
  2. [2]
    Maggi, Armando (2008). In the Company of Demons. Unnatural Beings, Love, and Identity in the Italian Renaissance. University of Chicago Press. p. 8. ISBN 9780226501291.
  3. [3]
    Jon R. Snyder, Mare Magnum: the arts in the early modern age, p. 162, in John A. Marino, editor, Early modern Italy (2002).
  4. [4]
    Władysław Tatarkiewicz, History of Aesthetics, III, Warszawa 1970, pp. 488-491, at 491.
  5. [5]
    Farronato, Cristina (2003). Eco's Chaosmos: From the Middle Ages to Postmodernity. University of Toronto Press. p. 26. ISBN 9780802085863.
  6. [6]
    Chiodo, Domenico (2019). "TESAURO, Alessandro". Dizionario Biografico degli Italiani, Volume 95: Taranto–Togni (in Italian). Rome: Istituto dell'Enciclopedia Italiana. ISBN 978-8-81200032-6.
  7. [7]
    Moul, Victoria (2022). A Literary History of Latin & English Poetry: Bilingual Verse Culture in Early Modern England. Cambridge University Press. pp. 211–12. ISBN 9781107192713.
  8. [8]
    Mansueto, Donato, The impossible proportion: body and soul in some theories of the impresa, in: Emblematica, 12, 2002, p. 15.
  9. [9]
    Raviola, Blythe Alice; Bianco, Luca (2015). "Non solo Roma. Torino, i Savoia e le Fiandre nei Campeggiamenti di Emanuele Tesauro (1639)". Incontri. Rivista europea di studi italiani. 30 (2): 56–69. doi:10.18352/incontri.10133. hdl:2434/660914.
  10. [10]
    Symcox, Geoffrey (1983). Victor Amadeus II. Absolutism in the Savoyard State, 1675-1730. University of California Press. p. 69. ISBN 9780520049741.
  11. [11]
    Griseri, Andreina (1967). Le metamorfosi del Barocco. Einaudi. p. 168.
  12. [12]
    The Oxford Handbook of Philosophy in Early Modern Europe. Oxford University Press. 2013. p. 216. ISBN 9780191654251.
  13. [13]
    Caldwell, Dorigen Sophie (2004). The Sixteenth-century Italian Impresa in Theory and Practice. AMS Press. p. 200. ISBN 9780404637170.
  14. [14]
    The Oxford Handbook of the Baroque. Oxford University Press. 2019. p. 467. ISBN 9780190678449.
  15. [15]
    Bod, Rens (2013). A New History of the Humanities. The Search for Principles and Patterns from Antiquity to the Present. Translated by Lynn Richards. Oxford: Oxford University Press. p. 234. ISBN 9780191642944.
  16. [16]
    Conte, Giuseppe, “Retorica e logica nell’estetica barocca,” Sigma 7, no. 25 (March 1970): 54.
  17. [17]
    August Buck, “Emanuele Tesauro e la teoria del barocco nella letteratura,” Ausonia 28 (1973): 19; between the telescope, “la più esaltante e significativa invenzione della scienzia all’inizio del XVII secolo” and Aristotle “nel quale la moderna scienza vide il suo massimo antagonista.”
  18. [18]
    Kelly 1984, p. 93.
  19. [19]
    Tesauro's definition of ingegno corresponds to Aristotle's discussion of the creation of metaphors at the end of his Poetics: “But the greatest thing by far is to be a master of metaphor. It is the one thing that cannot be learnt from others; and it is also a sign of genius, since a good metaphor implies an intuitive perception of the similarity in dissimilars.” Cf. The Rhetoric and Poetics of Aristotle, ed. Friedrich Solmsen (New York: Random House, 1954), 1459a 5-8.
  20. [20]
    Shun-Liang Chao (2017). Rethinking the Concept of the Grotesque. Crashaw, Baudelaire, Magritte. Taylor & Francis. p. 85. ISBN 9781351551144.
  21. [21]
    Tesauro's definition of ingegno had long-lasting influence on subsequent Italian philosophy. At the end of the seventeenth century, Giambattista Vico defined ingenium as the source of philosophical eloquenza and the faculty of assembling that which at first sight appears to be separate and unrelated (Vico, De antiquissima italorum sapientia, I, VII, 4).
  22. [22]
    From Court to Forest: Giambattista Basile's Lo cunto de li cunti and the Birth of the Literary Fairy Tale, Nancy L. Canepa, Wayne State University Press, 1999, p. 217
  23. [23]
    Emanuele Tesauro, Il Cannocchiale aristotelico (Turin: 1670; repr. Zürich: Verlag Dr. Max Gehlen, 1968), p. 298.
  24. [24]
    Emanuele Tesauro, Il Cannocchiale aristotelico (Turin: 1670; repr. Zürich: Verlag Dr. Max Gehlen, 1968), p. 266.
  25. [25]
    Di Cesare 2009, p. 1477.
  26. [26]
    Groulier, Jean-François (2014). "Argutezza". Dictionary of Untranslatables. A Philosophical Lexicon. Princeton University Press. pp. 40–42. ISBN 9781400849918.
  27. [27]
    Schwenger, Peter (1976). "Crashaw's Perspectivist Metaphor". Comparative Literature. 28 (1): 65–74. doi:10.2307/1770134. JSTOR 1770134.
  28. [28]
    Kennedy, George Alexander (1989). The Cambridge History of Literary Criticism. p. 448.
  29. [29]
    Emanuele Tesauro. Il Cannocchiale Aristotelico. Bologna: Gioseffo Longhi, 1675. p. 1
  30. [30]
    Tesauro 1670, p. 82.
  31. [31]
    Tesauro 1670, p. 82 as quoted in Gilman, Ernest B. (1978). The Curious Perspective. New Haven, Conn.: Yale University Press. p. 74.
  32. [32]
    “Ancora il grande Iddio godè talora di fare il Poeta e l'Arguto favellatore: mottegiando agli huomini e agli Angeli, con vari motti e Simboli figurati, gli altissimi suoi concetti. [...] Peroché quanto ha il mondo d'ingegnoso: o è Iddio ò è da Dio. Dipoi accioché lo stile della Divina Maestà non senta punto del triviale: ma da nobil figure si sollevi in guisa, che la sublimità generi maraviglia, e la maraviglia veneratione” (E. Tesauro, Cannocchiale aristotelico, Venetia 1663, 54.
  33. [33]
    Küpper, Joachim (2017). Discursive "Renovatio" in Lope de Vega and Calderón: Studies on Spanish Baroque Drama. De Gruyter. ISBN 9783110563573. Tesauro invokes the argument, developed in Clement and Augustine, of God as a poet-musician having adorned His creation with "concetti"
  34. [34]
    Cassell Dictionary Italian Literature. Bloomsbury Academic. 1996. p. 578. ISBN 9780304704644.
  35. [35]
    Tesauro 1670, p. 73.
  36. [36]
    Sohm, Philip (1991). Pittoresco. Marco Boschini, His Critics, and Their Critiques of Painterly Brushwork in Seventeenth- and Eighteenth-Century Italy. Cambridge University Press. p. 126. ISBN 9780521382564.
  37. [37]
    See Wilfried Barner, Barockrhetorik. Untersuchungen zu ihren geschichtlichen Grundlagen (Tubingen, 1970); Miguel Batllori, Gracián y el Barocco (Rome, 1958); Barbara Bauer, Jesuitische 'ars rhetorica' im Zeitalter der Glaubenskämpfe (Frankfurt, 1986); K.-P. Lange, Theoretiker des literarischen Manierismus. Tesauros und Pellegrinis Lehre von der "Acutezza" oder von der Macht der Sprache (Munich, 1968).
  38. [38]
    Friedrich, Hugo, Epochen der italienischen Lyrik, Frankfurt a.M. 1964, 623; cf. also 623–636.
  39. [39]
    B. Croce, Storia dell'età barocca in Italia, 2nd ed., 1964, p. 188; and Problemi di Estetica, 1910, p. 316.—cf. C. Vasoli, Le imprese del Tesauro, in: Retorica e barocco, 1955, p. 244.
  40. [40]
    Tedesco, Salvatore (2005). "La retorica arguta di Emanuele Tesauro e il problema del paralogismo". Laboratorio dell'ISPF. I: 257–266. ISSN 1824-9817.

Bibliography

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