The Art of Memory

«The greatest problem of all remained, the problem of the Renaissance magical or occul» — t memory.

«My sister, R. W. Yates, has read the chapters as they were written» — la deuda que la autora declara en los agradecimientos.

«The Hermetic art of memory has become the instrument in the formation of a Magus» — .

«Renaissance Hermetic man believes that he has divine powers; he can form a magic memory» — frente al medieval, para quien las similitudes corporales eran «a concession to his weakness».

«the Mother of the Muses is Memory» — dicho de la misión de Bruno.

«AT A BANQUET given by a nobleman of Thessaly named Scopas, the poet Simonides of Ceos chanted a lyric poem in honour of his host but including a passage in praise of Castor and Pollux» — el arranque del relato fundacional.

«Simonides’ invention depended on the primacy of the sense of sight» — , según Cicerón y no según Quintiliano.

«The artificial memory is established from places and images [Con-stat igitur artificiosa memoria ex locis et imaginibus» — ].

«we shall employ the places and images respectively as a wax writing-tablet and the letters written on it» — .

«It is thus really the main source, and indeed the only complete source, for the classical art of memory both in the Greek and in the Lati» — n.

Sobre Metrodoro: «how Metrodorus can have found three hundred and sixty places in the twelve signs through which the sun moves» — y del propio Quintiliano dice «The perplexed student of the art of memory is grateful to Quintilian».

La pregunta que abre el libro: por qué «Albertus Magnus and Thomas Aquinas regard the use in memory of the places and images of ‘Tullius’ as a moral and religious duty».

«Therefore the practice of the artificial memory is a part of the virtue of Prudence» — .

La regla que gobierna la iconografía posterior: «It is necessary in this way to invent similitudes and images because simple and spiritual intentions slip easily from the soul», y de ahí «the art of memory, in the form of corporeal similitudes ranged in order».

«his allusion to the melancholy temperament and memory» — de Alberto sobre el De memoria et reminiscentia.

El Teatro, en palabras de un contemporáneo: «saying now that it is a built or constructed mind and soul».

La inversión del teatro vitruviano: «The student of it is to be as it were a spectator before whom are placed the seven measures of the world in spettacolo».

«the whole system of the Theatre rests basically upon seven pillars, the seven pillars of Solomon’s House of Wisdom» — .

El giro decisivo: «the memory images were regarded as, so to speak, inner talismans».

«ifies the divine spirit latent in the creation, which is the theme of this treatise, with the Spirit of Christ» — «identifies», partido por el renglón—.

De Erasmo: «he was strongly against all magical short cuts to memory».

Sostiene que Llull conocía bien el arte dominicano de la memoria y quiso otra cosa.

«The figures of his Art, on which its concepts are set out in the letter notation, are not static but revolving» — .

«All Lull’s arts are based on Names or attributes of God, on concepts such as Bonitas, Magnitudo, Eternitas» — y siguen.

«Lull never uses the images of planets or of the signs, nor refers to all that array of animal and human images in the constellations of the astrological world pictur» — e.

En su tratado de memoria, Llull solo da la regla aristotélica: «it is said in the book of memory and reminiscence by frequent repetition [memory] is firmly confirmed».

Consigna que los dominicos no se interesaron por Llull y que fueron los franciscanos quienes lo acogieron.

«The treatise in Shadows alters the old terminology calling the locus, the subjectus, and the image, the adjectus» — .

«Bruno copied this heading for the beginning of his list of decan images, which he took, with sometimes some very slight variations, from the list given by Agrippa» — .

«By imprinting on memory the images of the ‘superior agents’, we shall know the things below from above; the lower things will arrange themselves in m» — emory.

«so we should form in us the shadows of ideas … so that they may be adaptable to all possible formations. We form them in us, as in the revolution of wheels» — .

Pone a los dos en la misma serie: «the memory systems of Camillo and of Bruno – both of which were ‘secrets’ brought to Kings of France».

«Fludd totally ignored this dating» — la de Casaubon, que en 1614 fecha los Hermetica en tiempos poscristianos.

La antítesis protestante en Perkins: «The animation of the images which is the key of memory is impious».

«Ramus abolished memory as a part of rhetoric, and with it he abolished the artificial memory» — .

«I could not understand what happened to the art of memory in the Middle Ages.» — declara en primera persona el hueco que la detuvo: no entendía qué le había pasado al arte de la memoria en la Edad Media.

«The word ‘mnemotechnics’ seemed inadequate to cover the scholastic recommendation of the art of memory as a part of the cardinal virtue of prudence.» — explica por qué desecha el término mnemotécnica: no cubre que los escolásticos recomendaran el arte como parte de la virtud cardinal de la prudencia.

«The memory system excavated from Bruno’s Shadows (Pl. 12) was first displayed in a lecture at the Warburg Institute in May 1952.» — data en mayo de 1952, en una conferencia del Warburg, la primera exhibición del sistema de memoria que extrajo de las Sombras de Bruno.

«I had thought that it might have been possible to keep Lullism out of this book and treat it separately, but it soon became clear that this was impossible.» — cuenta que intentó dejar el lulismo fuera del libro y tratarlo aparte, y que pronto vio que no se podía.

«Though Lullism does not come out of the rhetoric tradition, like the classical art of memory, and though its procedures are very different, yet it is, in one of its aspects, an art of memory, and as such it becomes conflated and confused with the classical art at the Renaissance.» — acota la inclusión del lulismo: no viene de la tradición retórica y sus procedimientos son muy distintos, pero en uno de sus aspectos es un arte de memoria y por eso se confunde con el clásico en el Renacimiento.