Phi. I, Amorphus. Why Pythagorical Breeches?
Amor. O most kindly of all, 'tis a conceit of that FORTUNE,
I am bold to hug my Brain for.
Pha. How is't, exquisite Amorphus?
Amor. O, I am rapt with it, 'tis so fit, so proper,
so happy. --
Phi. Nay do not rack us thus?
Amor. I never truly relisht my self before. Give me
your Ears. Breeches Pythagorical, by reason of their trans-
migration into several shapes.
Mor. Most rare, in sweet troth.
Twice twenty been enragèd,
And of forty been three times fifteen
In durance soundly cagèd
On the lordly lofts of Bedlam,
With stubble soft and dainty,
Brave bracelets strong, sweet whips ding-dong,
With wholesome hunger plenty,
And now I sing, Any food, any feeding,
Feeding, drink, or clothing;
Come dame or maid, be not afraid,
Poor Tom will injure nothing.
When the courtier's audience claps enthusiastically in response to his performance and rewards him with the grace of its praise, Castiglione defines its characteristic reaction with a most important term: maraviglia. For instance, Ludovico da Canossa urges the courtier to use sprezzatura to hide the effort involved in difficult or unusual feats: "Because everyone knows the difficulty involved in matters that are rare and well done, whence facility in them generates great marvel". Later, in Book II, Frederico Fregosa sums up his own advice to the ideal courtier, again focusing on maraviglia as the response he should seek in his audience: <>
These key passages leave no doubt that marvel or wonder is the basic response the courtier seeks to arouse in everyone about him and that it is essential for his social success.
...The ingegno - "ingenuity," "invention" - emerged as the faculty the conscious mind required for organizing the meaning-making units produced by the fantasia into new units and structures. Whereas the fantasia is an epiphenomenal product of brain activity, the ingegno is a derivative of the fantasia - a kind of "epi-epiphenomenal activity. It is thus not connected directly to bodily processes, operating totally within mental space as it concatenates meaningful units to form context-free models of world events. Primordial "meaning" was a product of the ingegno as it sought to impose pattern onto the units that the fantasia had stored into memory. The ingegno is, therefore, the source of syntax in language and of narrative structure in verbal discours. It generated the earliest myths that humanity literally invented. Laws, scientific theories, fictional narrations, etc., are all traceable to the ability of the ingegno "to beget" - the word ingegno derives etymologically from Latin in "in" + gignere "to beget." (p.51)
Jonson, _Cynthia's Revels_.
AMORPHUS. And there's her minion, Crites: why his advice more than
Amorphus? Have I not invention afore him? Learning to better
that INVENTION above him? and INFANTED with PLEASANT TRAVEL –
No, no, the high singer is he
Alone that in the end must be
Made proud with a garland like this,
And not every riming novice
That writes with small wit and much pain,
And the (God’s know) idiot in vain,
For it’s not the way to Parnasse,
Nor it will neither come to pass
If it be not in some wise fiction
And of an ingenious INVENTION,
For it alone must win the laurel,
And only the poet WELL BORN
Must be he that goes to Parnassus,
And not these companies of asses
That have brought verse almost to scorn.
Ulysses-Politropus-Amorphus - Cynthia's Revels
(Revels - drawing humours from the body)
In Dante's Wake - John Freccero
Epitaph for Guido
...The first words of Cavalcante's interruption, referring to a descent to the underworld by "altezza d'ingegno," identify both Guido [Cavalcante] and Dante as philosophers and poets. The sentence has often been misread, as tough Cavalcante were simply an achievement-oriented parent, complaining that his son is not being equally honored with the prize of a free trip to Hell. In Dante's day, "ingegno" (Latin ingenium) [invention] meant 'natural endowment,' usually contrasted with "arte," meaning the mastery of a discipline. It is a faculty, not an achievement, *as is obvious when Dante recalls the punishment of Ulysses and vows to rein in his "ingegno," lest it run unguided by virtue.* Winthrop Wetherbee has shown that ingenium was often associated with the faculty of the imagination, particularly of poets, but it admitted of all degrees. Apuleius's summary of Plato states that ingenium is a faculty "neither wholly good nor wholly bad, but readily tending in either direction." "Altezza" is comparative, meaning "high," the "ingegon" of a poet or a sage, rather than the "ingenium infimum" of a sensualist...(p.60)
Sublimation of Billy Budd/Sacrifice/Book/Heir/Foundling - Melville, Billy Budd, ch.25