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Nader-Esfahani-Dissertation Knowledge and Representation through Baroque Eyes: Literature and Optics in France and Italy ca. 1600-1640 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nader-Esfahani, Sanam. 2016. Knowledge and Representation through Baroque Eyes: Literature and Optics in France and Italy ca. 1600-1640. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493303 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Knowledge and Representation through Baroque Eyes: Literature and Optics in France and Italy ca. 1600-1640 A dissertation presented by Sanam Nader-Esfahani to The Department of Romance Languages and Literatures in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Romance Languages and Literatures Harvard University Cambridge, Massachusetts April 2016 © 2016 Sanam Nader-Esfahani All rights reserved. Advisor: Tom Conley Sanam Nader-Esfahani Knowledge and Representation through Baroque Eyes: Literature and Optics in France and Italy ca. 1600-1640 Abstract The scientific discoveries and inventions of the early seventeenth century, which include Johannes Kepler’s inverted retinal image, the refinement of lenses, and the invention of the telescope, transformed the status of vision in the acquisition of knowledge, thus modifying the nature of what is known and even challenging how things are known. Rather than focus on philosophical oppositions between seeing and looking, or on artistic practices such as linear perspective or anamorphosis in literature’s engagement with vision, this study privileges instead a dialogue with early modern optics. Deriving a theoretical framework from the scientific debates about vision and its instruments, which brings attention to the historically charged concepts of mediated perception, the visible and the invisible, and natural and mechanical sight, I examine how French and Italian authors in the early seventeenth century engaged with ocular and optical motifs to question the sense of sight and its authority. My corpus describes vision as indispensable to the observation and knowledge of the world, although the texts also expose the vulnerability of the sense of sight to error because of natural limitations or an inability to recognize the true form behind deceitful appearances. As such, they elucidate a crisis of knowledge and representation that characterizes the earlier decades of the seventeenth century. Based on the dynamics between the eye and visual aids as they appear in the scientific community, I identify two distinct visual modes in the literary texts, which correspond to the natural eye and the instrumentalized one, assisted and enhanced by a lens. The authors considered here, which include Béroalde de Verville, Traiano Boccalini, Agrippa d’Aubigné, and the writers involved in the polemics around Giambattista Marino’s L’Adone and Pierre Corneille’s Le Cid, present the two visual modes as existing in tension, which I define as “baroque vision.” The analyses of the literary texts demonstrate how the integration of lenses, be it through explicit references to optical devices or through more abstract portrayals that parallel the operations of the eye and the instrument, becomes emblematic of other concerns, from debates regarding discontent about dissimulation to discussions of poetic practice. iii Table of Contents Acknowledgements .................................................................................................................................................... vi List of Figures ............................................................................................................................................................ viii PART I. PREMISE ............................................................................................................................................................ 1 Chapter 1. Introduction ................................................................................................................................................ 2 Chapter 2. The World through the Lens of Béroalde’s Cheeky Glasses ........................................................... 15 PART II. OPTICS & THE LITERATURE OF SOCIO-POLITICAL DISCONTENT .................................. 42 Chapter 3. Introduction ............................................................................................................................................. 43 Chapter 4. A World Refracted: Boccalini’s Political Lenses ................................................................................ 52 Chapter 5. Redefining Vision and Visible Spaces: The New Visual Experience in Les Tragiques .................. 80 PART III. OPTICS & LITERARY POLEMICS ..................................................................................................... 119 Chapter 6. Introduction ........................................................................................................................................... 120 Chapter 7. The Critical Occhiale: Lenses, Readers, and Critics in the Polemic around Marino’s L’Adone 136 Chapter 8. “Contentement Raisonnable”: Toward the Rationalization of the Eye in the Querelle du Cid 176 PART IV. EPILOGUE ................................................................................................................................................. 212 PART V. BIBLIOGRAPHY ........................................................................................................................................ 215 Primary Sources ...................................................................................................................................................... 216 Secondary Sources .................................................................................................................................................. 220 iv To my parents, Safoura & Saeed v Acknowledgements I express my endless gratitude to the members of my committee, le meilleur jury qui fut oncque, and for whom I have the deepest admiration and respect. First and foremost, I thank my mentor and dissertation advisor, Tom Conley, who recognized my inner early modernist before I did, and who, since my first semester at Harvard, has provided countless opportunities for me to engage with the texts and scholars of the Renaissance. His guidance has both challenged me and given me the freedom to explore, and the project has been deeply enriched by his readings and by our conversations. I would also like to thank Christie McDonald, whose commitment to showing the relevance and importance of literature has marked me since the beginning of my graduate studies. My efforts to think about my work in broader terms is indebted to her influence. I am also grateful to her for her thorough reading, her pointed questions, and for her endless support. I am very appreciative of Eileen Reeves’ engagement with the project, especially since her work, spanning the disciplines of literature and history of science, has served as a model for my own. Her comments and bibliographical suggestions, especially on the Italian material, have been invaluable in strengthening and even reshaping the project altogether. In addition to the members of my committee, I would like to thank Yves Hersant for our insightful conversations, for his affirmation of this interdisciplinary project, and for his encouragement of my pursuit of the lesser-known Italian authors. During my time at Harvard, my courses with Francesco Erspamer and Virginie Greene were especially formative in developing my fascination with questions of vision and visuality, and Christopher Johnson’s seminar on baroque drama crystallized my interest in the early modern period. My bi-weekly discussions with Lino Pertile during my semester at Villa I Tatti were fundamental to my conceptualization of the project in its early stages, and my graduate experience was significantly enriched by the I Tatti Fellows whom I had the privilege of meeting in the fall of 2012. I am also grateful to the staff of the Romance Languages and Literatures Department at Harvard, and especially to Frannie Linsday for her diligence and her compassion. Various stages of this project took place abroad, and I thank the Romance Languages and Literatures Department (Bacon Fund), the Dean’s Discretionary Fund, Villa I Tatti, and the Augustus Clifford Tower vi Fellowship for supporting my research. I would also like to extend my appreciation to the staff at Harvard’s Houghton Library, at the Bibliothèque de l’Arsenal, and at the Biblioteca Berenson at Villa I Tatti. This dissertation would not have been possible without the musings and the stimulating conversations with fellow graduate students and friends on both sides of the Atlantic. For their friendship and support, I thank Roland Béhar, Miriam Brizio, John D’Amico, Mona El Khoury, Jeremie Korta, Adam Jasienski, Caroline Laurent, Elizabeth Mellyn, Camille Moreau, Gina Petruzziello, Alice Têtu, and Carlos Varón González. Sarah Axelrod and Christopher Brown have been exemplary colleagues and friends. I have learned a great deal from both of them, and my graduate experience
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