: Baron Edward Bulwer Lytton Lytton
: Zanoni
: OTB eBook publishing
: 9783962722630
: 1
: CHF 1.80
:
: Erzählende Literatur
: English
: 462
: kein Kopierschutz
: PC/MAC/eReader/Tablet
: ePUB
In two novels, Zanoni (1842) and A Strange Story (1862), Bulwer-Lytton invented the Occult/Dark Fantasy subgenre (as opposed to other subgenres of fantasy like Tolkienian High Fantasy). Academic critics usually describe Zanoni as a künstlerroman (novel of the maturation of an artist) and as an allegory of Science versus Art, but Zanoni is also the first modern British work of occult fantasy. Charles Dickens took the ending of A Tale of Two Cities (1859) from Zanoni. A strong argument can be made that the school of cosmic horror which H.P. Lovecraft made famous begins with Zanoni and A Strange Story, or at the least is heavily influenced by it.

BOOK I. — THE MUSICIAN.


     Due Fontane
     Chi di diverso effeto hanno liquore!

     “Ariosto, Orland. Fur.” Canto 1.7.

     (Two Founts
     That hold a draught of different effects.)

CHAPTER 1.I.


     Vergina era
     D’ alta belta, ma sua belta non cura:
     ....
     Di natura, d’ amor, de’ cieli amici
     Le negligenze sue sono artifici.

     “Gerusal. Lib.,” canto ii. xiv.-xviii.

     (She was a virgin of a glorious beauty, but regarded not her
     beauty...Negligence itself is art in those favoured by Nature, by
     love, and by the heavens.)

At Naples, in the latter half of the last century, a worthy artist named Gaetano Pisani lived and flourished. He was a musician of great genius, but not of popular reputation; there was in all his compositions something capricious and fantastic which did not please the taste of the Dilettanti of Naples. He was fond of unfamiliar subjects into which he introduced airs and symphonies that excited a kind of terror in those who listened. The names of his pieces will probably suggest their nature. I find, for instance, among his MSS., these titles: “The Feast of the Harpies,” “The Witches at Benevento,” “The Descent of Orpheus into Hades,” “The Evil Eye,” “The Eumenides,” and many others that evince a powerful imagination delighting in the fearful and supernatural, but often relieved by an airy and delicate fancy with passages of exquisite grace and beauty. It is true that in the selection of his subjects from ancient fable, Gaetano Pisani was much more faithful than his contemporaries to the remote origin and the early genius of Italian Opera.

That descendant, however effeminate, of the ancient union between Song and Drama, when, after long obscurity and dethronement, it regained a punier sceptre, though a gaudier purple, by the banks of the Etrurian Arno, or amidst the lagunes of Venice, had chosen all its primary inspirations from the unfamiliar and classic sources of heathen legend; and Pisani’s “Descent of Orpheus” was but a bolder, darker, and more scientific repetition of the “Euridice” which Jacopi Peri set to music at the august nuptials o