Mitch's Reviews > Hypnerotomachia Poliphili: The Strife of Love in a Dream

Hypnerotomachia Poliphili by Francesco Colonna
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Jun 15, 09

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Colonna’s Hypnerotomachia, which can be translated as “Poliphilio’s Strive of Love in a Dream,” tells the author’s tale of love for a girl, Polia. It takes place in two dreams amidst pagan bacchanalia that celebrate Greek and Roman antiquity, especially the architecture, gardens and costuming that the lustful Dominican monk imagined as he wrote in his cell at a Treviso monastery between 1465 and 1467. Based on hints left in the text and what little is known about Colonna during those years, Polia was the daughter of a nobleman, dead in her teens, whom he had loved apparently unrequitedly. The protagonist, Poliphilio (literally “the lover of Polia,” for Colonna was obsessively loving of every detail of the world that revolved around his ingénue) provides exacting descriptions of every lawn, statue, temple, garment and shoe worn by the object of his love and the many sprites, gods and goddesses that surround her. “Although these scenes were small, there was not the least defect in them, not even the smallest detail: everything was perfect and clearly discernible,” Colonna writes, via Godwin’s translation, approximately halfway through a 40-page description of a triumphant parade, not so much as a justification for his exhaustive cataloging of friezes, vases and garlands in the procession of lithe, voluptuous, nubile and hirsute pagan spirits, but simply as a transition to some 15 additional pages on the virtues of details that perpetually “stupefy” Poliphilio as he is led through his dream pursuit of Polia.
“How many bibliophiles have actually read it is another question, for its textual excesses are enough to deter most readers,” wrote Joscelyn Godwin in her introduction to the book. She was the first translator to succeed in making an English version of the book only in 1999, on its 500th anniversary. The book, which is vaguely familiar to modern readers as the source of The Rule of Four, a mystical thriller written in the wake of Dan Brown’s The Da Vinci Code, is often celebrated as a farsighted precursor of James Joyce’s Finnegans Wake, a complex modernist linguistic tour de force published in 1939 that combined many languages in a dream discourse. Colonna’s use of languages, in contrast to Joyce’s, is rather limited, with only a few words of Greek and Hebrew appearing as inscriptions on statuary . His real talent, in addition to that friar’s eye for arcane detail, was in his ability to forge new words from Latin and Italian to create his own vernacular, a lovelorn torrent that, as Godwin points out, if translated literally would include sentences such as “In this horrid and cuspidinous littoral and most miserable site of the algent and fetorific lake stood saevious Tisiphone, efferal and cruel with her viperine capillament, her meschine and miserable soul, implacably furibund.” Nine of those overripe words were neologisms concocted by the writer, none of them has found acceptance in the half millennia since Colonna invented them. His wordplay anticipates the inventive texting of today’s teens and young adults, some of whom have begun writing novels and serial dramas in truncated English, Japanese and Chinese that are delivered to their audiences, mostly friends, by mobile handset. “Viperine,” to be snakelike, doesn’t have the same tone as “LOPSOD,” the texting code for “long on promises, short on delivery,” but both describe a certain danger and untrustworthiness when applied in a narrative.
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