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By Gary Lachman

ISBN-10: 0786722843

ISBN-13: 9780786722846

The occult used to be a very important impact at the Renaissance, and it obsessed the preferred thinkers of the day. yet with the Age of cause, occultism was once sidelined; simply charlatans discovered any use for it. Occult principles didn't disappear, even though, yet fairly went underground. It constructed right into a fruitful resource of proposal for plenty of vital artists. Works of brilliance, occasionally even of genius, have been produced below its impact. In a depressing Muse, Lachman discusses the Enlightenment obsession with occult politics, the Romantic explosion, the futuristic occultism of the fin de siècle, and the deep occult roots of the modernist flow. the various writers and thinkers featured during this hidden historical past of western proposal and sensibility are Emanuel Swedenborg, Charles Baudelaire, J. ok. Huysmans, August Strindberg, William Blake, Goethe, Madame Blavatsky, H. G. Wells, Edgar Allan Poe, and Malcolm Lowry.

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32 This is an idea which was being developed simultaneously by Charles Fourier, as he prepared his treatise on "passional attraction" (see Chapter Four). 33 The true, natural language of man; the primordial language; the language of the ideal world or of heaven: these are ideas that we have already met with in Louis-Claude de Saint-Martin. Like him, de Vismes now goes on to explain some more or less convincing correspondences. Of our twenty-one letters, he says, the seven vowels constitute a sort of octave, which goes downwards to express different emotions.

At least half of the present work is devoted to the consequences of these three events. " 1 Beside these three men, there were others less influential in music, but not without interest to us. We have already seen Saint-Martin's L'Esprit des choses (1801), de Vismes's Pasilogie (1806), and Villoteau's Recherches sur l'analogie de la musique avec les arts (1807). After the Renaissance, when it was longer possible for a person to know all that was to be known, the aspirant to universal knowledge had the choice of shutting himself up in a single discipline and making that his universe, or else finding a standpoint from which universal knowledge could be, if not assimilated, at least situated.

Manuscript note, presumed to be Roussier's, at the end of the review of his Traité des accords et de leur succession in the Journal des sçavans, February 1765, in the copy of the Bibliothèque Nationale, cote V, 2457. 18. " 19. He was probably unaware of similar efforts of the late Renaissance by Nicola Vicentino, Scipione Stella, and Fabio Colonna, the last of whom built a harpsichord with 31 tones to the octave (described in La sambuca lincea, Naples, 1618). 20. Roussier 1782, 3. 21. For his biography, see Pougin 1914.

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A Dark Muse: A History of the Occult by Gary Lachman

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