{"id":112,"date":"2011-07-29T22:48:00","date_gmt":"2011-07-29T19:48:00","guid":{"rendered":"http:\/\/www.keikari.com\/blogi\/?p=112"},"modified":"2012-05-30T14:52:11","modified_gmt":"2012-05-30T11:52:11","slug":"sprezzatura","status":"publish","type":"post","link":"https:\/\/www.keikari.com\/blogi\/sprezzatura\/","title":{"rendered":"Sprezzatura"},"content":{"rendered":"

\u00a0Sprezzatura on mieluisan esoteerinen termi, joka sai syntyns\u00e4 renessanssikirjailija Baldassare Castiglionen kirjassa \u201cIl Cortegiano\u201d. Sana on hyv\u00e4 tuntea, sill\u00e4 se on laajalti k\u00e4yt\u00f6ss\u00e4 Suomen ulkopuolella erityisesti vaatteisiin liittyen – ja kelpo k\u00e4yt\u00f6ss\u00e4 kuvattaessa tietynlaista asennetta pukeutumiseen. Jos haluaisi seurata aikansa retoriikkaa, voisi k\u00e4ytt\u00e4\u00e4 termi\u00e4\u00a0cool.<\/em>\u00a0T\u00e4m\u00e4 ei tosin olisi yht\u00e4 coolia kuin sprezzaturasta puhuminen.<\/p>\n

Oma suomennokseni Castiglionen kirjan sivuilta:<\/p>\n

Sprezzatura on er\u00e4\u00e4nlaista v\u00e4linpit\u00e4m\u00e4tt\u00f6myytt\u00e4, jolla ik\u00e4\u00e4n kuin piilotetaan taituruus sek\u00e4 harjoittelun tulos ja saadaan kaikki, mit\u00e4 tekee tai sanookaan, vaikuttamaan t\u00e4ysin tavanomaiselta ja luonnollisesti syntyv\u00e4lt\u00e4.<\/p>\n

-Baldassare Castiglione, The Book of the Courtier: The Singleton Translation, Ed. Daniel Javitch, (New York: Norton, 2002), sivu 32.<\/p>\n

K\u00e4yt\u00e4nn\u00f6ss\u00e4 pukeutuja siis piilottaa kaiken tietoisen harkinnan asustaan, puheestaan ja k\u00e4ytt\u00e4ytymisest\u00e4\u00e4n toisilta, kuten jongl\u00f6\u00f6ri piilottaa kaikki ne tunnit jotka on k\u00e4ytt\u00e4nyt kapulapelins\u00e4 harjaannuttamiseen. Mies on kenties lukenut etiketist\u00e4, k\u00e4yt\u00f6stavoista, vaatteiden historiasta ja oikeista yhdistelmist\u00e4, mutta ei anna toisten n\u00e4hd\u00e4 kaikkea vaivann\u00e4k\u00f6\u00e4\u00e4n. Sprezzatura on my\u00f6s jonkinlainen puolustavan ironian muoto, jossa ajatukset, tunteet ja sis\u00e4inen myllerrys salataan vaivattomuuden taakse. Selkosuomeksi: sprezzatura on harjoiteltua, tahallista huolimattomuutta muutoin siistiss\u00e4 asukokonaisuudessa. Kenties napittamaton kalvosin, vinoon solmitut keng\u00e4nnauhat, aivan hitusen liian lyhyen\u00e4 roikkuva solmio taikka ainoastaan kauluksesta silitetty paita.<\/p>\n

Sprezzatura voi synty\u00e4 harkitusti tai sitten luonnostaan. Esimerkkin\u00e4 huolitellusta huolimattomuudesta voi mainita vaikkapa auki j\u00e4tetyt solkikeng\u00e4n soljet tai napittamattomat kalvosimet, joiden syntysyy on ainoastaan mukavuuden tavoittelu. Maineikas Fiat-omistaja Gianni Agnelli oli aikansa tyyli-ikoneita ja laajalti valokuvattu mies. H\u00e4nen kuviensa my\u00f6t\u00e4 harkittu sprezzatura levisi ymp\u00e4ri pallon. Agnellilla oli tapana k\u00e4ytt\u00e4\u00e4 siroja maihinnousukenki\u00e4 puvun kanssa, j\u00e4tt\u00e4\u00e4 solmio neuleen ulkopuolelle roikkumaan, kiinnitt\u00e4\u00e4 rannekello kauluspaidan p\u00e4\u00e4lle ja j\u00e4tt\u00e4\u00e4 nappikauluspaitansa kaulusnapit auki. Tekojen syyn\u00e4 oli Castiglionen kirjailema sprezzatura. Agnelli ei halunnut n\u00e4ytt\u00e4\u00e4 liian sliipatulta miehelt\u00e4, joten pienet tahalliset virheet toivat rennompaa ilmett\u00e4 muutoin vakavamielisen bisnesmiehen olemukseen.<\/p>\n

Baldassaren katkelma sprezzaturasta kokonaisuudessaan:<\/p>\n

\u201cTherefore, whoever would be a good pupil must not only do things well, but must always make every effort to resemble and, if that be possible, to transform himself into his master. And when he feels that he has made some progress, it is very profitable to observe different men of that profession; and, conducting himself with that good judgment which must always be his guide, go about choosing now this thing from one and that from another. And even as in green meadows the bee flits about among the grasses robbing the flowers, so our Courtier must steal this grace from those who seem to him to have it, taking from each the part that seems most worthy of praise; not doing as a friend of ours whom you all know, who thought he greatly resembled King Ferdinand the Younger of Aragon, but had not tried to imitate him in anything save in the way he had of raising his head and twisting one side of his mouth, which manner the King had contracted through some malady. And there are many such, who think they are doing a great thing if only they can resemble some great man in something; and often they seize upon that which is his only bad point.<\/p>\n

But, having thought many times already about how this grace is acquired (leaving aside those who have it from the stars), I have found quite a universal rule which in this matter seems to me valid above all others, and in all human affairs whether in word or deed: and that is to avoid affectation in every way possible as though it were some very rough and dangerous reef; and (to pronounce a new word perhaps) to practice in all things a certain\u00a0sprezzatura<\/em>\u00a0[nonchalance], so as to conceal all art and make whatever is done or said appear to be without effort and almost without any thought about it. And I believe much grace comes of this: because everyone knows the difficulty of things that are rare and well done; wherefore facility in such things causes that greatest wonder; whereas, on the other hand, to labor and, as we say, drag forth by the hair of the head, shows an extreme want of grace, and causes everything, no matter how great it may be, to be held in little account.<\/p>\n

Therefore we may call that art true art which does not seem to be art; nor must one be more careful of anything than of concealing it, because if it is discovered, this robs a man of all credit and causes him to be held in slight esteem. And I remember having read of certain most excellent orators in ancient times who, among the other things they did, tried to make everyone believe that they had no knowledge whatever of letters; and, dissembling their knowledge, they made their orations appear to be composed in the simplest manner and according to the dictates of nature and truth rather than of effort and art; which fact, had it been known, would have inspired in the minds of the people the fear that they could be duped by it.<\/p>\n

So you see how art, or any intent effort, if it is disclosed, deprives everything of grace. Who among you fails to laugh when our messer Pierpaolo dances after his own fashion, with those capers of his, his legs stiff on tiptoe, never moving his head, as if he were a stick of wood, and all this so studied that he really seems to be counting his steps? What eye is so blind as not to see in this the ungainliness of affectation; and not to see the grace of that cool\u00a0disinvoltura<\/em>\u00a0[ease] (for when it is a matter of bodily movements many call it that) in many of the men and women here present, who seem in words, in laughter, in posture not to care; or seem to be thinking more of everything than of that, so as to cause all who are watching them to believe that they are almost incapable of making a mistake?\u201d<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0Sprezzatura on mieluisan esoteerinen termi, joka sai syntyns\u00e4 renessanssikirjailija Baldassare Castiglionen kirjassa \u201cIl Cortegiano\u201d. Sana on hyv\u00e4 tuntea, sill\u00e4 se …
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