Editing Mannerism (section)

==Literature and music==
Literary mannerism involved such figures as [[Michelangelo]], [[Clément Marot]], [[Giovanni della Casa]], [[Giovanni Battista Guarini]], [[Torquato Tasso]], [[Veronica Franco]], [[Miguel de Cervantes]], and others.{{sfnm|1a1=Baldick|1y=2015|2a1=Greene|2y=2012}}

In [[English literature]], Mannerism is commonly identified with the qualities of the "[[Metaphysical poets]]" of whom the most famous is [[John Donne]].<ref>{{Cite web |url=https://go.gale.com/ps/i.do?p=GVRL&u=lond95336&id=GALE%7CCX3404701823&v=2.1&it=r&sid=GVRL&asid=6e91127d |title=Gale eBooks – Document – John Donne |website=go.gale.com |access-date=2020-02-03}}</ref> The witty sally of a Baroque writer, [[John Dryden]], against the verse of Donne in the previous generation, affords a concise contrast between Baroque and Mannerist aims in the arts:

{{Blockquote|He affects the metaphysics, not only in his satires but in his amorous verses, ''where nature only'' should reign; and ''perplexes the minds'' of the fair sex with ''nice''{{efn|'Nice' in the sense of 'finely reasoned.'}} ''speculations'' of philosophy when he should ''engage their hearts'' and entertain them with the softnesses of love.<ref name="autogenerated1957">{{cite book |author=Gardner, Helen |title=Metaphysical Poets |url=https://books.google.com/books?id=zS_EXPFEtKwC&q=dryden |publisher=Oxford University Press, London |year=1957 |access-date=15 August 2014|isbn=9780140420388 }}</ref>{{rp|15}} (italics added)}}

The rich musical possibilities in the poetry of the late 16th and early 17th centuries provided an attractive basis for the [[madrigal (music)|madrigal]], which quickly rose to prominence as the pre-eminent musical form in Italian musical culture, as discussed by [[Tim Carter (musicologist)|Tim Carter]]:

{{Blockquote|The madrigal, particularly in its aristocratic guise, was obviously a vehicle for the 'stylish style' of Mannerism, with poets and musicians revelling in witty conceits and other visual, verbal and musical tricks to delight the connoisseur.<ref>Carter 1991, 128.</ref>}}

The word Mannerism has also been used to describe the style of highly florid and [[counterpoint|contrapuntally]] complex [[polyphonic]] music made in France in the late 14th century.<ref>Apel 1946–1947, p. 20.</ref> This period is now usually referred to as the ''[[ars subtilior]]''.

===Mannerism and theatre===
''The Early Commedia dell'Arte (1550–1621): The Mannerist Context'' by Paul Castagno discusses Mannerism's effect on the contemporary professional theatre.{{sfn|Castagno|1994|p={{Page needed|date=June 2010}}}} Castagno's was the first study to define a theatrical form as Mannerist, employing the vocabulary of Mannerism and maniera to discuss the typification, exaggerated, and ''effetto meraviglioso'' of the ''comici dell'arte''. See Part II of the above book for a full discussion of Mannerist characteristics in the [[commedia dell'arte]]. The study is largely iconographic, presenting a pictorial evidence that many of the artists who painted or printed commedia images were in fact, coming from the workshops of the day, heavily ensconced in the maniera tradition.

The preciosity in [[Jacques Callot]]'s minute engravings seem to belie a much larger scale of action. Callot's ''Balli di Sfessania'' ({{literally|dance of the buttocks}}) celebrates the commedia's blatant eroticism, with protruding phalli, spears posed with the anticipation of a comic ream, and grossly exaggerated masks that mix the bestial with human. The eroticism of the ''innamorate'' ("lovers") including the baring of breasts, or excessive veiling, was quite in vogue in the paintings and engravings from the second [[School of Fontainebleau]], particularly those that detect a Franco-Flemish influence. Castagno demonstrates iconographic linkages between genre painting and the figures of the commedia dell'arte that demonstrate how this theatrical form was embedded within the cultural traditions of the late [[cinquecento]].{{sfn|Castagno|1994|p={{Page needed|date=June 2010}}}}

====Commedia dell'arte, ''disegno interno'', and the ''discordia concors''====
Important corollaries exist between the ''disegno interno'', which substituted for the ''disegno esterno'' (external design) in Mannerist painting. This notion of projecting a deeply subjective view as superseding nature or established principles (perspective, for example), in essence, the emphasis away from the object to its subject, now emphasizing execution, displays of virtuosity, or unique techniques. This inner vision is at the heart of commedia performance. For example, in the moment of improvisation the actor expresses his virtuosity without heed to formal boundaries, decorum, unity, or text. [[Harlequin|Arlecchino]] became emblematic of the mannerist ''discordia concors'' (the union of opposites), at one moment he would be gentle and kind, then, on a dime, become a thief violently acting out with his battle. Arlecchino could be graceful in movement, only in the next beat, to clumsily trip over his feet. Freed from the external rules, the actor celebrated the evanescence of the moment; much the way [[Benvenuto Cellini]] would dazzle his patrons by draping his sculptures, unveiling them with lighting effects and a sense of the marvelous. The presentation of the object became as important as the object itself.