ABSTRACT
In this chapter, the author propose, however, to leave out the traditional notion of source and wonder how and why "something" of this poem is transposed in music, painting and ballet. To better understand what is at work in the grafting of affetto into the image in the London painting, the people must return to the verbal construction underlying the process of conversion in the poem. The arrangement of colours is a second form of translation of the modal verbs of the poem into paintings. However, while it encourages the left-to-right reading the people have just done, the painting remains an assemblage of simultaneous and contradictory elements: it recounts an amorous conversion without neglecting the ambivalence of the affetti. The regeneration of the primary energy of fire and light is one of the fundamental anthropological functions implicit in the rite of carnival.
