The document summarizes key aspects of humanism and the rediscovery of the classical past during the Renaissance period. It discusses a return to ancient Greek and Roman sources, the importance of civic involvement and mass education, and the studia humanitatis. It also mentions the adoption of vernacular languages rather than Latin, the influence of Hermeticism and Neo-Platonism, and how ludic or playful activities were thought to lead to virtue. Examples discussed include The Abbey of Thélème by Rabelais and Machiavelli's Letter to Francesco Vettori.
The Renaissance Historical Context This module .docxssusera34210
The Renaissance
Historical Context
This module looks at the English Renaissance period, c.1500 to c. 1688 and focuses on several
short selections from William Shakespeare’s works. Therefore, it makes sense to understand
something of the world in which Shakespeare lived.
Sometimes, this period is called the Early Modern Period and the language of the time takes its
name from that title. Students who are just beginning to read Shakespeare often think of his
language as “Old English,” but it’s really the beginning of our own Modern English with true Old
English being unrecognizable to modern readers.
During this period in England, the University of Massachusetts website explains that there was
a “rebirth among English elite of classical learning, a rediscovery of ancient Greek and Roman
authors, and a recovery of the ancient Greek spirit of scientific inquiry” (“Periods” para. 1). The
same website provides additional background information on the major
characteristics of the period at:
http://people.umass.edu/eng2/per/renaissance.html.
From November 17, 1558, to her death on
March 24,1603, Elizabeth I ruled England. She
presided over a golden age. She was an
accomplished poet herself, and it was during
her reign that Shakespeare’s work came to
prominence. Her navy defeated the Spanish
Armada in 1588. This was also the period when
the New World was being explored by the English. It was truly a
period of re-birth. On her death, she was succeeded by James IV of
Scotland, who became James I of England on March 21, 1603. He,
too, was a patron of the arts. Within a few days of the new king’s arrival in London, highly
regarded people in the theatre were granted a license to perform in London at the Globe,
Shakespeare among them expecting the greatness of Elizabeth’s reign to continue during
James’.
Read about Shakespeare’s London at the Public Broadcasting System’s website:
http://www.pbs.org/shakespeare/locations/location154.html. You can also read about daily life
Queen Elizabeth I, artist
unknown, circa 1575
James I of England, by Daniel
Mijtens, 1621
http://people.umass.edu/eng2/per/renaissance.html
http://www.pbs.org/shakespeare/locations/location154.html
in the city at Shakespeare Online: http://www.shakespeare-
online.com/biography/londonlife.html.
Shakespeare’s original Globe Theatre was built by his playing company in 1599 an destroyed by
fire on June 29, 1613. However, its replica exists today in magnificent form, the brainchild of
American actor and director Sam Wannamaker and opened for performances in 1997. It is a
vibrant part of the London theatre scene today. Visit the Globe Theatre:
http://www.shakespearesglobe.com/.
http://www.shakespeare-online.com/biography/londonlife.html
http://www.shakespeare-online.com/biography/londonlife.html
http://www.shakespearesglobe.com/
Works Cited
Mabillard, Amanda. “Life in Shakespeare’s London.” Shak ...
The Renaissance Historical Context This module .docxssusera34210
The Renaissance
Historical Context
This module looks at the English Renaissance period, c.1500 to c. 1688 and focuses on several
short selections from William Shakespeare’s works. Therefore, it makes sense to understand
something of the world in which Shakespeare lived.
Sometimes, this period is called the Early Modern Period and the language of the time takes its
name from that title. Students who are just beginning to read Shakespeare often think of his
language as “Old English,” but it’s really the beginning of our own Modern English with true Old
English being unrecognizable to modern readers.
During this period in England, the University of Massachusetts website explains that there was
a “rebirth among English elite of classical learning, a rediscovery of ancient Greek and Roman
authors, and a recovery of the ancient Greek spirit of scientific inquiry” (“Periods” para. 1). The
same website provides additional background information on the major
characteristics of the period at:
http://people.umass.edu/eng2/per/renaissance.html.
From November 17, 1558, to her death on
March 24,1603, Elizabeth I ruled England. She
presided over a golden age. She was an
accomplished poet herself, and it was during
her reign that Shakespeare’s work came to
prominence. Her navy defeated the Spanish
Armada in 1588. This was also the period when
the New World was being explored by the English. It was truly a
period of re-birth. On her death, she was succeeded by James IV of
Scotland, who became James I of England on March 21, 1603. He,
too, was a patron of the arts. Within a few days of the new king’s arrival in London, highly
regarded people in the theatre were granted a license to perform in London at the Globe,
Shakespeare among them expecting the greatness of Elizabeth’s reign to continue during
James’.
Read about Shakespeare’s London at the Public Broadcasting System’s website:
http://www.pbs.org/shakespeare/locations/location154.html. You can also read about daily life
Queen Elizabeth I, artist
unknown, circa 1575
James I of England, by Daniel
Mijtens, 1621
http://people.umass.edu/eng2/per/renaissance.html
http://www.pbs.org/shakespeare/locations/location154.html
in the city at Shakespeare Online: http://www.shakespeare-
online.com/biography/londonlife.html.
Shakespeare’s original Globe Theatre was built by his playing company in 1599 an destroyed by
fire on June 29, 1613. However, its replica exists today in magnificent form, the brainchild of
American actor and director Sam Wannamaker and opened for performances in 1997. It is a
vibrant part of the London theatre scene today. Visit the Globe Theatre:
http://www.shakespearesglobe.com/.
http://www.shakespeare-online.com/biography/londonlife.html
http://www.shakespeare-online.com/biography/londonlife.html
http://www.shakespearesglobe.com/
Works Cited
Mabillard, Amanda. “Life in Shakespeare’s London.” Shak ...
Then, FOR THE ARTICLE YOU CHOOSE TO WRITE ON, you will type a 1000-1.docxsusannr
Then, FOR THE ARTICLE YOU CHOOSE TO WRITE ON, you will type a 1000-1500 word response in which you address EACH of the following points
IN YOUR OWN WORDS
: 1) What is the author's main argument? 2) How does he support his main argument (evidence, ancillary arguments, etc.)? 3) Do you agree or disagree with him? 4) Why or why not? 5) Apply the insights of at least two of the readings we have studied in this course (in chapters 1-9) to your analysis. Make sure to give a substantive explanation of
how
the philosophers' insights are relevant to the topic you are discussing.
A WORD OF WARNING: These articles are rather long and complex. The author likes to make extensive use of his rather copious vocabulary, so I
strongly
urge you to have
dictionary.com
handy as you work your way through your chosen article. The purpose of this essay assignment is for you to demonstrate your ability to discuss, analyze, and evaluate complex philosophic arguments. I am confident that the reading assignments, tests, and discussion boards will have prepared you for this final, and no doubt challenging, essay assignment.
The essay I chose to write about is "
What We Have to Lose"
Whenever we learn of events of world-shaking significance, of catastrophes or massacres, we are inclined not only to feel ashamed (all too briefly) of our querulous preoccupation with our own minor tribulations but also to question the wider value of all our activities. I do not know whether people who are faced by death in a few seconds’ time see their lives flash before them, as they are said to do, and pass final judgment upon them; but whenever I read something about the Khmer Rouge, for example, or the genocide in Rwanda, I reflect for a time upon my own life and dwell a little on the insignificance of my efforts, the selfishness of my concerns, the narrowness of my sympathies. So it was when I first learned of the destruction of the two towers of the World Trade Center. I was settling down to write a book review: not of a great work, but of a competent, conscientious, slightly dull biography of a minor historical figure. Could any activity have been less important when set beside the horrible fate of thousands of people trapped in the then flaming—and soon collapsing—buildings? A book review, compared to the deaths of over 300 firemen killed in the course of their duty, to say nothing of the thousands of others? What was the point of finishing so laboriously insignificant a task as mine? In my work as a doctor in a prison, I save a few lives a year. When I retire, I shall not in my whole career have saved as many lives as were lost in New York in those few terrible moments, even counting the time I spent in Africa, where it was only too easy to save human life by the simplest of medical means. As for my writing, it is hardly dust in the balance: my work amuses a few, enrages some, and is unknown to the vast majority of people in my immediate vicinity, let alone to wider circ.
Write 150-250- word responses to each of the following1. How .docxericbrooks84875
Write 150-250- word responses to each of the following:
1. How does Voltaire's Candide (Reading 25.4) "reply" to Pope's Essay on Man (Reading 24.8)?
2. What does Mary Wollstonecraft's Vindication of the Rights of Women (Reading 24.7) tell us about women in the Age of Enlightenment? From a 21st-century perspective, what would Wollstonecraft think of women's standing today?
3. Summarize the conditions and circumstances described in Equiano's account (Reading 25.1). Which of the circumstances and conditions described by Equiano strike you as most removed from the ideals of the philosophes?
4. How do the paintings of Fragonard (Figure 26.1), Watteau (Figure 26.5), and Boucher (Figure 26.6) reflect the "pursuit of pleasure"?
5. What do the following statements reveal about the nineteenth-century Romantic? "I fall upon the thorns of life! I bleed!" (Shelley); "I want to live deep and suck out all the marrow of life." (Thoreau); "Feeling is all." (Goethe); "I have no love for reasonable painting." (Delacroix)
Format your responses consistent with APA guidelines. Note:You must use your course text as a reference for this assignment. This means that you should include quoted or paraphrased text from your readings to support your response to, and discussion of, the assignment questions. Course readings should be acknowledged with an in-text citation.
If you need additional sources, use the University Library. If you use the Internet to find sources, you should only access credible and reliable Internet sites such as those affiliated with a museum, magazine, newspaper, educational institution, or arts organization, for example. You should not use sites like Wikipedia, About.com, Ask.com, or blogs, for example.
24.8
114 CHAPTER 24 The Enlightenment: The Promise of Reason
and polish of the golden age Roman poets Virgil and
Horace. Largely self-taught (in his time Roman Catholics
were barred from attending English universities), Pope
defended the value of education in Greek and Latin; his
own love of the classics inspired him to produce new translations
of Homer’s Iliad and Odyssey. “A little learning is a
dangerous thing,” warned Pope in pleading for a broader
and more thorough survey of the past.
Pope’s poetry is as controlled and refined as a Poussin
painting or a Bach fugue. His choice of the heroic couplet
for most of his numerous satires, as well as for his translations
of Homer, reflects his commitment to the fundamentals
of balance and order. The concentrated brilliance and
polish of each two-rhymed line bears out his claim that
“True ease in writing comes from art, not chance,/As those
move easiest who have learned to dance.”
Pope’s most famous poem was his Essay on Man. Like
Milton’s Paradise Lost, but on a smaller scale, the Essay tries
to assess humankind’s place in the universal scheme. But
whereas Milton explained evil in terms of human will,
Pope—a Catholic turned deist—envisioned evil as part of
God’s design fo.
Brenda Deen SchildgenDantes Utopian Political Vision, the.docxjasoninnes20
Brenda Deen Schildgen
Dante's Utopian Political Vision, the Roman Empire,
and the Salvation of Pagans
^^ "'[•••] velut in ultimum finem, omnia nostra opera ordinantur, quia est pax
universalis [...]."
{Monarchia I. lv.5)'
"Ethics," writes Giorgio Agamben, "begins only when the good is revealed to
consist in nothing other than a grasping of evil [...] truth is revealed only by
giving a place to non-truth — that is, as a taking-place of the false, as an
exposure of its own innermost impropriety" (Coming Community IV). The
premise that truth cannot be understood except by showing the false drives both
the ethical and poetic rhythms in the Commedia. Starting with the false, the
poem consistently exposes its contrasting truth. However, because of the
apparently moral standing of the virtuous pagans, one of the more perplexing
and elusive aspects of this dichotomy between false and true is the ethical
conundrum Dante poses about the judgment that condemns the pagans to Limbo.
This essay argues that Dante's Utopian politics based on Orosius's
historiographical legacy is precisely what directs him to exile his Latin poets —
Virgil, Ovid, Horace, and Lucan — to Limbo. Their appearance in the poem in
contrast to those pagans Dante selects for salvation suggests that Dante believed
his ancient poets lacked the vision to see the Empire as the instrument of
providential history.
In Inferno 4, Dante the author exalts himself ("m'essalto" 120)^ in the
company of the ancient poets, even while he seems to be arguing that despite
their literary gifts, the poets deserved Limbo, the "verde smalto" (118). Dante
returns to the issue of the virtuous excluded from salvation throughout the poem,
but Paradiso 19 and 20 particularly address the problem. Indeed, scholars have
argued that Par. 19: 70-78, where Dante raises the issue of the salvation of non-
Christians, perhaps suggests Dante's doubts about the condemnation of the
virtuous pagans in Limbo (Padoan 120-22; Foster; Sanguineti 235-54; Casella,
"Figurazione"). Of course, Dante does select certain figures ft^om the ancient
' "[...] all our human actions are directed as to their Una! end. That means is universal
peace."
^ Throughout this essay. I refer to the Giorgio Petrocchi critical edition of The Divine
Comedy used by Singleton.
Annali d 'Italianistica 1 9 (200 1
)
52 Brenda Deen Schildgen
world as redeemed pagans — Statius, {Purg. 21 and 22), Cato (Purg. 1), Trajan
(Par. 20; 44), and Ripheus (Par. 20: 68). Therefore, his decision to exile the
ancient poets emphasizes that Dante chooses to distinguish pagans he deemed
worthy of salvation from those he assigned to Limbo. Also, the tantalizing void
created by the absence of Livy and "M buono Augusto" {/nf. 1: 71), and Virgil's
strong presence in Inferno and Purgatorio (along with the great poets of his
century, Ovid, Horace, and Lucan) emphasizes Dante's distinction between his
condemned Latin poets and other pagans he ch ...
Brenda Deen SchildgenDantes Utopian Political Vision, the.docxjackiewalcutt
Brenda Deen Schildgen
Dante's Utopian Political Vision, the Roman Empire,
and the Salvation of Pagans
^^ "'[•••] velut in ultimum finem, omnia nostra opera ordinantur, quia est pax
universalis [...]."
{Monarchia I. lv.5)'
"Ethics," writes Giorgio Agamben, "begins only when the good is revealed to
consist in nothing other than a grasping of evil [...] truth is revealed only by
giving a place to non-truth — that is, as a taking-place of the false, as an
exposure of its own innermost impropriety" (Coming Community IV). The
premise that truth cannot be understood except by showing the false drives both
the ethical and poetic rhythms in the Commedia. Starting with the false, the
poem consistently exposes its contrasting truth. However, because of the
apparently moral standing of the virtuous pagans, one of the more perplexing
and elusive aspects of this dichotomy between false and true is the ethical
conundrum Dante poses about the judgment that condemns the pagans to Limbo.
This essay argues that Dante's Utopian politics based on Orosius's
historiographical legacy is precisely what directs him to exile his Latin poets —
Virgil, Ovid, Horace, and Lucan — to Limbo. Their appearance in the poem in
contrast to those pagans Dante selects for salvation suggests that Dante believed
his ancient poets lacked the vision to see the Empire as the instrument of
providential history.
In Inferno 4, Dante the author exalts himself ("m'essalto" 120)^ in the
company of the ancient poets, even while he seems to be arguing that despite
their literary gifts, the poets deserved Limbo, the "verde smalto" (118). Dante
returns to the issue of the virtuous excluded from salvation throughout the poem,
but Paradiso 19 and 20 particularly address the problem. Indeed, scholars have
argued that Par. 19: 70-78, where Dante raises the issue of the salvation of non-
Christians, perhaps suggests Dante's doubts about the condemnation of the
virtuous pagans in Limbo (Padoan 120-22; Foster; Sanguineti 235-54; Casella,
"Figurazione"). Of course, Dante does select certain figures ft^om the ancient
' "[...] all our human actions are directed as to their Una! end. That means is universal
peace."
^ Throughout this essay. I refer to the Giorgio Petrocchi critical edition of The Divine
Comedy used by Singleton.
Annali d 'Italianistica 1 9 (200 1
)
52 Brenda Deen Schildgen
world as redeemed pagans — Statius, {Purg. 21 and 22), Cato (Purg. 1), Trajan
(Par. 20; 44), and Ripheus (Par. 20: 68). Therefore, his decision to exile the
ancient poets emphasizes that Dante chooses to distinguish pagans he deemed
worthy of salvation from those he assigned to Limbo. Also, the tantalizing void
created by the absence of Livy and "M buono Augusto" {/nf. 1: 71), and Virgil's
strong presence in Inferno and Purgatorio (along with the great poets of his
century, Ovid, Horace, and Lucan) emphasizes Dante's distinction between his
condemned Latin poets and other pagans he ch.
Philology is the aggregate of those practices by which we exploit the linguistic record to engage culture perspectives that are distant from us in time, space, and/or perspective. Whether we are exploiting post-colonial theory, corpus linguistics, or some aspect of the cognitive and brain sciences, we are practicing philology. In the 21st century, we confront the challenge of managing interactions across boundaries of space, language, and culture that are unprecedented in speed and complexity, which each point on the globe now able to interact with any other point in real time. We must think in terms of a World Literature – as Goethe suggested almost two centuries ago – and to do so we must articulate a new philology, one that exploits every possibility of new digital media. Ultimately, we need to establish a sustainable set of evolving cultures – a dynamic Global Culture that provides a voice for many different cultures within it. The field of Altertumswissenschaft has an opportunity to play a fundamental role in this larger process but realizing that opportunity requires a reexamination of what we do, why we do it and for whom.
Then, FOR THE ARTICLE YOU CHOOSE TO WRITE ON, you will type a 1000-1.docxsusannr
Then, FOR THE ARTICLE YOU CHOOSE TO WRITE ON, you will type a 1000-1500 word response in which you address EACH of the following points
IN YOUR OWN WORDS
: 1) What is the author's main argument? 2) How does he support his main argument (evidence, ancillary arguments, etc.)? 3) Do you agree or disagree with him? 4) Why or why not? 5) Apply the insights of at least two of the readings we have studied in this course (in chapters 1-9) to your analysis. Make sure to give a substantive explanation of
how
the philosophers' insights are relevant to the topic you are discussing.
A WORD OF WARNING: These articles are rather long and complex. The author likes to make extensive use of his rather copious vocabulary, so I
strongly
urge you to have
dictionary.com
handy as you work your way through your chosen article. The purpose of this essay assignment is for you to demonstrate your ability to discuss, analyze, and evaluate complex philosophic arguments. I am confident that the reading assignments, tests, and discussion boards will have prepared you for this final, and no doubt challenging, essay assignment.
The essay I chose to write about is "
What We Have to Lose"
Whenever we learn of events of world-shaking significance, of catastrophes or massacres, we are inclined not only to feel ashamed (all too briefly) of our querulous preoccupation with our own minor tribulations but also to question the wider value of all our activities. I do not know whether people who are faced by death in a few seconds’ time see their lives flash before them, as they are said to do, and pass final judgment upon them; but whenever I read something about the Khmer Rouge, for example, or the genocide in Rwanda, I reflect for a time upon my own life and dwell a little on the insignificance of my efforts, the selfishness of my concerns, the narrowness of my sympathies. So it was when I first learned of the destruction of the two towers of the World Trade Center. I was settling down to write a book review: not of a great work, but of a competent, conscientious, slightly dull biography of a minor historical figure. Could any activity have been less important when set beside the horrible fate of thousands of people trapped in the then flaming—and soon collapsing—buildings? A book review, compared to the deaths of over 300 firemen killed in the course of their duty, to say nothing of the thousands of others? What was the point of finishing so laboriously insignificant a task as mine? In my work as a doctor in a prison, I save a few lives a year. When I retire, I shall not in my whole career have saved as many lives as were lost in New York in those few terrible moments, even counting the time I spent in Africa, where it was only too easy to save human life by the simplest of medical means. As for my writing, it is hardly dust in the balance: my work amuses a few, enrages some, and is unknown to the vast majority of people in my immediate vicinity, let alone to wider circ.
Write 150-250- word responses to each of the following1. How .docxericbrooks84875
Write 150-250- word responses to each of the following:
1. How does Voltaire's Candide (Reading 25.4) "reply" to Pope's Essay on Man (Reading 24.8)?
2. What does Mary Wollstonecraft's Vindication of the Rights of Women (Reading 24.7) tell us about women in the Age of Enlightenment? From a 21st-century perspective, what would Wollstonecraft think of women's standing today?
3. Summarize the conditions and circumstances described in Equiano's account (Reading 25.1). Which of the circumstances and conditions described by Equiano strike you as most removed from the ideals of the philosophes?
4. How do the paintings of Fragonard (Figure 26.1), Watteau (Figure 26.5), and Boucher (Figure 26.6) reflect the "pursuit of pleasure"?
5. What do the following statements reveal about the nineteenth-century Romantic? "I fall upon the thorns of life! I bleed!" (Shelley); "I want to live deep and suck out all the marrow of life." (Thoreau); "Feeling is all." (Goethe); "I have no love for reasonable painting." (Delacroix)
Format your responses consistent with APA guidelines. Note:You must use your course text as a reference for this assignment. This means that you should include quoted or paraphrased text from your readings to support your response to, and discussion of, the assignment questions. Course readings should be acknowledged with an in-text citation.
If you need additional sources, use the University Library. If you use the Internet to find sources, you should only access credible and reliable Internet sites such as those affiliated with a museum, magazine, newspaper, educational institution, or arts organization, for example. You should not use sites like Wikipedia, About.com, Ask.com, or blogs, for example.
24.8
114 CHAPTER 24 The Enlightenment: The Promise of Reason
and polish of the golden age Roman poets Virgil and
Horace. Largely self-taught (in his time Roman Catholics
were barred from attending English universities), Pope
defended the value of education in Greek and Latin; his
own love of the classics inspired him to produce new translations
of Homer’s Iliad and Odyssey. “A little learning is a
dangerous thing,” warned Pope in pleading for a broader
and more thorough survey of the past.
Pope’s poetry is as controlled and refined as a Poussin
painting or a Bach fugue. His choice of the heroic couplet
for most of his numerous satires, as well as for his translations
of Homer, reflects his commitment to the fundamentals
of balance and order. The concentrated brilliance and
polish of each two-rhymed line bears out his claim that
“True ease in writing comes from art, not chance,/As those
move easiest who have learned to dance.”
Pope’s most famous poem was his Essay on Man. Like
Milton’s Paradise Lost, but on a smaller scale, the Essay tries
to assess humankind’s place in the universal scheme. But
whereas Milton explained evil in terms of human will,
Pope—a Catholic turned deist—envisioned evil as part of
God’s design fo.
Brenda Deen SchildgenDantes Utopian Political Vision, the.docxjasoninnes20
Brenda Deen Schildgen
Dante's Utopian Political Vision, the Roman Empire,
and the Salvation of Pagans
^^ "'[•••] velut in ultimum finem, omnia nostra opera ordinantur, quia est pax
universalis [...]."
{Monarchia I. lv.5)'
"Ethics," writes Giorgio Agamben, "begins only when the good is revealed to
consist in nothing other than a grasping of evil [...] truth is revealed only by
giving a place to non-truth — that is, as a taking-place of the false, as an
exposure of its own innermost impropriety" (Coming Community IV). The
premise that truth cannot be understood except by showing the false drives both
the ethical and poetic rhythms in the Commedia. Starting with the false, the
poem consistently exposes its contrasting truth. However, because of the
apparently moral standing of the virtuous pagans, one of the more perplexing
and elusive aspects of this dichotomy between false and true is the ethical
conundrum Dante poses about the judgment that condemns the pagans to Limbo.
This essay argues that Dante's Utopian politics based on Orosius's
historiographical legacy is precisely what directs him to exile his Latin poets —
Virgil, Ovid, Horace, and Lucan — to Limbo. Their appearance in the poem in
contrast to those pagans Dante selects for salvation suggests that Dante believed
his ancient poets lacked the vision to see the Empire as the instrument of
providential history.
In Inferno 4, Dante the author exalts himself ("m'essalto" 120)^ in the
company of the ancient poets, even while he seems to be arguing that despite
their literary gifts, the poets deserved Limbo, the "verde smalto" (118). Dante
returns to the issue of the virtuous excluded from salvation throughout the poem,
but Paradiso 19 and 20 particularly address the problem. Indeed, scholars have
argued that Par. 19: 70-78, where Dante raises the issue of the salvation of non-
Christians, perhaps suggests Dante's doubts about the condemnation of the
virtuous pagans in Limbo (Padoan 120-22; Foster; Sanguineti 235-54; Casella,
"Figurazione"). Of course, Dante does select certain figures ft^om the ancient
' "[...] all our human actions are directed as to their Una! end. That means is universal
peace."
^ Throughout this essay. I refer to the Giorgio Petrocchi critical edition of The Divine
Comedy used by Singleton.
Annali d 'Italianistica 1 9 (200 1
)
52 Brenda Deen Schildgen
world as redeemed pagans — Statius, {Purg. 21 and 22), Cato (Purg. 1), Trajan
(Par. 20; 44), and Ripheus (Par. 20: 68). Therefore, his decision to exile the
ancient poets emphasizes that Dante chooses to distinguish pagans he deemed
worthy of salvation from those he assigned to Limbo. Also, the tantalizing void
created by the absence of Livy and "M buono Augusto" {/nf. 1: 71), and Virgil's
strong presence in Inferno and Purgatorio (along with the great poets of his
century, Ovid, Horace, and Lucan) emphasizes Dante's distinction between his
condemned Latin poets and other pagans he ch ...
Brenda Deen SchildgenDantes Utopian Political Vision, the.docxjackiewalcutt
Brenda Deen Schildgen
Dante's Utopian Political Vision, the Roman Empire,
and the Salvation of Pagans
^^ "'[•••] velut in ultimum finem, omnia nostra opera ordinantur, quia est pax
universalis [...]."
{Monarchia I. lv.5)'
"Ethics," writes Giorgio Agamben, "begins only when the good is revealed to
consist in nothing other than a grasping of evil [...] truth is revealed only by
giving a place to non-truth — that is, as a taking-place of the false, as an
exposure of its own innermost impropriety" (Coming Community IV). The
premise that truth cannot be understood except by showing the false drives both
the ethical and poetic rhythms in the Commedia. Starting with the false, the
poem consistently exposes its contrasting truth. However, because of the
apparently moral standing of the virtuous pagans, one of the more perplexing
and elusive aspects of this dichotomy between false and true is the ethical
conundrum Dante poses about the judgment that condemns the pagans to Limbo.
This essay argues that Dante's Utopian politics based on Orosius's
historiographical legacy is precisely what directs him to exile his Latin poets —
Virgil, Ovid, Horace, and Lucan — to Limbo. Their appearance in the poem in
contrast to those pagans Dante selects for salvation suggests that Dante believed
his ancient poets lacked the vision to see the Empire as the instrument of
providential history.
In Inferno 4, Dante the author exalts himself ("m'essalto" 120)^ in the
company of the ancient poets, even while he seems to be arguing that despite
their literary gifts, the poets deserved Limbo, the "verde smalto" (118). Dante
returns to the issue of the virtuous excluded from salvation throughout the poem,
but Paradiso 19 and 20 particularly address the problem. Indeed, scholars have
argued that Par. 19: 70-78, where Dante raises the issue of the salvation of non-
Christians, perhaps suggests Dante's doubts about the condemnation of the
virtuous pagans in Limbo (Padoan 120-22; Foster; Sanguineti 235-54; Casella,
"Figurazione"). Of course, Dante does select certain figures ft^om the ancient
' "[...] all our human actions are directed as to their Una! end. That means is universal
peace."
^ Throughout this essay. I refer to the Giorgio Petrocchi critical edition of The Divine
Comedy used by Singleton.
Annali d 'Italianistica 1 9 (200 1
)
52 Brenda Deen Schildgen
world as redeemed pagans — Statius, {Purg. 21 and 22), Cato (Purg. 1), Trajan
(Par. 20; 44), and Ripheus (Par. 20: 68). Therefore, his decision to exile the
ancient poets emphasizes that Dante chooses to distinguish pagans he deemed
worthy of salvation from those he assigned to Limbo. Also, the tantalizing void
created by the absence of Livy and "M buono Augusto" {/nf. 1: 71), and Virgil's
strong presence in Inferno and Purgatorio (along with the great poets of his
century, Ovid, Horace, and Lucan) emphasizes Dante's distinction between his
condemned Latin poets and other pagans he ch.
Philology is the aggregate of those practices by which we exploit the linguistic record to engage culture perspectives that are distant from us in time, space, and/or perspective. Whether we are exploiting post-colonial theory, corpus linguistics, or some aspect of the cognitive and brain sciences, we are practicing philology. In the 21st century, we confront the challenge of managing interactions across boundaries of space, language, and culture that are unprecedented in speed and complexity, which each point on the globe now able to interact with any other point in real time. We must think in terms of a World Literature – as Goethe suggested almost two centuries ago – and to do so we must articulate a new philology, one that exploits every possibility of new digital media. Ultimately, we need to establish a sustainable set of evolving cultures – a dynamic Global Culture that provides a voice for many different cultures within it. The field of Altertumswissenschaft has an opportunity to play a fundamental role in this larger process but realizing that opportunity requires a reexamination of what we do, why we do it and for whom.
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2. • “back to the sources”
• ancient Greek and Roman works
• civic involvement, mass education to inspire virtuous life
• studia humanitatis
• practical professions
• printing press
• vernacular rather than Latin
• Hermeticism, Neo-Platonism
“Ad Fontes!”
3. • ludic (playful) activities lead to virtue
• rule of authority and study of rhetoric abandoned
• [The Abbey of Thélème]: Rabelais
• “Letter to Francesco Vettori”: Machiavelli
Homo Ludens (“Playful Man”)
4. Niccoló Machiavelli (1469–1527)
“I do not fear poverty, and
death does not terrify me. I
give myself completely over to
the ancients” (p. 125).
6. Gargantua and Pantagruel
“[P]lumb all knowledge to the very depths,
because when you are a grown man you will be
obliged to leave the peace and tranquillity of
learning, and acquire the arts of chivalry and
warfare, in order to defend my house and lands
and come to the aid of our friends. . .” (p. 139).
7. Joachim du Bellay (1522–1560)
“Whoever wishes to see all
that nature, art, and heaven
have been able to do, let him
come see you, Rome” (p.
148).
9. In Sonnet 3 of The Antiquities of Rome, Du Bellay writes that
“Whatever stands firm is destroyed by time. And whatever
flees resists time” (pg. 148). Do you agree?
Discussion Questions 1
10. Rabelais, like many humanists, argues that free people born of
noble lineage will be naturally inclined toward goodness,
virtue, and will possess “honor.” Do you agree with this
argument, and does it hold true for the “noble” people of your
culture? Explain.
Discussion Questions 2
11. This concludes the Lecture PowerPoint presentation for
The Norton Anthology
of World Literature
For more learning resources, please visit the Digital Landing
Page for The Norton Anthology of World Literature at
https://digital.wwnorton.com/worldlit4pre1650
Editor's Notes
Humanists did not reject Christian traditions, but they were more focused on the material world and human potential in this lifetime rather than a Christian afterlife. Their primary motto was ad fontes, or “back to the sources.” Therefore, they researched and indulged more in the works of the ancient Greeks and Romans rather than their medieval predecessors, also seeking more civic involvement and inspiring people to virtuous deeds through mass education. Practical professions and scientific inquiry were emphasized, and studies (studia humanitatis) would include rhetoric, history, and philosophy—all aimed at creating citizens that would engage their communities in virtuous action. In addition to mass printing using the printing press, the use of vernacular rather than Latin during the period increasingly allowed readership to expand. Two branches of Renaissance humanism (that often overlap) include Hermeticism and Neo-Platonism, the former focusing on esoteric writings, the latter on works from classical antiquity.
Humanists believed that education through ludic (playful) activities, rather than rule by an authority or study of rhetoric, will guide civilians to a virtuous and civic life. Rabelais’s Abbey of Thélème is a utopian humanist society based on education, civic engagement, and virtue without an oppressive authority. The members engage in festivity and sport without need for labor. In Machiavelli’s “Letter to Francesco Vettori,” the writer is clearly an agriculturalist, yet he carries books of poetry to read during his daily labors. After work, he plays games with the local inn patrons and returns home to study before bed.
Machiavelli was born in Florence, Italy, to a family that was well connected to the Medici family. He built a distinguished career of public service in the Florentine Republic, a city-state whose government was representative of politics of the period. In The Prince, Machiavelli offers prescriptions for effective rule. He lost favor with the Medici family at the end of the Republic, was self-exiled to his family’s farm, and returned to serve the Medicine during the 1520s, though with less favor and reputation.
The image is a Portrait of Machiavelli, by Snati di Tito (16th century). The Rijksmuseum (RP-P-OB-35.926)
Rabelais was trained initially as a Franciscan monk and priest but quickly broke with antihumanist forces at the Sorbonne (Paris), who banned the study of Greek and confiscated his books. He abandoned his habit at 1527 and pursued a career in medicine in Lyon. He published his works under the pseudonym Alcofribas Nasier, which satirized the Church and coincided with civil unrest by Protestants in Paris.
The image is Portrait of Rabelais, by Félix Bracquemond. The Metropolitan Museum of Art, New York, Gift of David Keppel, 1922 (22.1.10)
Du Bellay was born to a noble family in the west of France and orphaned very young. He studied law at Poitiers, where he joined a circle of humanist poets and thinkers. There he met Pierre de Ronsard and together they formed the literary circle known as the Pléiade, which promoted a cultivating of French as a poetic language. Du Bellay’s main contention was that contemporary French language lacked quality to serve in higher forms of poetry. His vision (thought by many to be extremist) was to improve French and to imitate the Ancients rather than simply translate their works into French. Du Bellay and other Pléiade members moved to rejuvenate poetry, but rhyme and the logic of Form still remained prerequisites for good writing. They added contextual requirements that made poetry aurally appealing from the listener’s perspective: strong and convincing verses would be clear and concise, uniform and comprehensible to keep the reader from lolling off; vulgar topics and inappropriate language were to be avoided; and Cadence and Harmony were to be revered.
More’s Utopia (see separate module) mocks Westerners and introduces societies in which material wealth is irrelevant because of infinite resources and lack of greed. On the other hand, Machiavelli ridicules the Medici family and tyrannical rule in order to promote a republican form of government (see separate module). Du Bellay, in Sonnet 3 of The Antiquities of Rome, warns that Rome’s proud attempt to “vanquish all” led, ironically, to its own demise (p. 148).
The image is a photograph of the Medici family’s villa in Rome. The Metropolitan Museum of Art, New York, Gilman Collection, Museum Purchase, 2005 (2005.100.799 (3))