Renaissance Man Quotes

You know what the fellow said – in Italy, for thirty years under the Borgias, they had warfare, terror, murder and bloodshed, but they produced Michelangelo, Leonardo da Vinci and the Renaissance. In Switzerland, they had brotherly love, they had five hundred years of democracy and peace – and what did that produce? The cuckoo clock.

The nation that will insist on drawing a broad line of demarcation between the fighting man and the thinking man is liable to find its fighting done by fools and its thinking done by cowards.

What's up?" Christian asked. "Need some hairstyling tips?" "Tips you stole from me? No thanks. But I hear you've got a really good bacon meatloaf recipe." It was worth it then and there to see his complete and total surprise. "Since when do you cook?" he finally managed to stammer. "Oh, you know. I'm a Renaissance man. I do it all. Send it if you've got it, and I'll give it a try. I'll let you know if I make any improvements." His smirk returned. "Are you trying to impress a girl?" "With cooking?" I pointed at my face. "This is all it takes, Ozera.

Jonah peered critically up at the Renaissance masterpiece. "Man, those copies don't due it justice. This one's the truth!" "Only a Janus," groaned Hamilton.

Beauty in the European sense has always had a premeditated quality to it. We've always had an aesthetic intention and a long-range plan. That's what enabled western man to spend decades building a Gothic cathedral or a Renaissance piazza. The beauty of New York rests on a completely different base. It's unintentional. It arose independent of human designt, like a stalagmitic cavern. Forms which in themselves quite ugly turn up fortuitously, without design, in such incredible surroundings that they sparkle with with a sudden wondrous poetry...Sabina was very much attracted by the alien quality of New York's beauty. Fran found it intriguing but frightening; it made him feel homesick for Europe.

I watched in silence as the parts of Matthew I knew and loved—the poet and the scientist, the warrior and the spy, the Renaissance prince and the father—fell away until only the darkest, most forbidding part of him remained. He was only the assassin now. But he was still the man I loved.

Let some holy ambition invade our souls, so that, dissatisfied with mediocrity, we shall eagerly desire the highest things and shall toil with all our strength to obtain them, since we may if we wish.

Renaissance diplomat and courtier Niccolò Machiavelli wrote, “Any man who tries to be good all the time is bound to come to ruin among the great number who are not good.

A man inherited a field in which was an accumulation of old stone, part of an older hall. Of the old stone some had already been used in building the house in which he actually lived, not far from the old house of his fathers. Of the rest he took some and built a tower. But his friends coming perceived at once (without troubling to climb the steps) that these stones had formerly belonged to a more ancient building. So they pushed the tower over, with no little labour, and in order to look for hidden carvings and inscriptions, or to discover whence the man's distant forefathers had obtained their building material. Some suspecting a deposit of coal under the soil began to dig for it, and forgot even the stones. They all said: 'This tower is most interesting.' But they also said (after pushing it over): 'What a muddle it is in!' And even the man's own descendants, who might have been expected to consider what he had been about, were heard to murmur: 'He is such an odd fellow! Imagine using these old stones just to build a nonsensical tower! Why did not he restore the old house? he had no sense of proportion.' But from the top of that tower the man had been able to look out upon the sea.

Man is mortal. This is his fate. Man pretends not to be mortal. That is his sin. Man is a creature of time and place, whose perspectives and insights are invariably conditioned by his immediate circumstances.

You sound like a Renaissance man,” I said. “I am,” Derek said. “I don’t care about how I’m supposed to act because I’m a guy. I do what I do because it’s the right thing to do as a human, not by gender.” - Saving You Saving Me by Kailin Gow

At his most characteristic, medieval man was not a dreamer nor a wanderer. He was an organiser, a codifier, a builder of systems.

You have a color of your own- Dark chocolate, You have a culture your own- Hip pop, You have a revival of your own- Harlem Renaissance, You are the spot on a ladybug that adds its beauty, You are the pupil of an eye, You are the vastness of space, You are the richness of soil, You are the sweetness of dark chocolate, You are the mystery in nature, Blessed Black chocolate, God has made You to rule the Land, that made You a slave.

the choices we make dictate the life we lead

Every mode of violent death available to Renaissance man, including a lye pit, land mines, a trained falcon with envenom'd talons, is employed. It plays, as Metzger remarked later, like a Road Runner cartoon in blank verse

I had fallen into a profound dream-like reverie in which I heard him speaking as at a distance. 'And yet there is no one who communes with only one god,' he was saying, 'and the more a man lives in imagination and in a refined understanding, the more gods does he meet with and talk with, and the more does he come under the power of Roland, who sounded in the Valley of Roncesvalles the last trumpet of the body's will and pleasure; and of Hamlet, who saw them perishing away, and sighed; and of Faust, who looked for them up and down the world and could not find them; and under the power of all those countless divinities who have taken upon themselves spiritual bodies in the minds of the modern poets and romance writers, and under the power of the old divinities, who since the Renaissance have won everything of their ancient worship except the sacrifice of birds and fishes, the fragrance of garlands and the smoke of incense. The many think humanity made these divinities, and that it can unmake them again; but we who have seen them pass in rattling harness, and in soft robes, and heard them speak with articulate voices while we lay in deathlike trance, know that they are always making and unmaking humanity, which is indeed but the trembling of their lips.

The traditional doctrine of man and not the measurement of skulls and footprints is the key for the understanding of that anthropos who, despite the rebellion of Promethean man against Heaven from the period of Renaissance and its aftermath, is still the inner man of every man, the reality which no human being can deny wherever and whenever he lives, the imprint of a theomorphic nature which no historical change and transformation can erase completely from the face of that creature called man.

They were very upset when I said that the thing of greatest importance to mathematics in Europe was the discovery by Tartaglia that you can solve a cubic equation-which, altho it is very little used, must have been psychologically wonderful because it showed a modern man could do something no ancient Greek could do, and therefore helped in the renaissance which was the freeing of man from the intimidation of the ancients-what they are learning in school is to be intimidated into thinking they have fallen so far below their super ancestors.

It was during the Renaissance that creativity was first seen, not as a matter of divine inspiration, but as a gift of a great learned man to imitate God’s ability to create. As Prometheus stole the fire of the Gods and brought it to the mankind, humanity needed to steal the secret of ‘creation’ from Gods and understand its essence.

If you don't, can't, or won't understand me, then you're just going to have to trust me

Leonardo da Vinci, the defining Renaissance man and perhaps the greatest intersectionalist of all times, believed that in order to fully understand something one needed to view it from at least three different perspectives.15

Live the lifestyle instead of paying lip service to the lifesytle. Live with commitment. With emotional content. Live whatever life you choose honestly. Give up this renaissance man, dilettante bullshit of doing a lot of different things (and none of them very well by real standards). Get to the guts of one thing; accept, without casuistry, the responsability of making a choice.

My biggest mistake is probably weighing too much on someone’s talent and not someone’s personality. I think it matters whether someone has a good heart.” – Elon Musk

It is said that people pointed out Dante in the street not as the man who made the Comedy but as the man who had been in Hell. Even today there are those (some of them critics) who believe every novel and even every lyric to be autobiographical. A man who lacks invention himself does not easily attribute it to others.

But I had no patience with this convent chatter. I had felt the brush take life in my hand that afternoon; I had had my finger in the great, succulent pie of creation. I was a man of the Renaissance that evening- of Browning's renaissance. I, who had walked the streets of Rome in Genoa velvet and had seen the stars through Galileo's tube, spurned the friars, with their dusty tomes, and their sunken, jealous eyes and their crabbed hair-splitting speech.

Mediaevalism, with its saints and martyrs, its love of self-torture, its wild passion for wounding itself, its gashing with knives, and its whipping with rods—Mediaevalism is real Christianity, and the mediaeval Christ is the real Christ.  When the Renaissance dawned upon the world, and brought with it the new ideals of the beauty of life and the joy of living, men could not understand Christ. 

father is a polymath, a real renaissance man: academic, sporting, at ease in the city, more at ease in the great outdoors. He’d embraced three adopted kids…and I’m the one who didn’t live up to his expectations.

When you read the words of Langston Hughes you are reading the words of a Black Gay man. When you read the words of Alice Dunbar-Nelson and Angelina Weld Grimké, poets of the Harlem Renaissance, you are reading the words of Black Lesbians. When you listen to the life-affirming voices of Bessie Smith and Ma Rainey, you are hearing Black Lesbian women. When you see the plays and read the words of Lorraine Hansberry, you are reading the words of a women who loved women deeply.

One need not believe in Pallas Athena, the virgin goddess, to be overwhelmed by the Parthenon. Similarly, a man who rejects all dogmas, all theologies and all religious formulations of beliefs may still find Genesis the sublime book par excellence. Experiences and aspirations of which intimations may be found in Plato, Nietzsche, and Spinoza have found their most evocative expression in some sacred books. Since the Renaissance, Shakespeare, Rembrandt, Mozart, and a host of others have shown that this religious dimension can be experienced and communicated apart from any religious context. But that is no reason for closing my heart to Job's cry, or to Jeremiah's, or to the Second Isaiah. I do not read them as mere literature; rather, I read Sophocles and Shakespeare with all my being, too.

It’s no coincidence that the man who contributed the most to the study of human anatomy, the Belgian Andreas Vesalius, was an avid proponent of do-it-yourself, get-your-fussy-Renaissance-shirt-dirty anatomical dissection.

The fifth act, entirely an anticlimax, is taken up by the bloodbath Gennaro visits on the court of Squamuglia. Every mode of violent death available to Renaissance man, including a lye pit, land mines, a trained falcon with envenom'd talons, is employed. It plays, as Metzger remarked later, like a Road Runner cartoon in blank verse.

This popular picture of Marx's 'materialism' - his anti-spiritual tendency, his wish for uniformity and subordination - is utterly false. Marx's aim was that of the spiritual emancipation of man, of his liberation from the chains of economic determination, of restituting him in his human wholeness, of enabling him to find unity and harmony with his fellow man and with nature. Marx's philosophy was, in secular, nontheistic language, a new and radical step forward in the tradition of prophetic Messianism; it was aimed at the full realization of individualism, the very aim which has guided Western thinking from the Renaissance and the Reformation far into the nineteenth century.

The heart of man is an ever empty abyss into which the whole world shall fall and be swallowed up.

We Negroes in Eatonville know a number of things that the hustling, bustling white man never dreams of. He is a materialist with little care for overtones.

It was in the early Renaissance that the art of the joke was reborn, and the midwife was a man called Poggio.

All Renaissance drama, especially the works of Marlowe and Shakespeare, is profoundly concerned with shifting power relations within society. The individual was a new force in relation to the state. The threat of rebellion, of the overturning of established order, was forcefully brought home to the Elizabethan public by the revolt of the Earl of Essex, once the Queen's favourite. The contemporary debate questioned the relationship between individual life, the power and authority of the state, and the establishing of moral absolutes. Where mediaeval drama was largely used as a means of showing God's designs, drama in Renaissance England focuses on man, and becomes a way of exploring his weaknesses, depravities, flaws - and qualities.

We usually think of beavers as sweet little creatures who build dams, but that’s not how a constipated Renaissance man would view them; a constipated Renaissance man would view them as his relief and his cure. You see, the beaver has two sacs in his groin that contain a noxious and utterly disgusting oil that acts as a very effective laxative. This very valuable liquid was known as castor oil. The

Thus he became the archetype of the Renaissance Man, an inspiration to all who believe that the “infinite works of nature,” as he put it, are woven together in a unity filled with marvelous patterns.2 His ability to combine art and science, made iconic by his drawing of a perfectly proportioned man spread-eagle inside a circle and square, known as Vitruvian Man, made him history’s most creative genius.

I had felt the brush take life in my hand that afternoon ; I had had my finger in the great, succulent pie of creation. I was a man of the Renaissance that evening — of Browning’s renaissance. I, who had walked the streets of Rome in Genoa velvet and had seen the stars through Galileo’s tube, spumed the friars, with their dusty tomes and their sunken, jealous eyes and their crabbed hair-splitting speech.

A word that rose to honor at the time of the Renaissance, and that summarized in advance the whole program of modern civilization is 'humanism'. Men were indeed concerned to reduce everything to purely human proportions, to eliminate every principle of a higher order, and, one might say, symbolically to turn away from the heavens under pretext of conquering the earth; the Greeks, whose example they claimed to follow, had never gone as far in this direction, even at the time of their greatest intellectual decadence, and with them utilitarian considerations had at least never claimed the first place, as they were very soon to do with the moderns. Humanism was form of what has subsequently become contemporary secularism; and, owing to its desire to reduce everything to the measure of man as an end in himself, modern civilization has sunk stage by stage until it has reached the level of the lowest elements in man and aims at little more than satisfying the needs inherent in the material side of his nature, an aim that is in any case quite illusory since it constantly creates more artificial needs than it can satisfy.

Legions of grotesques sweep under his hand; for has not nature too her grotesques—the rent rock, the distorting lights of evening on lonely roads, the unveiled structure of man in the embryo, or the skeleton?

Still, this particular fantasy nagged him. He'd stroll through the streets, eat, bathe, weed his rose garden, and it would gather strength over his head, an insidious halo, as black as dried blood, glittering with the thunder of snapping bones. It tugged at him like a tornado. He would peer up and see George affixed to its sphere, and the smog made him think of a woodcut he'd seen as a child. It showed every bone in some man's body broken and woven through spokes of a wagon wheel. Hoisted aloft in the Renaissance, they had continued to twirl for Philippe ever since.

America was invented out of a desire for rebirth, for fresh starts. It was the place where a man could be the author of himself, reinventing himself as an aristocrat, but somehow these stories of renaissance kept ending in murder.

No single English intellectual symbolises the idea of Renaissance man more than Bacon. He wrote on aspects of law, science, history, government, politics, ethics, religion and colonialism, as well as gardens, parents, children and health. The key work for appreciating the width of his interests is his Essays, originally published in 1597, and enlarged twice before his death. These meditations, often only a page long, give a remarkable insight into the thought of the period.

Goethe epitomizes what was known in the Renaissance as the Ideal of the Universal Man—a person so steeped in all forms of knowledge that his mind grows closer to the reality of nature itself and sees secrets that are invisible to most people.

But the essential features of that individualism which, from elements provided by Christianity and the philosophy of classical antiquity, was first fully developed during the Renaissance and has since grown and spread into what we know as Western civilization—are the respect for the individual man qua man, that is, the recognition of his own views and tastes as supreme in his own sphere, however narrowly that may be circumscribed, and the belief that it is desirable that men should develop their own individual gifts and bents.

I don't myself think much of science as a phase of human development. It has given us a lot of ingenious toys; they take our attention away from the real problems, of course, and since the problems are insoluble, I suppose we ought to be grateful for distraction. But the fact is, the human mind, the individual mind, has always been made more interesting by dwelling on the old riddles, even if it makes nothing of them. Science hasn't given us any new amazements, except of the superficial kind we get from witnessing dexterity and sleight-of-hand. It hasn't given us any richer pleasures, as the Renaissance did, nor any new sins-not one! Indeed, it takes our old ones away. It's the laboratory, not the Lamb of God, that taketh away the sins of the world. You'll agree there is not much thrill about a physiological sin. We were better off when even the prosaic matter of taking nourishment could have the magnificence of a sin. I don't think you help people by making their conduct of no importance-you impoverish them. As long as every man and woman who crowded into the cathedrals on Easter Sunday was a principal in a gorgeous drama with God, glittering angels on one side and the shadows of evil coming and going on the other, life was a rich thing. The king and the beggar had the same chance at miracles and great temptations and revelations. And that's what makes men happy, believing in the mystery and importance of their own little individual lives. It makes us happy to surround our creature needs and bodily instincts with as much pomp and circumstance as possible. Art and religion (they are the same thing, in the end, of course) have given man the only happiness he has ever had.

The options also were a way of shifting enormous risk from Renaissance to the banks. Because the lenders technically owned the underlying securities in the basket-options transactions, the most Medallion could lose in the event of a sudden collapse was the premium it had paid for the options and the collateral held by the banks. That amounted to several hundred million dollars. By contrast, the banks faced billions of dollars of potential losses if Medallion were to experience deep troubles. In the words of a banker involved in the lending arrangement, the options allowed Medallion to “ring-fence” its stock portfolios, protecting other parts of the firm, including Laufer’s still-thriving futures trading, and ensuring Renaissance’s survival in the event something unforeseen took place. One staffer was so shocked by the terms of the financing that he shifted most of his life savings into Medallion, realizing the most he could lose was about 20 percent of his money.

The Renaissance did not break completely with mediaeval history and values. Sir Philip Sidney is often considered the model of the perfect Renaissance gentleman. He embodied the mediaeval virtues of the knight (the noble warrior), the lover (the man of passion), and the scholar (the man of learning). His death in 1586, after the Battle of Zutphen, sacrificing the last of his water supply to a wounded soldier, made him a hero. His great sonnet sequence Astrophel and Stella is one of the key texts of the time, distilling the author's virtues and beliefs into the first of the Renaissance love masterpieces. His other great work, Arcadia, is a prose romance interspersed with many poems and songs.

But Rousseau — to what did he really want to return? Rousseau, this first modern man, idealist and rabble in one person — one who needed moral "dignity" to be able to stand his own sight, sick with unbridled vanity and unbridled self-contempt. This miscarriage, couched on the threshold of modern times, also wanted a "return to nature"; to ask this once more, to what did Rousseau want to return? I still hate Rousseau in the French Revolution: it is the world-historical expression of this duality of idealist and rabble. The bloody farce which became an aspect of the Revolution, its "immorality," is of little concern to me: what I hate is its Rousseauan morality — the so-called "truths" of the Revolution through which it still works and attracts everything shallow and mediocre. The doctrine of equality! There is no more poisonous poison anywhere: for it seems to be preached by justice itself, whereas it really is the termination of justice. "Equal to the equal, unequal to the unequal" — that would be the true slogan of justice; and also its corollary: "Never make equal what is unequal." That this doctrine of equality was surrounded by such gruesome and bloody events, that has given this "modern idea" par excellence a kind of glory and fiery aura so that the Revolution as a spectacle has seduced even the noblest spirits. In the end, that is no reason for respecting it any more. I see only one man who experienced it as it must be experienced, with nausea — Goethe. Goethe — not a German event, but a European one: a magnificent attempt to overcome the eighteenth century by a return to nature, by an ascent to the naturalness of the Renaissance — a kind of self-overcoming on the part of that century. He bore its strongest instincts within himself: the sensibility, the idolatry of nature, the anti-historic, the idealistic, the unreal and revolutionary (the latter being merely a form of the unreal). He sought help from history, natural science, antiquity, and also Spinoza, but, above all, from practical activity; he surrounded himself with limited horizons; he did not retire from life but put himself into the midst of it; he if was not fainthearted but took as much as possible upon himself, over himself, into himself. What he wanted was totality; he fought the mutual extraneousness of reason, senses, feeling, and will (preached with the most abhorrent scholasticism by Kant, the antipode of Goethe); he disciplined himself to wholeness, he created himself. In the middle of an age with an unreal outlook, Goethe was a convinced realist: he said Yes to everything that was related to him in this respect — and he had no greater experience than that ens realissimum [most real being] called Napoleon. Goethe conceived a human being who would be strong, highly educated, skillful in all bodily matters, self-controlled, reverent toward himself, and who might dare to afford the whole range and wealth of being natural, being strong enough for such freedom; the man of tolerance, not from weakness but from strength, because he knows how to use to his advantage even that from which the average nature would perish; the man for whom there is no longer anything that is forbidden — unless it be weakness, whether called vice or virtue. Such a spirit who has become free stands amid the cosmos with a joyous and trusting fatalism, in the faith that only the particular is loathesome, and that all is redeemed and affirmed in the whole — he does not negate anymore. Such a faith, however, is the highest of all possible faiths: I have baptized it with the name of Dionysus. 50 One might say that in a certain sense the nineteenth century also strove for all that which Goethe as a person had striven for: universality in understanding and in welcoming, letting everything come close to oneself, an audacious realism, a reverence for everything factual.

Lacking any scientific means of pinning down the soul, the first anatomists settled on generative primacy. What shows up first in the embryo must be most important and therefore most likely to hold the soul. The trouble with this particular avenue of learning, known as ensoulment, was that early first trimester human embryos were difficult to come by. Classical scholars of ensoulment, Aristotle among them, attempted to get around the problem by examining the larger, more easily obtained poultry embryo. To quote Vivian Nutton, author of The Anatomy of the Soul in Early Renaissance Medicine and the Human Embryo, analogies drawn from the inspection of hen's eggs foundered on the subject that man was not a chicken.

जब तक आदमी अपनी चालू हालत में खुश रहता है, तब तक उसमें से निकलने के लिये उसे समझाना मुश्किल है| इसलिए हर एक सुधार के पहले असंतोष होना ही चाहिए

The fear of failure can be more crippling than failure itself. While it can be the case that people bite off more than they chew, innovation entails risk.

A polygogue is an enlightened, polished, and urbane competent man." - Philip Cairfax

Now give me some advice about how to take full advantage of this city. I’m always looking to improve my odds.” “Just what I’d expect from a horny actuary.” “I’m serious.” Carlos reflected for a moment on the problem at hand. He actually had never needed or tried to take full advantage of the city in order to meet women, but he thought about all of his friends who regularly did. His face lit up as he thought of some helpful advice: “Get into the arts.” “The arts?” “Yeah.” “But I’m not artistic.” “It doesn’t matter. Many women are into the arts. Theater. Painting. Dance. They love that stuff.” “You want me to get into dance? Earthquakes have better rhythm than me…And can you really picture me in those tights?” “Take an art history class. Learn photography. Get involved in a play or an independent film production. Get artsy, Sammy. I’m telling you, the senoritas dig that stuff.” “Really?” “Yeah. You need to sign up for a bunch of artistic activities. But you can’t let on that it’s all just a pretext to meet women. You have to take a real interest in the subject or they’ll quickly sniff out your game.” “I don’t know…It’s all so foreign to me…I don’t know the first thing about being artistic.” “Heeb, this is the time to expand your horizons. And you’re in the perfect city to do it. New York is all about reinventing yourself. Get out of your comfort zones. Become more of a Renaissance man. That’s much more interesting to women.

In modern, that is, in evolutionary, thought Man stands at the top of a stair whose foot is lost in obscurity; in this, he stands at the bottom of a stair whose top is invisible with light.

In the early twelfth century century the Virgin had been the supreme protectress of civilisation. She had taught a race of tough and ruthless barbarians the virtues of tenderness and compassion. The great cathedrals of the Middle Ages were her dwelling places upon earth. In the Renaissance, while remaining the Queen of Heaven, she became also the human mother in whom everyone could recognise qualities of warmth and love and approachability... The stabilising, comprehensive religions of the world, the religions which penetrate to every part of a man's being--in Egypt, India or China--gave the female principle of creation at least as much importance as the male, and wouldn't have taken seriously a philosophy that failed to include them both...It's a curious fact that the all-male religions have produced no religious imagery--in most cases have positively forbidden it. The great religious art of the world is deeply involved with the female principle.

Pearl introduces an original story, in a form which was to become one of the most frequent in mediaeval literature, the dream-vision. Authors like Chaucer and Langland use this form, in which the narrator describes another world - usually a heavenly paradise - which is compared with the earthly human world. In Pearl, the narrator sees his daughter who died in infancy, 'the ground of all my bliss'. She now has a kind of perfect knowledge, which her father can never comprehend. The whole poem underlines the divide between human comprehension and perfection; these lines show the gap between possible perfection and fallen humanity which, thematically, anticipate many literary examinations of man's fall, the most well known being Milton's late Renaissance epic, Paradise Lost.

Over time, and sentence uttered long and loud enough becomes fixed. Becomes a truth. Provided, of course, you can outlast the dissent and silence your opponents. But should you succeed - and remove all challengers - then what remains is, by default, now true. Is it truth in some objective sense? No. But how does one ever achieve an objective point of view? The answer is you don't. It is literally, physically impossible. There are too many variables. Too many fields and formulae to consider. We can try, of course. We can inch closer and closer to a revelation. But we'll never reach it. Not ever . . . And so I have realized, that so long as The Templar exist, they will attempt to bend reality to their will. They recognize there is no such thing as an absolutely truth - or if there is - we are hopelessly underequipped to recognize it. And so in its place, they seek to create their own explanation. It is the guiding principle of their so-named "New World Order"; To reshape existence in their own image. It is not about artifacts. Not about men. These are merely tools. It's about concepts. Clever of them. For how does one wage war against a concept? It is the perfect weapon. It lacks a physical form yet can alter the world around us in numerous, often violent ways. You cannot kill a creed. Even if you kill all of its adherents, destroy all of its writings - these are a reprieve at best. Some one, some day, will rediscover it. Reinvent it. I believe that even we, the Assassins, have simple re-discovered an Order that predates the Old Man himself . . .

To return to the general analysis of the Rosicrucian outlook. Magic was a dominating factor, working as a mathematics-mechanics in the lower world, as celestial mathematics in the celestial world, and as angelic conjuration in the supercelestial world. One cannot leave out the angels in this world view, however much it may have been advancing towards the scientific revolution. The religious outlook is bound up with the idea that penetration has been made into higher angelic spheres in which all religions were seen as one; and it is the angels who are believed to illuminate man's intellectual activities. In the earlier Renaissance, the magi had been careful to use only the forms of magic operating in the elemental or celestial spheres, using talismans and various rituals to draw down favourable influences from the stars. The magic of a bold operator like Dee, aims beyond the stars, aims at doing the supercelestial mathematical magic, the angel-conjuring magic. Dee firmly believed that he had gained contact with good angels from whom he learned advancement in knowledge. This sense of close contact with angels or spiritual beings is the hallmark of the Rosicrucian. It is this which infuses his technology, however practical and successful and entirely rational in its new understanding of mathematical techniques, with an unearthly air, and makes him suspect as possibly in contact, not with angels, but with devils.

Raphael, Saint George and the Dragon, 1504-06 It’s hard to talk about what you believe while you are believing it. Fervor reduces thought to shorthand and all we get is an icon. Give a man a weapon and you have a warrior. Put him on a horse and you have a hero. The weapon is a tool. The horse is a metaphor. Raphael painted this twice—white horse facing east against the greens, white horse facing west against the yellows. The maiden flees or prays, depending. A basic dragon, the kind you’d expect from the Renaissance. Evidence of evil but not proof. There’s a companion piece as well: Saint Michael. Paint angels, it’s easier: you don’t need the horse. Michael stands on Satan’s throat, vanquishing, while everything brown burns red. All these things happened. Allegedly. When you paint an evil thing, do you invoke it or take away its power? This has nothing to do with faith but is still a good question. Raphael was trying to say something about spirituality. This could be the definition of painting. The best part of spirituality is reverence. There are other parts. Some people like to hear the sound of their own voice. If you don’t believe in the world it would be stupid to paint it. If you don’t believe in God, who are you talking to?

The beliefs and behaviour of the Restoration reflect the theories of society put forward by Thomas Hobbes in The Leviathan, which was written in exile in Paris and published in 1651. Like many texts of the time, The Leviathan is an allegory. It recalls mediaeval rather than Renaissance thinking. The leviathan is the Commonwealth, society as a total organism, in which the individual is the absolute subject of state control, represented by the monarch. Man - motivated by self-interest - is acquisitive and lacks codes of behaviour. Hence the necessity for a strong controlling state, 'an artificial man', to keep discord at bay. Self-interest and stability become the keynotes of British society after 1660, the voice of the new middle-class bourgeoisie making itself heard more and more in the expression of values, ideals, and ethics.

Atticus adjusted his glasses as he peered down at the blanket. “Hey, is that the book Nellie told us about?” Jake’s eyes flicked to Olivia’s book. “You’ve got it outside in the sun? Are you out of your minds?” Amy crossed her arms. “We’re being careful.” “It’s not about careful, this is a five-hundred-year-old manuscript! You should be wearing gloves—Atticus brought some—and keeping it out of the sunlight.” “It didn’t take you long to start barking orders!” Any exclaimed, her face flushing. “But then you always know best, don’t you?” “Somebody has to be mature in this situation,” Jake said, his gaze flashing at Ian, who was now intently trying to brush cookie crumbs off his pants. “True. In that case, we’d rather consult your little brother,” Ian said with a smirk. “Medieval manuscripts are his field, am I right?” “Technically, it’s early Renaissance,” Jake said. “Thanks for the correction, my good man. Amy is right—you do know best.” Ian slipped his arm around Amy. “She’s so perceptive. One of the many things I adore about her.” “It’s getting chilly. Why don’t we go inside?” Amy suggested brightly as she tried to step out of the circle of Ian’s arm. Ian took the opportunity to rub her shoulder. “You do feel rather cold,” he said. “Let’s sit by the fire. Jake, since you’re so interested in proper handling, why don’t you take the book?” Jake snatched up the book and furiously stomped off toward the house. “You forgot to wear gloves!” Ian called after him. Amy pushed him away. “Really, Ian.” “What a touchy guy,” Ian said. “Frankly, I don’t know what you see in him.” He winced as the kitchen door slammed, then glanced at Amy’s red face. “Hmmm. It might be a good time for me to take a walk.

Such a society will want to invest the work of art with regularity and necessity. It will want art to prove that there are universally valid, unshakable, inviolable standards and principles, that the world is ruled by an absolute and immutable purpose, and that man - though not every individual man - is the custodian of this purpose, Art forms will have to be authoritative to agree with the ideas of this society, and must make a definitive and consummate impression comparable to that which the authoritarian order of the age desires to make. The ruling class will look to art, above all, as the symbol of the calm and stability which is aspires to attain in life.

Wouldn't it be nice to return to some of the old theories? Soul and body? The four humours?' 'Oh, they never worked.' 'Of course they did. Everything works in its own period. Don't you think that people were cured by medieval doctors, soaking up black melancholy bile with white salpetre? We could no more use their remedies than they could use ours, but they did work once. That's what you have to remember. Of course some people say that they might work again.

I call it our English Renaissance because it is indeed a sort of new birth of the spirit of man, like the great Italian Renaissance of the fifteenth century, in its desire for a more gracious and comely way of life, its passion for physical beauty, its exclusive attention to form, its seeking for new subjects for poetry, new forms of art, new intellectual and imaginative enjoyments: and I call it our romantic movement because it is our most recent expression of beauty.

It would detain us too long here to trace the steps whereby a man’s genius, from being an invisible, personal, and external attendant, became his true self, and then his cast of mind, and finally (among the Romantics) his literary or artistic gifts. To understand this process fully would be to grasp that great movement of internalisation, and that consequent aggrandisement of man and desiccation of the outer universe, in which the psychological history of the West has so largely consisted.25

What Kant took to be the necessary schemata of reality,' says a modern Freudian, 'are really only the necessary schemata of repression.' And an experimental psychologist adds that 'a sense of time can only exist where there is submission to reality.' To see everything as out of mere succession is to behave like a man drugged or insane. Literature and history, as we know them, are not like that; they must submit, be repressed. It is characteristic of the stage we are now at, I think, that the question of how far this submission ought to go--or, to put it the other way, how far one may cultivate fictional patterns or paradigms--is one which is debated, under various forms, by existentialist philosophers, by novelists and anti-novelists, by all who condemn the myths of historiography. It is a debate of fundamental interest, I think, and I shall discuss it in my fifth talk. Certainly, it seems, there must, even when we have achieved a modern degree of clerical scepticism, be some submission to the fictive patterns. For one thing, a systematic submission of this kind is almost another way of describing what we call 'form.' 'An inter-connexion of parts all mutually implied'; a duration (rather than a space) organizing the moment in terms of the end, giving meaning to the interval between tick and tock because we humanly do not want it to be an indeterminate interval between the tick of birth and the tock of death. That is a way of speaking in temporal terms of literary form. One thinks again of the Bible: of a beginning and an end (denied by the physicist Aristotle to the world) but humanly acceptable (and allowed by him to plots). Revelation, which epitomizes the Bible, puts our fate into a book, and calls it the book of life, which is the holy city. Revelation answers the command, 'write the things which thou hast seen, and the things which are, and the things which shall be hereafter'--'what is past and passing and to come'--and the command to make these things interdependent. Our novels do likewise. Biology and cultural adaptation require it; the End is a fact of life and a fact of the imagination, working out from the middle, the human crisis. As the theologians say, we 'live from the End,' even if the world should be endless. We need ends and kairoi and the pleroma, even now when the history of the world has so terribly and so untidily expanded its endless successiveness. We re-create the horizons we have abolished, the structures that have collapsed; and we do so in terms of the old patterns, adapting them to our new worlds. Ends, for example, become a matter of images, figures for what does not exist except humanly. Our stories must recognize mere successiveness but not be merely successive; Ulysses, for example, may be said to unite the irreducible chronos of Dublin with the irreducible kairoi of Homer. In the middest, we look for a fullness of time, for beginning, middle, and end in concord. For concord or consonance really is the root of the matter, even in a world which thinks it can only be a fiction. The theologians revive typology, and are followed by the literary critics. We seek to repeat the performance of the New Testament, a book which rewrites and requites another book and achieves harmony with it rather than questioning its truth. One of the seminal remarks of modern literary thought was Eliot's observation that in the timeless order of literature this process is continued. Thus we secularize the principle which recurs from the New Testament through Alexandrian allegory and Renaissance Neo-Platonism to our own time. We achieve our secular concords of past and present and future, modifying the past and allowing for the future without falsifying our own moment of crisis. We need, and provide, fictions of concord.

We, that is, the traditionalists like myself, use the term ‘‘modernism’’ not in a vague way as characterizing just things that happen to be around today, but as a particular way of looking at the world, a worldview that began in the Renaissance in the West with such components as Renaissance humanism, rationalism, et cetera. As I have mentioned already, modernism rejects the primacy of absolute and ultimate truth transcending the human order and descend- ing upon the human realm from the Divine Order. It places man himself at the center of the stage as ‘‘the absolute.’’ In a sense it absolutizes the human being in his or her earthly reality. Usually it does not come out and say so explicitly, but that is what it really means; that is, it takes the absolute away from God and puts it on the human plane, and therefore makes human reason, human perceptions, human interests the criteria of reality, of knowledge, of the truth, of the goal of human life. Therefore, as a consequence it substitutes the significance of the temporal and the transient for the abiding and the eternal.

There still remains only God to protect man against man. Either we will serve him in spirit and in truth or we shall enslave ourselves ceaselessly, more and more, to the monstrous idol that we have made with our own hands to our own image and likeness. Etienne Gilson, 20th century

Learn as much as you can. Part of this learning will be your art, learning all aspects of your craft in depth and always challenging the boundaries of your style and comfort zone. But also study the world, literature, philosophy, politics, science—all the things that combine to form life as we know it. Because art is the portrayal of life, and the more you learn, the more you will have to call upon and be inspired by. Finally, don’t be afraid to market yourself. No one else will do it for you. Know what you’re capable of, and do not rest until others see it, too.

The theme of tonight’s dinner is apotheosis. What does it mean to become God? If Father Francis has no problem with lesser mortals like ourselves bursting into kaleidoscopic rainbows after decades of intense meditation, then why not simply drink the sacred potion and cut to the chase? At the end of the day, aren’t we both talking about that cryptic promise from Eleusis: overcoming the limitations of the physical body and cheating death? That “moment of intense rapture” sought by the maenads of Dionysus, until they “became identified with the god himself.” And aren’t he and Ruck both committing the same arch-heresy by suggesting that the original, obscured truth of Christianity has nothing to do with worshipping Jesus, and everything to do with becoming Jesus? Aren’t we all just gods and goddesses in the making? Maybe the concept of apotheosis doesn’t sound particularly heretical today. But a few hundred years ago, it got the likes of Giovanni Pico della Mirandola into a load of trouble. In 1484 the upstart Italian was only twenty-one years old when he met Lorenzo de’ Medici, who promptly invited him into the Florentine Academy that was about to punch the Renaissance into high gear. Already a student of Greek, as well as Latin, Hebrew, and Arabic, the newest Florentine got to work writing Oratio de hominis dignitate (Oration on the Dignity of Man): the so-called Manifesto of the Renaissance. He wanted to publicly debut the Oratio, together with his 900 Theses, in Rome on the Epiphany of 1487, the God’s Gift Day. But Pope Innocent VIII was not impressed. He put a halt to the spectacle and condemned every one of Pico della Mirandola’s theses for “renovating the errors of pagan philosophers.

We might call this existential paradox the condition of individuality finitude. Man has a symbolic identity that brings him sharply out of nature. He is a symbolic self, a creature with a name, a life history. He is a creator with a mind that soars out to speculate about atoms and infinity, who can place himself imaginatively at a point in space and contemplate bemusedly his own planet. This immense expansion, this dexterity, this ethereality, this self-consciousness gives to man literally the status of a small god in nature, as the Renaissance thinkers knew. Yet, at the same time, as the Eastern sages also knew, man is a worm and food for worms. This is the paradox: he is out of nature and hopelessly in it; he is dual, up in the stars and yet housed in a heart-pumping, breath-gasping body that once belonged to a fish and still carries the gill-marks to prove it. His body is a material fleshy casing that is alien to him in many ways-the strangest and most repugnant way being that it aches and bleeds and will decay and die. Man is literally split in two: he has an awareness of his own splendid uniqueness in that he sticks out of nature with a towering majesty, and yet he goes back into the ground a few feet in order to blindly and dumbly rot and disappear forever. It is a terrifying dilemma to be in and to have to live with. The lower animals are, of course, spared this painful contradiction, as they lack a symbolic identity and the self-consciousness that goes with it. They merely act and move reflexively as they are driven by their instincts. If they pause at all, it is only a physical pause; inside they are anonymous, and even their faces have no name. They live in a world without time, pulsating, as it were, in a state of dumb being. This is what has made it so simple to shoot down whole herds of buffalo or elephants. The animals don't know that death is happening and continue grazing placidly while others drop alongside them. The knowledge of death is reflective and conceptual, and animals are spared it. They live and they disappear with the same thoughtlessness: a few minutes of fear, a few seconds of anguish, and it is over. But to live a whole lifetime with the fate of death haunting one's dreams and even the most sun-filled days-that's something else.

He was the most widely travelled poet of the Renaissance; a man who lost an eye in Morocco, who was exiled to the East for a sword fight, who was destitute in Goa and shipwrecked in the Mekong Delta – he swam ashore clutching his manuscript above his head while his Chinese lover drowned.

LEBEAU: Well I’m not a philosopher, but I know my mother, and that’s why I’m here. You’re like people who look at my paintings—“What does this mean, what does that mean?” Look at it, don’t ask what it means; you’re not God, you can’t tell what anything means. I’m walking down the street before, a car pulls up beside me, a man gets out and measures my nose, my ears, my mouth, the next thing I’m sitting in a police station—or whatever the hell this is here—and in the middle of Europe, the highest peak of civilization! And you know what it means? After the Romans and the Greeks and the Renaissance, and you know what this means?

Something is happening in Memphis; something is happening in our world. And you know, if I were standing at the beginning of time, with the possibility of taking a kind of general and panoramic view of the whole of human history up to now, and the Almighty said to me, "Martin Luther King, which age would you like to live in?" I would take my mental flight by Egypt and I would watch God's children in their magnificent trek from the dark dungeons of Egypt through, or rather across the Red Sea, through the wilderness on toward the promised land. And in spite of its magnificence, I wouldn't stop there. I would move on by Greece and take my mind to Mount Olympus. And I would see Plato, Aristotle, Socrates, Euripides and Aristophanes assembled around the Parthenon. And I would watch them around the Parthenon as they discussed the great and eternal issues of reality. But I wouldn't stop there. I would go on, even to the great heyday of the Roman Empire. And I would see developments around there, through various emperors and leaders. But I wouldn't stop there. I would even come up to the day of the Renaissance, and get a quick picture of all that the Renaissance did for the cultural and aesthetic life of man. But I wouldn't stop there. I would even go by the way that the man for whom I am named had his habitat. And I would watch Martin Luther as he tacked his ninety-five theses on the door at the church of Wittenberg. But I wouldn't stop there. I would come on up even to 1863, and watch a vacillating President by the name of Abraham Lincoln finally come to the conclusion that he had to sign the Emancipation Proclamation. But I wouldn't stop there. I would even come up to the early thirties, and see a man grappling with the problems of the bankruptcy of his nation. And come with an eloquent cry that we have nothing to fear but "fear itself." But I wouldn't stop there.

It’s no coincidence that the man who contributed the most to the study of human anatomy, the Belgian Andreas Vesalius, was an avid proponent of do-it-yourself, get-your-fussy-Renaissance-shirt-dirty anatomical dissection. Though human dissection was an accepted practice in the Renaissance-era anatomy class, most professors shied away from personally undertaking it, preferring to deliver their lectures while seated in raised chairs a safe and tidy remove from the corpse and pointing out structures with a wooden stick while a hired hand did the slicing. Vesalius disapproved of this practice, and wasn’t shy about his feelings. In C. D. O’Malley’s biography of the man, Vesalius likens the lecturers to “jackdaws aloft in their high chair, with egregious arrogance croaking things they have never investigated but merely committed to memory from the books of others. Thus everything is wrongly taught,…and days are wasted in ridiculous questions.

The character and the play of Hamlet are central to any discussion of Shakespeare's work. Hamlet has been described as melancholic and neurotic, as having an Oedipus complex, as being a failure and indecisive, as well as being a hero, and a perfect Renaissance prince. These judgements serve perhaps only to show how many interpretations of one character may be put forward. 'To be or not to be' is the centre of Hamlet's questioning. Reasons not to go on living outnumber reasons for living. But he goes on living, until he completes his revenge for his father's murder, and becomes 'most royal', the true 'Prince of Denmark' (which is the play's subtitle), in many ways the perfection of Renaissance man. Hamlet's progress is a 'struggle of becoming' - of coming to terms with life, and learning to accept it, with all its drawbacks and challenges. He discusses the problems he faces directly with the audience, in a series of seven soliloquies - of which 'To be or not to be' is the fourth and central one. These seven steps, from the zero-point of a desire not to live, to complete awareness and acceptance (as he says, 'the readiness is all'), give a structure to the play, making the progress all the more tragic, as Hamlet reaches his aim, the perfection of his life, only to die.

If I am right, the man of genius then found himself in a situation very different from that of his modern successor. Such a man today often, perhaps usually, feels himself confronted with a reality whose significance he cannot know, or a reality that has no significance; or even a reality such that the very question whether it has a meaning is itself a meaningless question. It is for him, by his own sensibility, to discover a meaning, or, out of his own subjectivity, to give a meaning—or at least a shape—to what in itself had neither. But the Model universe of our ancestors had a built-in significance. And that in two senses; as having ‘significant form’ (it is an admirable design) and as a manifestation of the wisdom and goodness that created it. There was no question of waking it into beauty or life. Ours, most emphatically, was not the wedding garment, nor the shroud. The achieved perfection was already there. The only difficulty was to make an adequate response.

A complete obliteration will be the fate of any emancipation movement which attempts to place the whole sex in a new relation to society, and to see in man its perpetual oppressor. A corps of Amazons might be formed, but as time went on the material for the corps would cease to occur. The history of the woman movement during the Renaissance and its complete disappearance contains a lesson for the advocates of women's rights. Real intellectual freedom cannot be attained by an agitated mass; it must be fought for by the individual. Who is the enemy? What are the retarding influences? The greatest, the one enemy of the emancipation of women is woman herself.

What place in the future development of the South ought the Negro college and college-bred man to occupy? That the present social separation and acute race-sensitiveness must eventually yield to the influences of culture, as the South grows civilized, is clear. But such transformation calls for singular wisdom and patience. If, while the healing of this vast sore is progressing, the races are to live for many years side by side, united in economic effort, obeying a common government, sensitive to mutual thought and feeling, yet subtly and silently separate in many matters of deeper human intimacy,—if this unusual and dangerous development is to progress amid peace and order, mutual respect and growing intelligence, it will call for social surgery at once the delicatest and nicest in modern history. It will demand broad-minded, upright men, both white and black, and in its final accomplishment American civilization will triumph. So far as white men are concerned, this fact is to-day being recognized in the South, and a happy renaissance of university education seems imminent. But the very voices that cry hail to this good work are, strange to relate, largely silent or antagonistic to the higher education of the Negro. Strange to relate! for this is certain, no secure civilization can be built in the South with the Negro as an ignorant, turbulent proletariat.

Literature before the Renaissance had frequently offered ideal patterns for living which were dominated by the ethos of the church, but after the Reformation the search for individual expression and meaning took over. Institutions were questioned and re-evaluated, often while being praised at the same time. But where there had been conventional modes of expression, reflecting ideal modes of behaviour - religious, heroic, or social - Renaissance writing explored the geography of the human soul, redefining its relationship with authority, history, science, and the future. This involved experimentation with form and genre, and an enormous variety of linguistic and literary innovations in a short period of time. Reason, rather than religion, was the driving force in this search for rules to govern human behaviour in the Renaissance world. The power and mystique of religion had been overthrown in one bold stroke: where the marvellous no longer holds sway, real life has to provide explanations. Man, and the use he makes of his powers, capabilities, and free will, is thus the subject matter of Renaissance literature, from the early sonnets modelled on Petrarch to the English epic which closes the period, Paradise Lost, published after the Restoration, when the Renaissance had long finished. The Reformation gave cultural, philosophical, and ideological impetus to English Renaissance writing. The writers in the century following the Reformation had to explore and redefine all the concerns of humanity. In a world where old assumptions were no longer valid, where scientific discoveries questioned age-old hypotheses, and where man rather than God was the central interest, it was the writers who reflected and attempted to respond to the disintegration of former certainties. For it is when the universe is out of control that it is at its most frightening - and its most stimulating. There would never again be such an atmosphere of creative tension in the country. What was created was a language, a literature, and a national and international identity.

SHAKESPEARE What is a man, If his chief good and market of his time Be but to sleep and feed? A beast, no more (Hamlet) There is no one kind of Shakespearean hero, although in many ways Hamlet is the epitome of the Renaissance tragic hero, who reaches his perfection only to die. In Shakespeare's early plays, his heroes are mainly historical figures, kings of England, as he traces some of the historical background to the nation's glory. But character and motive are more vital to his work than praise for the dynasty, and Shakespeare's range expands considerably during the 1590s, as he and his company became the stars of London theatre. Although he never went to university, as Marlowe and Kyd had done, Shakespeare had a wider range of reference and allusion, theme and content than any of his contemporaries. His plays, written for performance rather than publication, were not only highly successful as entertainment, they were also at the cutting edge of the debate on a great many of the moral and philosophical issues of the time. Shakespeare's earliest concern was with kingship and history, with how 'this sceptr'd isle' came to its present glory. As his career progressed, the horizons of the world widened, and his explorations encompassed the geography of the human soul, just as the voyages of such travellers as Richard Hakluyt, Sir Walter Raleigh, and Sir Francis Drake expanded the horizons of the real world.

The four had come to an exciting decision" during the six months of the blockade threatened by the authorities, they would make the ruins a laboratory, a demonstration of how well and happily men could live with virtually no machines. They saw now the common man's wisdom in wrecking practically everything. That was the way to do it, and the hell with moderation! "All right, so we'll heat our water and cook our food and light and warm our homes with wood fires," said Lasher. "And walk wherever we're going," said Finnerty. "And read books instead of watching television," said von Neumann. "The Renaissance comes to upstate New York! We'll rediscover the two greatest wonders of the world, the human mind and hand.

It is now time to face the fact that English is a crazy language — the most loopy and wiggy of all tongues. In what other language do people drive in a parkway and park in a driveway? In what other language do people play at a recital and recite at a play? Why does night fall but never break and day break but never fall? Why is it that when we transport something by car, it’s called a shipment, but when we transport something by ship, it’s called cargo? Why does a man get a hernia and a woman a hysterectomy? Why do we pack suits in a garment bag and garments in a suitcase? Why do privates eat in the general mess and generals eat in the private mess? Why do we call it newsprint when it contains no printing but when we put print on it, we call it a newspaper? Why are people who ride motorcycles called bikers and people who ride bikes called cyclists? Why — in our crazy language — can your nose run and your feet smell?Language is like the air we breathe. It’s invisible, inescapable, indispensable, and we take it for granted. But, when we take the time to step back and listen to the sounds that escape from the holes in people’s faces and to explore the paradoxes and vagaries of English, we find that hot dogs can be cold, darkrooms can be lit, homework can be done in school, nightmares can take place in broad daylight while morning sickness and daydreaming can take place at night, tomboys are girls and midwives can be men, hours — especially happy hours and rush hours — often last longer than sixty minutes, quicksand works very slowly, boxing rings are square, silverware and glasses can be made of plastic and tablecloths of paper, most telephones are dialed by being punched (or pushed?), and most bathrooms don’t have any baths in them. In fact, a dog can go to the bathroom under a tree —no bath, no room; it’s still going to the bathroom. And doesn’t it seem a little bizarre that we go to the bathroom in order to go to the bathroom? Why is it that a woman can man a station but a man can’t woman one, that a man can father a movement but a woman can’t mother one, and that a king rules a kingdom but a queen doesn’t rule a queendom? How did all those Renaissance men reproduce when there don’t seem to have been any Renaissance women? Sometimes you have to believe that all English speakers should be committed to an asylum for the verbally insane: In what other language do they call the third hand on the clock the second hand? Why do they call them apartments when they’re all together? Why do we call them buildings, when they’re already built? Why it is called a TV set when you get only one? Why is phonetic not spelled phonetically? Why is it so hard to remember how to spell mnemonic? Why doesn’t onomatopoeia sound like what it is? Why is the word abbreviation so long? Why is diminutive so undiminutive? Why does the word monosyllabic consist of five syllables? Why is there no synonym for synonym or thesaurus? And why, pray tell, does lisp have an s in it? If adults commit adultery, do infants commit infantry? If olive oil is made from olives, what do they make baby oil from? If a vegetarian eats vegetables, what does a humanitarian consume? If pro and con are opposites, is congress the opposite of progress? ...

But Alfonso was no mere historian. Living long before the modern divide into “two cultures”—the sciences and the humanities—he was a renaissance man avant la lettre, multifaceted and as committed to the sciences as to the arts, and it is here, above all, that the deepest roots of the image of the Wise King are revealed. Muslim models of rulership largely inspired his fascination with the “philosophy of nature,” especially with the related fields of astronomy, astrology, and magic. Some of these models were very old, harkening back to the golden days of the caliphate in Baghdad. There, in the ninth and tenth centuries, the caliphs of the Abbasid dynasty—anxious to soak up the ancient Greek learning of the Hellenistic world that they were conquering—had founded a school of translation that came to be known as the House of Wisdom.

The emphasis usually falls on the past splendour rather than on the subsequent decline. Medieval and nineteenth-century man agreed that their present was no very admirable age; not to be compared (said one) with the glory that was, not to be compared (said the other) with the glory that is still to come. The odd thing is that the first view seems to have bred on the whole a more cheerful temper. Historically as well as cosmically, medieval man stood at the foot of a stairway; looking up, he felt delight. The backward, like the upward, glance exhilarated him with a majestic spectacle, and humility was rewarded with the pleasures of admiration. And, thanks to his deficiency in the sense of period, that packed and gorgeous past was far more immediate to him than the dark and bestial past could ever be to a Lecky or a Wells. It differed from the present only by being better. Hector was like any other knight, only braver. The saints looked down on one’s spiritual life, the kings, sages, and warriors on one’s secular life, the great lovers of old on one’s own amours, to foster, encourage, and instruct. There were friends, ancestors, patrons in every age. One had one’s place, however modest, in a great succession; one need be neither proud nor lonely. I

The great self-limitation practiced by man for ten centuries yielded, between the fourteenth and seventeenth centuries, the whole flower of the so-called "Renaissance." The root, usually, does not resemble the fruit in appearance, but there is an undeniable connection between the root's strength and juiciness and the beauty and taste of the fruit. The Middle Ages, it seems, have nothing in common with the Renaissance and are opposite to it in every way; nonetheless, all the abundance and ebullience of human energies during the Renaissance were based not at all on the supposedly "renascent" classical world, nor on the imitated Plato and Virgil, nor on manuscripts torn from the basements of old monasteries, but precisely on those monasteries, on those stern Franciscians and cruel Dominicans, on Saints Bonaventure, Anselm of Canterbury, and Bernard of Clairvaux. The Middle Ages were a great repository of human energies: in the medieval man's asceticism, self-abnegation, and contempt for his own beauty, his own energies, and his own mind, these energies, this heart, and this mind were stored up until the right time. The Renaissance was the epoch of the discovery of this trove: the thin layer of soil covering it was suddenly thrown aside, and to the amazement of following centuries dazzling, incalculable treasures glittered there; yesterday's pauper and wretched beggar, who only knew how to stand on crossroads and bellow psalms in an inharmonious voice, suddenly started to bloom with poetry, strength, beauty, and intelligence. Whence came all this? From the ancient world, which had exhausted its vital powers? From moldy parchments? But did Plato really write his dialogues with the same keen enjoyment with which Marsilio Ficino annotated them? And did the Romans, when reading the Greeks, really experience the same emotions as Petrarch, when, for ignorance of Greek, he could only move his precious manuscripts from place to place, kiss them now and then, and gaze sadly at their incomprehensible text? All these manuscripts, in convenient and accurate editions, lie before us too: why don't they lead us to a "renascence" among us? Why didn't the Greeks bring about a "renascence" in Rome? And why didn't Greco-Roman literature produce anything similar to the Italian Renaissance in Gaul and Africa from the second to the fourth century? The secret of the Renaissance of the fourteenth-fifteenth centuries does not lie in ancient literature: this literature was only the spade that threw the soil off the treasures buried underneath; the secret lies in the treasures themselves; in the fact that between the fourth and fourteenth centuries, under the influence of the strict ascetic ideal of mortifying the flesh and restraining the impulses of his spirit, man only stored up his energies and expended nothing. During this great thousand-year silence his soul matured for The Divine Comedy; during this forced closing of eyes to the world - an interesting, albeit sinful world-Galileo was maturing, Copernicus, and the school of careful experimentation founded by Bacon; during the struggle with the Moors the talents of Velasquez and Murillo were forged; and in the prayers of the thousand years leading up to the sixteenth century the Madonna images of that century were drawn, images to which we are able to pray but which no one is able to imitate. ("On Symbolists And Decadents")

The Italian Renaissance was reflected in him as rarely a period has been expressed in the life-work of a single man. He represented its union of practice and theory, of thought placed in the service of action. He summed up its different aspects in his own individuality. Intellectually, he represented its many-sidedness attained through penetration of thought, and a keenness of observation, profiting from experience, extended into every sphere. As an artist he possessed a vigour of imagination from which sprang his power of creating beauty. But, in spite of his practical nature, he remained a dreamer in an age which had in it more of stern reality than of golden dreams. His very limitations, his excess of individualism, his want of long-continued concentration, his lack of patriotism, his feeling of the superiority of art to nationality, are all characteristic of Renaissance Italy.

It is in Keats that the artistic spirit of this century first found its absolute incarnation. And these pre-Raphaelites, what were they? If you ask nine-tenths of the British public what is the meaning of the word aesthetics, they will tell you it is the French for affectation or the German for a dado; and if you inquire about the pre-Raphaelites you will hear something about an eccentric lot of young men to whom a sort of divine crookedness and holy awkwardness in drawing were the chief objects of art. To know nothing about their great men is one of the necessary elements of English education. As regards the pre-Raphaelites the story is simple enough. In the year 1847 a number of young men in London, poets and painters, passionate admirers of Keats all of them, formed the habit of meeting together for discussions on art, the result of such discussions being that the English Philistine public was roused suddenly from its ordinary apathy by hearing that there was in its midst a body of young men who had determined to revolutionise English painting and poetry. They called themselves the pre- Raphaelite Brotherhood. In England, then as now, it was enough for a man to try and produce any serious beautiful work to lose all his rights as a citizen; and besides this, the pre-Raphaelite Brotherhood - among whom the names of Dante Rossetti, Holman Hunt and Millais will be familiar to you - had on their side three things that the English public never forgives: youth, power and enthusiasm.

The Renaissance was the culture of a wealthy and powerful upper class, on the crest of the wave which was whipped up by the storm of new economic forces. The masses who did not share the wealth and power of the ruling group had lost the security of their former status and had become a shapeless mass, to be flattered or to be threatened—but always to be manipulated and exploited by those in power. A new despotism arose side by side with the new individualism. Freedom and tyranny, individually and disorder, were inextricably interwoven. The Renaissance was not a culture of small shopkeepers and petty bourgeois but of wealthy nobles and burghers. Their economic activity and their wealth gave them a feeling of freedom and a sense of individually. But at the same time, these same people had lost something: the security and feeling of belonging which the medieval social structure had offered. They were more free, but they were also more alone. They used their power and wealth to squeeze the last ounce of pleasure out of life; but in doing so, they had to use ruthlessly every means, from physical torture to psychological manipulation, to rule over the masses and to check their competitors within their own class. All human relationships were poisoned by this fierce life-and-death struggle for the maintenance of power and wealth. Solidarity with one's fellow man—or at least with the members of one's own class—was replaced by a cynical detached attitude; other individuals were looked upon as "objects" to be used and manipulated, or they were ruthlessly destroyed if it suited one's own ends. The individual was absorbed by a passionate egocentricity, an insatiable greed for power and wealth. As a result of all this, the successful individual's relation to his own self, his sense of security and confidence were poisoned too. His own self became as much an object of manipulation to him as other persons had become. We have reasons to doubt whether the powerful masters of Renaissance capitalism were as happy and as secure as they are often portrayed. It seems that the new freedom brought two things to them: an increased feeling of strength and at the same time an increased isolation, doubt, scepticism, and—resulting from all these—anxiety. It is the same contradiction that we find in the philosophical writings of the humanists. Side by side with their emphasis on human dignity, individuality, and strength, they exhibited insecurity and despair in their philosophy.

Now having travelled from the pride of man in the High Renaissance and the Enlightenment down to the present despair, we can understand where modern people are. They have no place for a personal God. But equally they have no place for man as man, or for love, or for freedom, or for significance. This brings a crucial problem. Beginning only from man himself, people affirm that man is only a machine. But those who hold this position cannot live like machines! If they could, there would be no tensions in their intellectual position or in their lives. But even people who believe they are machines cannot live like machines, and thus they must “leap upstairs” against their reason and try to find something which gives meaning to life, even though to do so they have to deny their reason. This was a solution Leonardo da Vinci and the men of the Renaissance never would have accepted, even if, like Leonardo they ended their thinking in despondency. They would not have done so, for they would have considered it intellectual suicide to separate meaning and values from reason this way. And they would have been right. Such a solution is intellectual suicide, and one may question the intellectual integrity of those who accept such a position when their starting point was pride in the sufficiency of human reason.

Like Keats he may wander through the old-world forests of Latmos, or stand like Morris on the galley’s deck with the Viking when king and galley have long since passed away. But the drama is the meeting-place of art and life; it deals, as Mazzini said, not merely with man, but with social man, with man in his relation to God and to Humanity. It is the product of a period of great national united energy; it is impossible without a noble public, and belongs to such ages as the age of Elizabeth in London and of Pericles at Athens; it is part of such lofty moral and spiritual ardour as came to Greek after the defeat of the Persian fleet, and to Englishman after the wreck of the Armada of Spain.

Nor is it again that the novel has killed the play, as some critics would persuade us - the romantic movement of France shows us that. The work of Balzac and of Hugo grew up side by side together; nay, more, were complementary to each other, though neither of them saw it. While all other forms of poetry may flourish in an ignoble age, the splendid individualism of the lyrist, fed by its own passion, and lit by its own power, may pass as a pillar of fire as well across the desert as across places that are pleasant. It is none the less glorious though no man follow it - nay, by the greater sublimity of its loneliness it may be quickened into loftier utterance and intensified into clearer song.

If you want to do something really innovative, you have to apply a sort of first principles analysis. And don’t reason by analogy. Analogies are referencing the past. First principles mean you look at the most fundamental truths in a particular arena, the things that really are almost indisputably correct, and you reason up from there to a conclusion. And if you see that that conclusion is at odds with what people generally believe, then you have an opportunity. You can’t operate like that on all things, because it takes too much mental horsepower, so most of your life, you have to operate by reasoning by analogy, but if you really want to innovate, you must reason from first principles to identify the problem.” - Elon Musk

The century of Einstein and Planck was also the century of Hitler. The Gestapo and the scientific renaissance were children of the same age. How humane the nineteenth century seemed, that century of naive physics, when compared with the twentieth century, the century that had killed his [Viktor's] mother. There is a terrible similarity between the principles of Fascism and those of contemporary physics. Fascism has rejected the concept of a separate individuality, the concept of "a man," and operates only with vast aggregates. Contemporary physics speaks of the greater or lesser probability of occurrences within this or that aggregate of individual particles. And are not the terrible mechanics of Fascism founded on the principle of quantum politics, of political probability? Fascism arrived at the idea of the liquidation of entire strata of the population, of entire nations and races, on the grounds that there was a greater probability of overt or covert opposition among these groupings than among others: the mechanics of probabilities and of human aggregates. But no! No! And again no! Fascism will perish for the very reason that it has applied to man the laws applicable to atoms and cobblestones! Man and Fascism cannot co-exist. If Fascism conquers, man will cease to exist and there will remain only man-like creatures that have undergone an internal transformation. But if man, man who is endowed with reason and kindness, should conquer, then Fascism must perish, and those who have submitted to it will once again become people.

The suggestion that the Alf Yeom is the work of jinn is surely a curious one. The Quran speaks of the hidden people in the most candid way, yet more and more the educated faithful will not admit to believing in them, however readily they might accept even the harshest and most obscure points of Islamic law. That God has ordained that a thief must pay for his crime with his hand, that a woman must inherit half of what a man inherits-these things are treated not only as facts, but as obvious facts, whereas the existence of conscious beings we cannot see-and all the fantastic and wondrous things that their existence suggests and makes possible-produces profound discomfort among precisely that cohort of Muslims most lauded for their role in that religious "renaissance" presently expected by western observers: young degree-holding traditionalists. Yet how hollow rings a tradition in which the law, which is subject to interpretation, is held as sacrosanct, yet the word of God is not to be trusted when it comes to His description of what He has created. I do not know what I believe.

The daemons are ‘between’ us and the gods not only locally and materially but qualitatively as well. Like the impassible gods, they are immortal: like mortal men, they are passible (xiii). Some of them, before they became daemons, lived in terrestrial bodies; were in fact men. That is why Pompey saw semidei Manes, demigod-ghosts, in the airy region. But this is not true of all daemons. Some, such as Sleep and Love, were never human. From this class an individual daemon (or genius, the standard Latin translation of daemon) is allotted to each human being as his ‘witness and guardian’ through life (xvi). It would detain us too long here to trace the steps whereby a man’s genius, from being an invisible, personal, and external attendant, became his true self, and then his cast of mind, and finally (among the Romantics) his literary or artistic gifts. To understand this process fully would be to grasp that great movement of internalisation, and that consequent aggrandisement of man and desiccation of the outer universe, in which the psychological history of the West has so largely consisted.25

I tell you I am sometimes sick of my trade when I see how perpetually it means merely a war upon the ignorant and the desperate. But this new movement of ours is a very different affair. We deny the snobbish English assumption that the uneducated are the dangerous criminals. We remember the Roman Emperors. We remember the great poisoning princes of the Renaissance. We say that the dangerous criminal is the educated criminal. We say that the most dangerous criminal now is the entirely lawless modern philosopher. Compared to him, burglars and bigamists are essentially moral men; my heart goes out to them. They accept the essential ideal of man; they merely seek it wrongly. Thieves respect property. They merely wish the property to become their property that they may more perfectly respect it. But philosophers dislike property as property; they wish to destroy the very idea of personal possession. Bigamists respect marriage, or they would not go through the highly ceremonial and even ritualistic formality of bigamy. But philosophers despise marriage as marriage. Murderers respect human life; they merely wish to attain a greater fulness of human life in themselves by the sacrifice of what seems to them to be lesser lives. But philosophers hate life itself, their own as much as other people's.

In many fields—literature, music, architecture—the label ‘Modern’ stretches back to the early 20th century. Philosophy is odd in starting its Modern period almost 400 years earlier. This oddity is explained in large measure by a radical 16th century shift in our understanding of nature, a shift that also transformed our understanding of knowledge itself. On our Modern side of this line, thinkers as far back as Galileo Galilei (1564–1642) are engaged in research projects recognizably similar to our own. If we look back to the Pre-Modern era, we see something alien: this era features very different ways of thinking about how nature worked, and how it could be known. To sample the strange flavour of pre-Modern thinking, try the following passage from the Renaissance thinker Paracelsus (1493–1541): The whole world surrounds man as a circle surrounds one point. From this it follows that all things are related to this one point, no differently from an apple seed which is surrounded and preserved by the fruit … Everything that astronomical theory has profoundly fathomed by studying the planetary aspects and the stars … can also be applied to the firmament of the body. Thinkers in this tradition took the universe to revolve around humanity, and sought to gain knowledge of nature by finding parallels between us and the heavens, seeing reality as a symbolic work of art composed with us in mind (see Figure 3). By the 16th century, the idea that everything revolved around and reflected humanity was in danger, threatened by a number of unsettling discoveries, not least the proposal, advanced by Nicolaus Copernicus (1473–1543), that the earth was not actually at the centre of the universe. The old tradition struggled against the rise of the new. Faced with the news that Galileo’s telescopes had detected moons orbiting Jupiter, the traditionally minded scholar Francesco Sizzi argued that such observations were obviously mistaken. According to Sizzi, there could not possibly be more than seven ‘roving planets’ (or heavenly bodies other than the stars), given that there are seven holes in an animal’s head (two eyes, two ears, two nostrils and a mouth), seven metals, and seven days in a week. Sizzi didn’t win that battle. It’s not just that we agree with Galileo that there are more than seven things moving around in the solar system. More fundamentally, we have a different way of thinking about nature and knowledge. We no longer expect there to be any special human significance to natural facts (‘Why seven planets as opposed to eight or 15?’) and we think knowledge will be gained by systematic and open-minded observations of nature rather than the sorts of analogies and patterns to which Sizzi appeals. However, the transition into the Modern era was not an easy one. The pattern-oriented ways of thinking characteristic of pre-Modern thought naturally appeal to meaning-hungry creatures like us. These ways of thinking are found in a great variety of cultures: in classical Chinese thought, for example, the five traditional elements (wood, water, fire, earth, and metal) are matched up with the five senses in a similar correspondence between the inner and the outer. As a further attraction, pre-Modern views often fit more smoothly with our everyday sense experience: naively, the earth looks to be stable and fixed while the sun moves across the sky, and it takes some serious discipline to convince oneself that the mathematically more simple models (like the sun-centred model of the solar system) are right.