By Marsilio Ficino, James Hankins, Michael J. B. Allen
The Platonic Theology is a visionary paintings and the philosophical masterpiece of Marsilio Ficino (1433-1499), the Florentine scholar-philosopher-magus who used to be mostly liable for the Renaissance revival of Plato. A pupil of the Neoplatonic colleges of Plotinus and Proclus, he used to be devoted to reconciling Platonism with Christianity, within the desire that this kind of reconciliation may begin a religious revival and go back of the golden age. His Platonic evangelizing was once eminently profitable and generally influential, and his Platonic Theology, translated into English for the 1st time during this variation, is without doubt one of the keys to realizing the artwork, idea, tradition, and spirituality of the Renaissance. this is often the fourth of a projected six volumes. (20061005)
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Extra resources for Platonic Theology, Volume 4: Books XII-XIV (I Tatti Renaissance Library)
This transformative capacity enacts the Erasmian copiousness in both the proliferation of figures and significations, and the 'enargeia' (vividness) that verbal plenitude produced. 80 This vividness centres upon the discovery of hidden orders and meanings, so enargeia is required whenever ... we do not explain a thing simply, but display it as if it were expressed in colour in a picture, so that it may seem that we have painted, not narrated, and that the reader has seen, not read. 81 Marlowe and the Aesthetics of the Closet 19 Description and vividness act as forms of discovery, to conjure the real through the verbal, creating a fusion of res and verba which animates the description, and 'maketh vs beeleue that our eyes doe almost witnesse the same, and that our very sences are partakers of euery delicacy in them contayned ...
To depict the King's progress from royal closet to cave of care, from dominion to subjection, was to open the secret and discover the process of secrecy, playing along and emphasising the very boundaries of the open secret which provided the foundation of power. Further appropriations operate throughout Marlowe's oeuvre as dominant literary forms, or key cultural myths, are refashioned in new ways, a strategy that itself rewrites the Protestant 'reformation'. 293-4). Each inverts traditional ideal models, central cultural symbols, providing a series of counter-readings of the canonical texts and moments of Renaissance culture.
Starkey (1987), pp. 71-118. M. Baillie, 'Etiquette and the Planning of the State Appartments in Baroque Palaces', Archaeologia, 101 (1967), 169-99. 26 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 65. 66. 67. ]ames Knowles P. Wright, 'A Change of Direction: the Ramifications of a Female Household, 1558-1603', in the English Court, pp. 147-72. Wright, 'A Change of Direction', pp. 159-60, and S. May, The Elizabethan Courtier Poets: The Poems and Their Context (Columbia, Missouri, 1991), p.