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4.2: Important Thinkers

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    The Renaissance is remembered primarily for its great thinkers and artists, with some exceptional individuals (like Leonardo da Vinci) being renowned as both. What Renaissance thinkers had in common was that they embraced the ideals of humanism and used humanism as their inspiration for creating innovative new approaches to philosophy, philology (the study of language), theology, history, and political theory. In other words, reading the classics inspired Renaissance thinkers to emulate the great writers and philosophers of ancient Greece and Rome, creating poetry, philosophy, and theory on par with that of an Aristotle or a Cicero. Some of the most noteworthy included the following.

    Dante (1265 - 1321)

    Durante degli Alighieri, better remembered as Dante, was a major figure who anticipated the Renaissance rather than being alive during most of it (while there is no “official” start to the Renaissance, the life of Petrarch, described below, lends itself to using 1300 as a convenient date). Experiencing what would later be called a mid-life crisis, Dante turned to poetry to console himself, ultimately producing the greatest written work of the late Middle Ages: The Divine Comedy. Written in his own native dialect, the Tuscan of the city of Florence, The Divine Comedy describes Dante’s descent into hell, guided by the spirit of the classical Roman poet Virgil. Dante and Virgil emerge on the other side of the earth, with Dante ascending the mountain of purgatory and ultimately entering heaven, where he enters into the divine presence.

    Dante’s work, which soon became justly famous in Italy and then elsewhere in Europe, presaged some of the essential themes of Renaissance thought. Dante’s travels through hell, purgatory, and heaven in the poem are replete with encounters with two categories of people: Italians of Dante’s lifetime or the recent past, and both real and mythical figures from ancient Greece and Rome. In other words, Dante was indifferent to the entire period of the Middle Ages, concentrating instead on what he imagined the spiritual fate of the great thinkers and heroes of the classical age would have been (and gleefully relegating Italians he hated to infernal torments). Ultimately, his work became so famous that it established Tuscan as the basis of what would eventually become the language of “Italian” in so many words - all educated people in Italy would eventually come to read the Comedy as a matter of course and it came to serve as the founding document of the modern Italian language in the process.

    Petrarch (1304 – 1374)

    Francesco Petrarca, known as Petrarch in English, was in many ways the founding father of the Renaissance. Like Dante, he was a Florentine (native of the city of Florence) and single-handedly spearheaded the practice of studying and imitating the great writers and thinkers of the past. Petrarch personally rediscovered long-lost works by Cicero, widely considered the greatest writer of ancient Rome during the republican period, and set about training himself to emulate Cicero's rhetorical style. Petrarch wrote to friends and associates in a classical, grammatically spotless Latin (as opposed to the often sloppy and error-ridden Latin of the Middle Ages) and encouraged them to learn to emulate the classics in their writing, thought, and values. He went on to write many works of poetry and prose that were based on the model provided by Cicero and other ancient writers.

    Petrarch was responsible for coming up with the very idea of the "Dark Ages" that had separated his own era from the greatness of the classical past. His own poetry and writings became so popular among other educated people that he deserves a great deal of personal credit for sparking the Renaissance itself; following Petrarch, the idea that the classical world might be "reborn" in northern Italy acquired a great deal of popularity and cultural force.

    Christine de Pizan (1364 - 1430)

    Christine de Pizan was the most famous and important woman thinker and writer of the Renaissance era. Her father, the court astrologer of the French king Charles V, was exceptional in that he felt it important that his daughter receive the same quality of education afforded to elite men at the time. She went on to become a famous poet and writer in her own right, being patronized (i.e. receiving commissions for her writing) by a wide variety of French and Italian nobles. Her best-known work was The Book of the City of Ladies, in which she attacked the then-universal idea that women were naturally unintelligent, sinful, and irrational. Instead, she argued, history provided a vast catalog of women who had been moral, pious, intelligent, and competent, and that it was men's pride and the refusal of men to allow women to be properly educated that held women back. In many ways, the City of Ladies was the first truly feminist work in European history, and it is striking that she was supported by, and listened to by, elite men due to her obvious intellectual gifts despite their own deep-seated sexism.

    Painting of Christine de Pizan presenting her book.
    Figure 4.2.1: In the illustration above, Christine de Pizan presents a copy of The City of Ladies to a French noblewoman, Margaret of Burgundy. The illustration itself is in the pre-Renaissance “Gothic” style, without linear perspective, despite its approximate date of 1475. This is one example of the relatively slow spread of Renaissance-inspired artistic innovations.

    Desiderius Erasmus (1466 - 1536)

    Erasmus was an astonishingly erudite priest who benefited from both the traditional scholastic education of the late-medieval church and the new humanistic style that emerged from the Renaissance. Of his various talents, one of the most important was his mastery of philology: the history of languages. Erasmus became completely fluent not just in classical and medieval Latin, but in the Greek of the New Testament (i.e. most of the earliest versions of the New Testament of the Bible are written in the vernacular Greek of the first century CE). He also became conversant in Hebrew, which was very uncommon among Christians at the time.

    Erasmus in his study.
    Figure 4.2.2: In the above well-known portrait of Erasmus, he is depicted in heavy, fur-lined robes and hat, a necessity even when indoors in Northern Europe for much of the year. Realistic portraiture was another major innovation of the Renaissance period.

    Armed with his lingual virtuosity, Erasmus undertook a vast study and re-translation of the New Testament, working from various versions of the Greek originals and correcting the Latin Vulgate that was the most widely used version at the time. In the process, Erasmus corrected the New Testament itself, catching and fixing numerous translation errors (while he did not re-translate the Old Testament from the Hebrew, he did point out errors in it as well).

    Erasmus was criticized by some of his superiors within the Church because he was not officially authorized to carry out his studies and translations; nevertheless, he ended up producing an extensively notated re-translation of the New Testament with numerous corrections. Importantly, these corrections were not just a question of grammatical issues, but of meaning. The Christian message that emerged from the “correct” version of the New Testament was a deeply personal philosophy of prayer, devotion, and morality that did not correspond to many of the structures and practices of the Latin Church. He was also an advocate of translations of the Bible into vernacular languages, although he did not produce such a translation himself.

    Some of his other works other included In Praise of Folly, a satirical attack on corruption within the church, and Handbook of the Christian Soldier, which de-emphasized the importance of the sacraments. Erasmus used his abundant wit to ridicule sterile medieval-style scholastic scholars, the corruption of “Christian” rulers who were essentially glorified warlords, and even the very idea of witches, which he demonstrated relied on a faulty translation from the Hebrew of the Old Testament.

    Niccolo Machiavelli (1469 – 1527)

    Machiavelli was a "courtier," a professional politician, ambassador, and official who spent his life in the court of a ruler - in his case, as part of the city government of his native Florence. While in Florence, Machiavelli wrote various works on politics, most notably a consideration of the proper functioning of a republic like Florence itself. Unfortunately for him, Machiavelli was caught up in the whirlwind of power politics at court and ended up being exiled by the Medici.

    While in exile, Machiavelli undertook a new work of political theory which he titled The Prince. Here, Machiavelli detailed how an effective ruler should behave: training constantly in war, forcing his subjects to fear (but not hate) him, studying the ancient past for role models like Alexander the Great and Julius Caesar, and never wasting a moment worrying about morality when power was on the line. In the process, Machiavelli created what was arguably the first work of "political science" that abandoned the moralistic approach of how a ruler should behave as a good Christian and instead embraced a practical guide to holding power. He dedicated the work to the Medici in hopes that he would be allowed to return from exile (he detested the rural bumpkins he lived among in exile and longed to return to cosmopolitan Florence). Instead, The Prince caused a scandal when it came out for completely ignoring the role of God and Christian morality in politics, and Machiavelli died not long after. That being noted, Machiavelli is now remembered as a pioneering political thinker; it is safe to assume that far more rulers have consulted The Prince for ideas of how to maintain their power over the years than one of the moralistic tracts that was preferred during Machiavelli's lifetime.

    Baldassarre Castiglione (1478 - 1529)

    Castiglione was the author of The Courtier, published at the end of his life in 1528. Whereas Machiavelli's The Prince was a practical guide for rulers, The Courtier was a guide to the nobles, wealthy merchants, high-ranking members of the church, and other social elites who served and schemed in the courts of princes: courtiers. The work centered on what was needed to win the prince’s favor and to influence him, not just avoiding embarrassment at court. This was tied to the growing sense of what it was to be “civilized” – Italians at the time were renowned across Europe for their refinement, the quality of their dress and jewelry, their wit in conversation, and their good taste. The relatively crude tastes of the nobility of the Middle Ages were “revised” starting in Italy, with Castiglione serving as both a symptom and cause of this shift.

    The effective courtier, according to Castiglione, was tasteful, educated, clever, and subtle in his actions and words, a true politician rather than merely a warrior who happened to have inherited some land. Going forward, growing numbers of political elites came to resemble a Castiglione-style courtier instead of a thuggish medieval knight or "man-at-arms." When he died, no less a personage than the Holy Roman Emperor Charles V lamented his loss and paid tribute to his memory.

    This page titled 4.2: Important Thinkers is shared under a CC BY-NC-SA 4.0 license and was authored, remixed, and/or curated by Christopher Brooks via source content that was edited to the style and standards of the LibreTexts platform; a detailed edit history is available upon request.