Rationally Organized Society - Essay Example

Nathan #7076 Utopia and Courtier Order # 153332 15 February 2007 Comparable Destinations, Different Paths More depicts a rationally organized society in his Utopia via a narrative of conversations with the explorer who allegedly discovered it, Raphael Hythlodaeus. In contrast to this, Castiglione Baldesar's The Courtier depicts an ideal individual as a method for the benefit of society as a whole. Both author use fictional conversations to depict subjects that do not exist, though More does so with a sense of the ridiculous, while Castiglione addresses the reader with a somewhat serious tone of inspiration. The literary method of using letters helps to support a belief in the fiction that More actually met Hythlodaeus, going so far as to include a specimen of the Utopian alphabet and poetry. The letters also explain why nobody else has been to Utopia. The reason is so ridiculous that it lends believability to the statement--someone had coughed and the exact longitude and latitude had not been heard, but Raphael was being sought to disclose the information. The first book tells of the traveler Raphael Hythlodaeus, to whom More is introduced in Antwerp and also explores the subject of how best to counsel a prince, a popular topic at the time. Plato doubtless did well foresee, unless kings themselves would apply their minds to the study of philosophy, that else they would never thoroughly allow the council of philosophers, being themselves before, even from their tender age, infected and corrupt with perverse and evil opinions (More 8). More tries to persuade Raphael that into the lucrative service of royalty, acting as an advisor to kings or lords. Raphael, however, seems to be saying that his views would not be listened to because such men are too corrupt to understand so pure a study as philosophy. Raphael speaks of Plato, of whom he seems to emulate the thoughts and ideals. The above statement screams of Platonic thought, suggesting that kings must be philosophers as well in order to rule fairly and wisely. More seems to consider it a philosopher's duty to apply the art of philosophy in reality instead of simply placing well thought words upon the page. However, in contrast to the opinion expressed by Raphael, More (the narrator, not the author) seems to believe that it is better to work from within the current system, no matter how flawed it may be. While Raphael has chosen to embrace the idea of starting again, the character More desires to fix things as they are. "The difference is only a matter of one syllable," Raphael says as a way to illustrate the short distance from service to servitude (More 7). One syllable indeed. This simple sentence may offer a clue that can answer a question of much debate in regards to More's Utopia. The question is, as a reader, can one accept this imaginary society as a realistic blueprint for a working nation On the other hand, should one assume that More had no intention of his book being taken seriously One could arguably maintain either position. More's Utopia most definitely works if viewed as a satire. By taking into account More's use of these puns, one can deduce that his intention in writing Utopia is to reveal more about the current state of politics in 16th England than it is to offer a model for an ideal society. Support for such an argument can be easily supported by simply looking at the title of the book. The word "Utopia" has two roots. However, depending on which root is chosen, the meaning of the word changes drastically. "Utopia" is a combination of the syllable eu, which can be translated as "good," and the word topos, which means "place." At the same time, if one assumes that the ou prefix is used, which has a negating tone and translates into "no," then suddenly More's "good place" becomes "no place." The difference is only a matter of one syllable. More's hints at absurdity extend beyond simply the use of pun in the title/name of the island, being found in even his description of the island of Utopia. According to the description More gives, Utopia has a land mass that is structured as follows: The island of the Utopians is two hundred miles across in the middle part where it is widest, and is nowhere much narrower than this except toward the two ends. These ends, drawn toward on another as if in a five-hundred-mile circle, make the island crescent-shaped like a new moon. Between the horns of the crescent, which are about eleven miles apart, the sea enters and spreads into a broad bay (31). Such measurements as those provided by More above are both physically and geographically impossible. If the island of Utopia truly has a circumference of 500 miles, as he claims, then the diameter of the land mass would have to be 500/, (in this case) roughly160 miles. There is no feasible way for the island to be 200 miles across anywhere. By offering the reader a place that is believable if one is inclined to believe in it, More seems to be saying to the reader that a return to a utopian beginning is an overly-optimistic and unrealistic impossibility. For those willing to look beyond nave beliefs in such an unattainable place, perhaps they may find the inspiration to change the current state of things. Renaissance Humanism exhibits a concentration on the center of the self and the fashioning of that self. In this vain, in The Book of the Courtier, Castiglione Baldesar offers not a fictional society/island to the reader, but a series of make believe conversations about a person who does not exist (and never exited). In the book, the courtier is described as having a cool mind, a good voice, proper bearing and gestures, and the spirit of a warrior. He is expected to be athletic and possess a working understanding of the classics and the arts. However, all these skills are meant to be displayed with the appearance that they have been learned without difficult, a trait referred to as sprezzatura. To the considerable space devoted to the discourse on love, Bembo's words provide an appropriate conclusion. From a discussion which largely focuses on physical (somewhat carnal) matters of love, he moves to the arena of reason and understanding. This concept is something that both young and older readers can relate to, as it is the workings of the mind and not the heart that are the focus. On this level, the problematic situation of infidelity, as well as other issues between courtiers and ladies of the court, does not come up. Bembo goes beyond rationality, discussing a divine and perfect love that is above all others. Now that the notion of the ways in which a courtier should learn about love have been explained, Bembo concludes by bringing the courtier's soul to I higher plane that is somewhat transcendent, giving the reader feelings of angelic perfection where the universal truth of the soul can be perceived. This truth is above the worldly duties of the courtier, and can bee viewed as an acquisition of man's perfection. From this point of view, Bembo brings the Courtier to a plane of near divine flawlessness. If one thinks about Bembo's discourse on love with either of these views in mind then one is likely to agree that it is a fitting conclusion to Castiglione's Book of the Courtier. (IS THIS BETTER) The concept of love-making, as it has been spoken of previously in the third book, is more psychological observation than statement. Perhaps this discourse would be more acceptable as a commentary on the nature of humanity, just as More's book would. However, the reader must see Bembo's discourse as exalting ideal love as his words continue in the conclusion of Book Four. Therefore, seeing this discourse as a commentary on human nature offers no connection whatsoever with the subject of the book; the subject being the traits that would make up the perfect individual Courtier. Perhaps, seen from a different perspective, Bembo's thoughts on courtly love do not appear entirely out of place. The subject of the work is to fashion the "ideal" courtier, as well as the perfect gentlewoman. While the "perfect" attributes are set down by Lord Julian in book three, Lord Octavian assumes the task of improving the image of the courtier. Such an artificial image is proposed by Count Lewis and Sir Frederick Fregoso. Octavian's courtier is undoubtedly an improvement over the models of Lewis and Fregoso. the Courtier will in every instance be able adroitly to show the prince how much honor and profit will come to him and his from justice, liberality, magnanimity, gentleness, and the other virtues that befit a good prince; and, on the other hand, how much infamy and harm result from the vices opposed to these virtues (Castiglione 210). Just as Hythlodaeus in Utopia refuses to conform to the social role of an advisor to nobility, so does Bembo deny conformity in his description of the perfect Courtier. Now, for the first time, the reader is offered the idea of the social role to be given the courtier by Castiglione. Instead of using sprezzatura as a method of fulfilling the selfish motivation of gaining favor with the prince, the improved courtier is expected to use this ability to gain an audience with his prince so that he might be of service to him in times of need. By this, one may observe that there appears to be a progression beyond simply improving the courtier and toward an attempt at perfecting him. The courtier's perfection is achieved by denying the value of fulfilling selfish wants. The perfect courtier's value is based upon his ability to serve both his prince and society with wisdom as well as selflessness. Women will by no means be surpassed by men in this; for Socrates himself confesses that all mysteries of love he knew were taught to him by a woman, the famous Diotima; and the angel that wounded St. Francis with the fire of love has also made several women of our time worthy of the same sealremember also that St. Mary Magdalene was forgiven many sins because she loved much, and that she, perhaps no less in grace than St. Paul, was many times rapt to the third heaven by angelic love; and many others, who (as I told at length yesterday) cared nothing for their own life in their love of Christ's name; nor were they afraid of torments or any manner of death however horrible or cruel; and they were not old, as messer Pietro would have our Courtier be, but tender and delicate girls, and of that age at which he says sensual love must be permitted in men (Castiglione 260). Love, as stated above in the words of Magnifico Giuliano, is proposed as somewhat similar to a religious experience, a worship of perfection outside of the physical self. The Courtier must transcend the physical notions of the courtier-image that have been given. CUT THE LAST FEW SENTENCES OF THIS PARAGRAPH, AS THEY WERE UNNECESSARY AND SEEMED LIKELY TO CAUSE DOUBT OR CONFUSION) Thomas More, with his Utopia, offers readers an example of a world that could never be, a "good place" that is "no place." Castiglione offers readers a more focused approach, offering a fictional example of a "perfect" individual. While More would seem to make obvious how unrealistic Utopia truly is, Castiglione seems to do the opposite by showing the importance of how society might be changed if done in a way that is less extreme yet somewhat realistically possible by improving one individual at a time. Both writers seem to be traveling toward the same destination of change, but one walks the path of improving his fellow man while the other seem to travel upon the road to nowhere. Works Cited Castiglione, Baldesar. The Book of the Courtier. W. W. Norton. New York: 2002. More, Thomas. Utopia. Second Edition. W.W. Norton. New York: 1992. Read More