Michel de Montaigne.© iStockphoto/Thinkstock
The English humanists
English humanism flourished in two stages: the first a basically academic movement that had its roots in the 15th century and culminated in the work of Sir Thomas More, Sir Thomas Elyot, and Roger Ascham and the second a poetic revolution led by Sir Philip Sidney and William Shakespeare.
Although Continental humanists had held court positions since the days of Humphrey of Gloucester, English humanism as a distinct phenomenon did not emerge until late in the 15th century. At Oxford William Grocyn and his student Thomas Linacre gave impetus to a tradition of Classical studies that would permanently influence English culture. Grocyn and Linacre attended Politian’s lectures at the Platonic Academy of Florence. Returning to Oxford, they became central figures in a group that included such younger scholars as John Colet and William Lily. The humanistic contributions of the Oxford group were philological and institutional rather than philosophical or literary. Grocyn lectured on Greek and theology; Linacre produced several works on Latin grammar and translated Galen into Latin. To Linacre is owed the foundation of the Royal College of Physicians and to Colet the foundation of St. Paul’s School, London. Colet collaborated with Lily (the first headmaster of St. Paul’s) and Erasmus in writing the school’s constitution, and together the three scholars produced a Latin grammar (known alternately as “Lily’s Grammar” and the “Eton Grammar”) that would be central to English education for decades to come. More, Elyot, and Ascham
In Sir Thomas More, Sir Thomas Elyot, and Roger Ascham, English humanism bore fruit in major literary achievement. Educated at Oxford (where he read Greek with Linacre), More was also influenced by Erasmus, who wrote Praise of Folly at More’s house and named the book punningly after his English friend (Moriae encomium). More’s famous Utopia (1516), a kind of companion piece to Praise of Folly, is similarly satirical of traditional institutions (Book I) but offers, as an imaginary alternative, a model society based on reason and nature (Book II). Reminiscent of Erasmus and Valla, More’s Utopians eschew the rigorous cultivation of virtue and enjoy moderate pleasures, believing that “Nature herself prescribes a life of joy (that is, pleasure)” and seeing no contradiction between earthly enjoyment and religious piety. Significantly indebted to both Classical thought and European humanism, Utopia is also humanistic in its implied thesis that politics begins and ends with humanity; i.e., politics is based exclusively on human nature and aimed exclusively at human happiness.
Sir Thomas More, detail of oil on panel by Hans Holbein the Younger, 1527; in the Frick Collection, New York City.Photos.com/Thinkstock
Elyot chose a narrower subject but developed it in more detail. His great work, The Boke Named the Governour (1531), is a lengthy treatise on the virtues to be cultivated by statesmen. Born of the same tradition that produced The Prince and The Book of the Courtier, The Governour is typical of English humanism in its emphasis on the accommodation of both Classical and Christian virtues within a single moral view. Elyot’s other contributions to English humanism include philosophical dialogues, moral essays, translations of ancient and contemporary writers (including Isocrates and Pico), an important Latin-English dictionary, and a highly popular health manual. He served his country as ambassador to the court of Charles V. The humanistic educational program set up at the turn of the century was vigorously supported by Sir John Cheke and codified by his student Ascham. Ascham’s famous pedagogical manual, The Scholemaster (1570), offers not only a complete program of humanistic education but also an evocation of the ideals toward which that education was directed.
Ascham had been tutor to the young Princess Elizabeth, whose personal education was a model of humanistic pedagogy and whose writings and patronage bespoke great love of learning. Elizabeth I’s reign (1558–1603) saw the last concerted expression of humanistic ideas. Elizabethan humanism, which added a unique element to the history of the movement, was the product not of pedagogues and philologists but of poets and playwrights. Sidney and Spenser
Sir Philip Sidney was, like Alberti and Federico da Montefeltro, a living pattern of the humanistic ideal. Splendidly educated in the Latin classics at Shrewsbury and Oxford, Sidney continued his studies under the direction of the prominent French scholar Hubert Languet and was tutored in science by the learned John Dee. His brief career as writer, statesman, and soldier was of such acknowledged brilliance as to make him, after his tragic death in battle, the subject of an Elizabethan heroic cult. Sidney’s major works—Astrophel and Stella (1591), Defence of Poesie (1595), and the two versions of The Countesse of Pembrokes Arcadia (originally composed 1580; revised editions published 1590–98)—are medleys of humanistic themes. In the sonnet sequence Astrophel and Stella, he surpassed earlier imitators of Petrarch by emulating not only the Italian humanist’s subject and style but also his philosophical bent and habit of self-scrutiny. The Defence of Poesie, composed (like Erasmus’s Praise of Folly) in the form of a Classical oration, reasserts the theory of poetry as moral doctrine that had been articulated by Petrarch and Boccaccio and revived by the Italian Aristotelians of the 16th century. The later, or “new,” Arcadia is an epic novel whose theoretical concerns include the dualities of contemplation and action, reason and passion, and theory and practice. In this ambitious and unfinished work, Sidney attempts a characteristically humanistic synthesis of Classical philosophy, Christian doctrine, psychological realism, and practical politics. Seen as a whole, moreover, Sidney’s life and work form a significant contribution to a debate that had been smoldering since the decline of political liberty in Florence in the 15th century. How, it was asked, could humanism be politically active, or “civic,” in a Europe that was almost exclusively monarchic in structure? Many humanists had counseled retirement from active life, while Castiglione had seen his learned courtier rather as an adviser than as a leader. Sidney and his friend Edmund Spenser sought to resolve this dilemma by creating a form of chivalric humanism. The image (taken on personally by Sidney and elaborated upon by Spenser in The Faerie Queene [1590]) of the hero as questing knight suggests that the humanist, even if not empowered politically, can achieve a valid form of activism by refining, upholding, and representing the values of a just and noble court. Spenser’s poetic development of this humanistic program was even more specific than Sidney’s. In his famous letter to Sir Walter Raleigh, he asserts that his purpose in The Faerie Queene is “to fashion a gentleman or noble person in virtuous and gentle discipline” and describes a project (never to be completed) of presenting his idea of the Aristotelian virtues in 12 poetic books. As with Sidney, however, this moral didacticism is neither self-righteous nor pedantic. The prescriptive content of The Faerie Queene is qualified by a strong emphasis on moral autonomy and a mature sense of the ambiguity of experience.