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.

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

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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.

Chapman, Jonson, and Shakespeare

The poetry and drama of Shakespeare’s time were a concourse of themes ancient and modern, Continental and English. Prominent among these motives were the characteristic topics of humanism. George Chapman, the translator of Homer, was a forthright exponent of the theory of poetry as moral wisdom, holding that it surpassed all other intellectual pursuits. Ben Jonson described his own humanistic mission when he wrote that a good poet was able “to inform young men to all good disciplines, inflame grown men to all great virtues, keep old men in their best and supreme state, or, as they decline to childhood, recover them to their first strength” and that the poet was “the interpreter and arbiter of nature, a teacher of things divine no less than human, a master in manners.” Jonson, who sought this moral goal both in his tragedies and in his comedies, paid tribute to the humanistic tradition in Catiline (1611), a tragedy in which Cicero’s civic eloquence is portrayed in heroic terms.

Less overtly humanistic though in fact more profoundly so was William Shakespeare. Thoroughly versed (probably at his grammar school) in Classical poetic and rhetorical practice, Shakespeare early in his career produced strikingly effective imitations of Ovid and Plautus— Venus and Adonis (composed 1592–93) and The Comedy of Errors (c. 1589–94), respectively—and drew on Ovid and Livy for his poem The Rape of Lucrece (1594). In Julius Caesar (1599–1600), Antony and Cleopatra (1606–07), and Coriolanus (c. 1608), he developed Plutarchan biography into drama that, though Elizabethan in structure, is Classical in tone. Shakespeare clearly did not accept all the precepts of English humanism at face value. He grappled repeatedly with the problem of reconciling Christian doctrine with effective political action and for a while—e.g., in Henry V (1599)—seemed inclined toward the Machiavellian alternative. In Troilus and Cressida (1601–02), moreover, he broadly satirized Chapman’s Homeric revival and, more generally, the humanistic habit of idolizing Classical heroism. Finally, he eschewed the moralism, rationalism, and self-conscious erudition of the humanists and was lacking as well in their fraternalism and their theoretical bent. Yet, on a deeper level, he must be acknowledged as a direct and natural heir of Petrarch, Boccaccio, Castiglione, and Montaigne. Like them, he delighted more in presenting issues than in espousing systems and held critical awareness, as opposed to doctrinal rectitude, to be the highest possible good. His plays reflect an inquiry into human character entirely in accord with the humanistic emphasis on the dignity of the emotions, and indeed it may be said that his unprecedented use of language as a means of psychological revelation gave striking support to the humanistic contention that language was the heart of culture and the index of the soul. Similarly, Shakespeare’s unparalleled realism may be seen as the ultimate embodiment, in poetic terms, of the intense concern for specificity—be it in description, measurement, or imitation—endorsed across the board by humanists from Boccaccio and Salutati on. Shakespearean drama is a treasury of the disputes that frustrated and delighted humanism, including (among many others) action versus contemplation, theory versus practice, res versus verbum, monarchy versus republic, human dignity versus human depravity, and individualism versus communality. In treating these polarities, Shakespeare generally proceeds in the manner of Castiglione and Montaigne, presenting structures of balanced contraries rather than syllogistic endorsements of one side or another. In so doing, he achieves a higher realism, transcending the mere imitation of experience and creating, in all its conflict and fertility, a mirror of mind itself. Since the achievement of such psychological and cultural self-awareness was the primary goal of humanistic inquiry, and since humanists agreed that poetry was an uncommonly effective medium for this achievement, Shakespeare must be acknowledged as a preeminent humanist.

One cannot leave Shakespeare and the phenomenon of English humanism without reference to a highly important aspect of his later drama. Throughout his career, Shakespeare had shown a keen interest in the concept of art, not only as a general idea but also with specific reference to his own identity as dramatist. In two of his final plays, The Winter’s Tale (c. 1609–11) and The Tempest (c. 1611), he developed this concept into dramatic and thematic structures that had strongly doctrinal implications. Major characters in both plays practice a moral artistry—a kind of humanitas compounded of awareness, experience, imagination, compassion, and craft—that enables them to beguile and dominate other characters and to achieve enduring justice. This special skill, which is cognate with Shakespeare’s own dramatic art, suggests a hypothetical solution to many of the dilemmas posed in his earlier work. It implies that problems unavailable to political or religious remedy may be solved by creative innovation and that the art by which things are known and expressed may constitute, in and of itself, a valid field of inquiry and an instrument for cultural renewal. In developing this idea of the sovereignty of art, Shakespeare made the final major contribution to a humanistic tradition that will be discussed in the two sections that follow.