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success of a speech. The success of a written speech, in contrast to the spoken speech, hinges on the notion that "we are willing to tolerate a great deal of improper and even careless usage" in oral rhetoric than written rhetoric. The Count explains that along with proper word usage, an ideal courtier must have a proper sense of style and flow to their words. These words must be factual yet entertaining as the Count states, "then, it is necessary to arrange what is to be said or written in its logical order, and after that to express it well in words that, if I am not mistaken, should be appropriate, carefully chosen, clear and well formed, but above all that are still in popular use" (Courtier 77). This form of emphasis on language is noted by Graham as; "Although the Count is aware that more traditional aspects of the orator (appearance, gestures, voice, etc.) ... all this will be futile and of little consequence if the ideas conveyed by these words themselves are not witty or elegant to the requirements of the situation".
38:
379:): as the Count says, "certainly it would require a great deal of effort on my part if in these discussions of ours I wished to use those old Tuscan words which the Tuscans of today have discarded; and what's more I'm sure you would all laugh at me" (Courtier 70). Here, the use of the old and outdated Tuscan language is seen as a form of excess rather than a desirable trait. Castiglione states that had he followed Tuscan usage in his book, his description of sprezzatura would appear hypocritical, in that his effort would be seen as lacking in nonchalance (Courtier 71).
383:
Graham, a
Renaissance literary scholar, notes that "questions of whose language is privileged at any given historical moment are deeply implicated in matters of personal, social and cultural significance", which he states is the primary reason for Castiglione's usage of the native vernacular. This also illustrates the Count's response to the relativity of language in Latin. With the role of language set, Castiglione begins to describe the style and authority in which the courtier must write in order to become successful.
215:, at a time when Castiglione was himself a member of the Duke's Court (although he is not portrayed as one of the interlocutors). The nature of an ideal courtier is debated between the many characters on the basis of various qualities, such as the need for noble rank, physical prowess, modesty, and pleasant physique, among other attributes. Different characters grant different levels of importance to these various qualities throughout the discussion.
349:
our credit and brings us into small esteem" (Castiglione 1.26). The Count reasons that by obscuring his knowledge of letters, the courtier gives the appearance that his "orations were composed very simply" as if they sprang up from "nature and truth than from study and art" (1.26). This much more natural appearance, even though it is not natural by any means, is more advantageous to the courtier.
260:
311:, Castiglione stresses the importance of delivery while speaking. In Book I, the Count states that when the courtier speaks he must have a "sonorous, clear, sweet and well sounding" voice that is neither too effeminate nor too rough and be "tempered by a calm face and with a play of the eyes that shall give an effect of grace" (Castiglione 1.33). This grace, or
300:"designed to make people marvel at him, to transform himself into a beautiful spectacle for others to contemplate." As explained by Count Ludovico, the success of the courtier depends greatly on his reception by the audience from the first impression. This partly explains why the group considers the courtier's dress so vital to his success.
348:
or this "certain nonchalance", in all the activities he participates in, especially speech. In Book I, he states, "Accordingly we may affirm that to be true art which does not appear to be art; nor to anything must we give greater care than to conceal art, for if it is discovered, it quite destroys
299:
Of the many qualities
Castiglione's characters attribute to their perfect courtier, oratory and the manner in which the courtier presents himself while speaking is amongst the most highly discussed. Wayne Rebhorn, a Castiglione scholar, states that the courtier's speech and behavior in general is
386:
The Count explains, "It is right that greater pains would be taken to make what is written more polished and correct... they should be chosen from the most beautiful of those employed in speech" (Courtier 71). This is where the style of which the courtier writes encourages the persuasiveness or
382:
Federico responds to the Count's assessment of the use of spoken language by posing the question as to what is the best language in which to write rhetoric. The Count's response is that the language does not matter, but rather the rhetoric's style, authority, and grace (Courtier 71). Robert J.
218:
The ideal courtier is described as having a cool mind, a good voice (with beautiful, elegant and brave words) along with proper bearing and gestures. At the same time though, the courtier is expected to have a warrior spirit, to be athletic, and have good knowledge of the humanities,
340:
as "nonchalance", "careful negligence", and "effortless and ease". The ideal courtier is someone who "conceals art, and presents what is done and said as if it was done without effort and virtually without thought" (31).
246:
enjoyed influence for some generations, not least in
Elizabethan England following its first translation by Sir Thomas Hoby in 1561, a time when Italian culture was very much in fashion.
227:. Over the course of four evenings, members of the court try to describe the perfect gentleman of the court. In the process, they debate the nature of nobility, humor, women, and love.
238:
was one of the most widely distributed books of the 16th century, with editions printed in six languages and in twenty
European centers. The 1561 English translation by
160:
was much more than that, however, having the character of a drama, an open-ended philosophical discussion, and an essay. It has also been seen as a veiled political
303:
Castiglione's characters opine about how their courtier can impress his audience and win its approval. Similar to the
Classical Roman rhetoricians
187:
sonnets, and who died in 1526. The work was composed over the course of twenty years, beginning in 1508, and ultimately published in 1528 by the
429:(1959), translated by Charles S. Singleton, generally considered the best translation. Available in a number of editions including: Doubleday
375:
and write in Tuscan
Italian, as was customary at the time; instead he wrote in the Italian used in his native Lombardy (he was born near
598:
315:, becomes an important element in the courtier's appearance to the audience. Edoardo Saccone states in his analysis of Castiglione, "
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Another feature of rhetoric which
Castiglione discusses is the role of written language and style. Castiglione declined to imitate
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175:— with a reverent tribute to the friends of Castiglione's youth. It pays tribute in particular to the chastely married Duchess
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and be esteemed as excellent, it would be in his best interest to have this appearance of nonchalance. By failing to employ
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The book is organized as a series of conversations supposed to have taken place over four nights in 1507 between the
114:
or (in the third chapter) court lady, worthy to befriend and advise a prince or political leader. Inspired by the
397:
521:
Richards, Jennifer
Richards. "Assumed Simplicity and the Critique of Nobility: Or, How Castiglione Read Cicero"
866:
404:
126:. The book quickly became enormously popular and was assimilated by its readers into the genre of prescriptive
667:
Rebhorn, Wayne (1992). "Baldesar
Castiglione, Thomas Wilson, and the Courtly Body of Renaissance Rhetoric".
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The book offers a poignantly nostalgic evocation of an idealized milieu — that of the small courts of the
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122:(1524–1529), Castiglione set the narrative of the book in his years as a courtier in the
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Graham, Robert J. (1990). "Composing ourselves in Style: The
Aesthetics of Literacy in
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and impresses his audience, thereby achieving excellence and perfection (Saccone 16).
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had a great influence on the English upper class's conception of English gentlemen.
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Courtesy literature can be traced back to 13th century German and Italian writers.
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is the most important rhetorical device the courtier needs. Peter Burke describes
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Muchembled, Robert. "Manners, Courts, and Civility". In Ruggiero, Guido, editor,
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The Fortunes of the Courtier: The European Reception of Castiglione's Cortegiano
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239:
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Cavallo, Jo-Ann. "Joking Matters: Politics and Dissimulation in Castiglione's
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as edited by Walter Raleigh for David Nutt, Publisher, London, 1900. From the
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131:
56:
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The Courtier. (Writers of Italy series) University of Edinburgh Press: 1978
748:. University Park, Pennsylvania: The Pennsylvania State University Press.
489:
The Book of the Courtier from the Italian of Count Baldassare Castiglione
224:
220:
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161:
111:
107:
709:
Saccone, Eduardo (1987). "The Portrait of the Courtier in Castiglione".
422:. Translated by Singleton, Charles S. New York: Charles Scribner's Sons.
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to his speech and everything else he does, the courtier appears to have
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just before the author's death. An influential English translation by
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Castiglione, Baldesar (1901). Eckstein Opdycke, Leonard (ed.).
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The Book of the Courtier: The Scribner's Sons Translation
352:
The Count contends that if the courtier wants to attain
360:he destroys his opportunity for grace. By applying
72:
62:
52:
44:
626:
511:, Vol. 53, No. 2 (Summer, 2000), pp. 402–424.
134:, self-presentation, and morals, particularly at
179:of Urbino, to whom Castiglione had addressed a
629:Culture and Values: A Survey of the Humanities
625:Cunningham, Lawrence; Reich, John J. (2006).
603:. Penn State University Press. Archived from
273:to certain ideas, incidents, or controversies
8:
516:A Companion to the Worlds of the Renaissance
319:consists of, or rather is obtained through,
130:or books of manners, dealing with issues of
30:
549:
344:The Count advocates the courtier engage in
655:Book of the Courtier: Baldesar Castiglione
518:(Wiley-Blackwell, 2006), pp. 156–173.
283:this issue before removing this message.
110:on the topic of what constitutes an ideal
36:
29:
769:
767:
765:
582:Castiglione's Allegory: Veiled Policy in
698:. Mineola, New York: Dover Publications.
542:
530:Baldesar Castiglione: A reassessment of
657:, Penguin books, Bungay , p. 13.
97:
7:
500:. Penn State University Press, 1995.
437:(1959) and Norton Critical Edition
277:create a more balanced presentation
27:1528 book by Baldassare Castiglione
25:
486:Castiglione, Baldassarre (1900).
449:Castiglione, Baldassarre (1903).
782:. University of Illinois Press.
694:Castiglione, Baldassare (2003).
258:
474:(1561), English translation by
780:Journal of Aesthetic Education
566:Encyclopædia Britannica Online
1:
746:The Fortunes of the Courtier
600:The Fortunes of the Courtier
171:which were vanishing in the
106:is a lengthy philosophical
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120:Ambassador of the Holy See
398:Book of the Civilized Man
136:princely, or royal courts
35:
814:The Book of the Courtier
696:The Book of the Courtier
681:10.1525/rh.1993.11.3.241
584:The Book of the Courtier
528:Woodhouse, John Robert.
523:Renaissance Quarterly 54
471:The Book of the Courtier
452:The Book of the Courtier
427:The Book of the Courtier
405:The Book of the Governor
338:The Book of the Courtier
328:According to the Count,
236:The Book of the Courtier
158:The Book of the Courtier
99:[ilkorteˈdʒaːno]
86:The Book of the Courtier
822:Il libro del Cortegiano
817:at the Internet Archive
563:"Courtesy Literature",
525:: 2 (Summer 2001), 463.
199:was published in 1561.
862:Royal and noble courts
852:Renaissance literature
455:. C. Scribner's Sons.
154:The Civil Conversation
104:Baldassare Castiglione
94:
744:Burke, Peter (1996).
633:. Thomson Wadsworth.
509:Renaissance Quarterly
505:Book of the Courtier
480:University of Oregon
18:Book of the Courtier
140:Giovanni Della Casa
118:during his time as
32:
847:Italian literature
588:(Routledge, 2014).
580:See: W. R. Albury,
177:Elisabetta Gonzaga
653:Bull, G. (1967)
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275:. Please help to
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717:(1): 1–18.
476:Thomas Hoby
362:sprezzatura
334:sprezzatura
330:sprezzatura
322:sprezzatura
240:Thomas Hoby
197:Thomas Hoby
148:(1558) and
842:1528 books
836:Categories
611:2010-10-31
492:. D. Nutt.
412:References
309:Quintilian
203:Principles
145:Il Galateo
857:Etiquette
669:Rhetorica
373:Boccaccio
231:Reception
225:fine arts
209:courtiers
132:etiquette
63:Publisher
57:Etiquette
391:See also
250:Rhetoric
221:Classics
185:Platonic
181:sequence
162:allegory
156:(1574).
112:courtier
108:dialogue
45:Language
796:3332798
711:Italica
445:(2002).
281:resolve
211:of the
91:Italian
53:Subject
48:Italian
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586:(1528)
569:, 2008
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377:Mantua
366:grazia
354:grazia
317:grazia
313:grazia
305:Cicero
193:Venice
792:JSTOR
727:JSTOR
537:Notes
269:lend
102:) by
750:ISBN
635:ISBN
457:ISBN
439:ISBN
431:ISBN
307:and
223:and
78:1528
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