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Premises and Motifs in Renaissance Thought and Literature

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Premises and Motifs in Renaissance Thought and Literature Premises and Motifs in Renaissance Thought and Literature Premises and Motifs in Renaissance Thought and Literature % C. A. Patrides PRINCETON UNIVERSITY PRESS PRINCETON, NEW JERSEY Copyright © 1982 by Princeton University Press Published by Princeton University Press, 41 William Street, Princeton, New Jersey In the United Kingdom: Princeton University Press, Guildford, Surrey ALL RIGHTS RESERVED Library of Congress Cataloging in Publication Data will be found on the last printed page of this book This book has been composed in Linotron Garamond Clothbound editions of Princeton University Press books are printed on acid-free paper, and binding materials are chosen for strength and durability Printed in the United States of America by Princeton University Press, Princeton, New Jersey for Dimitri Vournas Contents To the Reader xi Abbreviations xvii 1. "Quaterniond into their celestiall Princedoms": The Orders of the Angels 3 2. "Ascending by degrees magnificent": Connections Between Heaven and Earth 31 3. "The exact compute of time": Estimates of the Year of Creation 52 4. "Those mysterious things they observe in numbers": Approaches to Numerology 64 5. "With his face towards Heaven": The Upright Form of Man 83 6. "The first promise made to man": The Edenic Origins of Protestantism 90 7. "That great and indisputable miracle": The Cessation of the Oracles 105 8. "The beast with many heads": Views on the Multitude 124 9. "The bloody and cruell Turke": The Judgments of God in History 137 vii Contents 10. "A palpable hieroglyphick": The Fable of Pope Joan 152 11. "A horror beyond our expression": The Dimensions of Hell 182 12. "A Principle of infinite Love": The Salvation of Satan 200 Index nominum 219 Index rerum 235 Illustrations [between pp. 162 and 163] 1. The papal line of succession: Sergius II, Leo IV, and John VII with her child. From the Nuremberg Chronicle compiled by Hartmann Schedel: Registrum huius ope- ris libri cronicarum (Nuremberg, 1493), fbl. I69v. 2. Pope Joan giving birth to her son. From the Ger­ man version of Boccaccio's De claris mulieribus: Der kurcz sin von etlichen frowen (Ulm, 1473), fol. 134. 3. A Protestant adaptation of the previous illustration. From the title page of "H.S.," lesvitas, Pontificvm, Romanorvm missarios, falso et frvstra negare Papam loannem VllL fvisse mvlierem (n.p., 1588). 4. Pope Joan at the moment of revelation. From an adaptation of a tract by Alexander Cooke, A Present for a Papist: or the Life and Death of Pope Joan (1675), opposite the title page. 5. The sedes stercorata. From Jean Chifflet, Ivdicivm de fabvla loannce Papissce (Amsterdam, 1666), p. 7. 6. Pope Joan enthroned. From the French version of Friedrich Spanheim's De Papa foemina: Histoire de la papesseJeanne (Cologne, 1694), opposite the title page. To the Reader . there is in this Universe a Staire, or manifest Scale of creatures, rising not disorderly, or in confusion, but with a comely method and proportion.—Sir Thomas Browne The twelve studies made available here address them­ selves to as many dimensions of Renaissance thought and expression in order to provide a comprehensive vision of the Renaissance at large. Variable though these studies are in their length and in their range, they converge on that pattern which, attested among others by Sir Thomas Browne in Reltgio Medici (I, 33) and by Milton in Par­ adise Lost (V, 469-90), sustains the period's tendency emotively to apprehend the created order as a hierarchi­ cal arrangement ascending "from the Mushrome to the Angels" (below, Ch. I, §3). This vertical arrangement was additionally regarded as conflated with the horizon­ tal process along a linear path extending from the Cre­ ation to the Last Judgment. Jointly regarded, these di­ mensions were intended to assert—in Browne's words— "a comely method and proportion." Such claims are writ large in the present work, espe­ cially in the course of the initial two prospects of cosmic order (Ch. I-II) and the concluding two visions of the Xl To the Reader dolorous realm (Ch. XI-XII). But the other studies up­ hold "proportion" no less firmly, however diverse the given premises and expansive their consequent effects. Thus the estimates of the year of creation (Ch. III) and the speculations involving numbers (Ch. IV) alike sug­ gest efforts to impose order in particular ways; the cel­ ebration of man's upright form (Ch. V) affirms the dig­ nity of the major link in the cosmic hierarchy; the attempt to posit Protestantism's Edenic antecedents (Ch. VI) ar­ gues yet again the predilection for "first principles"; while the remaining four studies focus on specific manifesta­ tions of order as well as disorder in the horizontal plane of history: the cessation of the oracles on the appearance of Christ (Ch. VII), the cumulative renunciations of the multitude (Ch. VIII), the providential design behind Ottoman aggression (Ch. IX), and the mystery of God's ways apropos the legendary Pope Joan (Ch. X). Here and there, it must be acknowledged, I attend to but a minute portion of the seething cauldron that was the Renaissance; but I would all the same maintain that, not infrequently, the fervency of the whole can best be appreciated by the intensity of the part. Moreover, where my peregrinations end with a glance beyond the Renais­ sance, the tactic should not be regarded as strictly for­ tuitous. It is on the contrary designed to suggest the nature of the changes effected during the transition from a predominantly theological orientation to a largely sec­ ular one. My concern was after all to annotate certain developments in terms both of their background in our cultural heritage and of their foreground in our com­ monly shared literature. All but one of these studies have been published be­ fore; but in their transit into these pages, it should be To the Reader emphasized, they were far more thoroughly documented in all cases but two. In their initial state, they were indispensable in providing a background for two books I completed in 1966 and 1972 respectively;1 but since then I also realized that they constituted an entity unto themselves, especially once I recast their arguments and revised their style. I am in consequence grateful to the editors of the following journals for their generous per­ mission to reprint, in the revised form mentioned, the studies indicated: Harvard Theological Review (for Ch. XI: Copyright 1964 by the President and Fellows of Harvard College), Huntington Library Quarterly (Ch. Ill), Isis (Ch. IV), Journal of the History of Ideas (Ch. I, V, and XII), Modern Language Review (Ch. VII), Shakespeare Quarterly (Ch. VIII), Studies in the Renaissance (Ch. IX), Studies in English Literature (Ch. VI), and Theologische Zeitschrift (Ch. II). At different times and in different versions, most of the ensuing studies were delivered as lectures before learned societies or at select universities. Of those occa­ sions, one in particular deserves to be mentioned because it involved an enterprise I happen to favor (Ch. X), de­ livered as the Erasmus Lecture for 1981 at Victoria University in the University of Toronto. I am only too pleased to acknowledge the warm hospitality extended to me by ProfessorJames M. Estes, Director of the Centre for Reformation and Renaissance Studies, and the pa­ tience with which numerous details were attended to by Professor Germaine Warkentin. My good friend Douglas 1 Milton and the Christian Tradition (Oxford: The Clarendon Press, 1966; reprinted by Archon Books, Hamden, Conn., 1979) and "The Grand Design of God": The Literary Form of the Christian View of History (London: Rou- tledge and Kegan Paul Ltd., and Toronto: University of Toronto Press, 1972). To the Reader Chambers provided as always the ideal context for the transformation of a formal occasion into a decidedly con­ genial visit. The slow evolution of the studies that follow until they assumed their present form has involved the gen­ erous assistance I have obtained from a considerable number of individuals and institutions. Impossible as it is to name them all, I must necessarily restrict the expression of my gratitude in the first instance to Pro­ fessor Philip Brockbank, Director of The Shakespeare Institute at the University of Birmingham, who encour­ aged my labors during the fourteen years I was fortunate to be with him at the University of York, and to Pro­ fessor Roland Mushat Frye of the University of Pennsyl­ vania, who sustained me over twenty years with his warm friendship and sage counsel. Additionally, I am grateful to Mr. C.B.L. Barr of the York Minster Library, who has given me the benefit of his vast knowledge of clas­ sical literature and scholarship, and to Professor Ray­ mond B. Waddington of the University of Wisconsin at Madison, who has suggested several important changes in my argument and my documentation. As most of my investigations into primary sources were undertaken at the British Library and the Bodleian Library, it gives me great pleasure gratefully to acknowl­ edge the manifold courtesies extended to me at both. The Trustees of the British Library, it should be added, also granted me permission to reproduce the six plates appearing in this volume. I am no less obligated to still other libraries where my research encompassed secondary sources, notably the New York Public Library and the libraries of the University of California at Berkeley, the University of York, and the University of Michigan at To the Reader Ann Arbor. All three of the last named universities have in addition provided me with indispensable subsidies in the form of both travel grants and clerical assistance. When all is said, however, I am particularly grateful to the John Simon Guggenheim Memorial Foundation for the award of two fellowships, without which the present work—and much else besides—could not possibly have been realized.
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