Oliver Goldsmith She Stoops to Conquer: Catherine Cooper shows how the themes of She Stoops to Conquer are developed through contrasts, such as between age and youth, city and country, and high and low social class, and finds that behind those superficial contrasts deeper psychological contrasts are being explored.
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December Learn how and when to remove this template message Castiglione was born into an illustrious family at Casaticonear Mantua Lombardywhere his family had constructed an impressive palazzo. Inat the age of sixteen, Castiglione began his humanist studies in Milanstudies which would eventually inform his future writings.
However, inafter the death of his father, Castiglione left his studies and Milan to succeed his father as the head of their noble family.
Soon his duties included officially representing the Gonzaga court; for instance, he accompanied his marquis for the royal entry at Milan of Louis XII of France. He traveled quite often for the Gonzagas; during one of his missions to Rome he met Guidobaldo da MontefeltroDuke of Urbino ; and ina reluctant Francesco II Gonzaga, Marquess of Mantua allowed him to leave and take up residence in that court.
Urbino was at that time the most refined and elegant of the Italian courts, a cultural center ably directed and managed by the Duchess Elisabetta Gonzaga and her sister-in-law Emilia Piawhose portraits, along with those of many of their guests, were painted by Raphaela native of Urbino.
The hosts and guests organized intellectual contests, pageants, dances, concerts, recitations, plays, and other cultural activities, producing brilliant literary works.
She deeply loved her husband though his invalid state meant they could never have children. In Castiglione wrote and acted in a pastoral play, his eclogue Tirsi, in which he depicted the court of Urbino allegorically through the figures of three shepherds.
The work contains echoes of both ancient and contemporary poetry, recalling Poliziano and Sannazzaro as well as Virgil. Castiglione wrote about his works and of those of other guests in letters to other princes, maintaining an activity very near to diplomacy, though in a literary form, as in his correspondence with his friend and kinsman, Ludovico da Canossa later Bishop of Bayeux.
Francesco Maria della Rovere succeeded as Duke of Urbino at Guidobaldo's death, and Castiglione remained at his court. For this the Duke conferred on Castiglione the title of Count of Novilara, a fortified hill town near Pesaro. There he was friendly with many artists and writers; including Raphaelwhom he already knew from Urbino, and who frequently sought his advice.
In tribute to their friendship, Raphael painted his famous portrait of Castiglionenow at the Louvre. That Castiglione's love for Ippolita was of a very different nature from his former platonic attachment to Elisabetta Gonzaga is evidenced by the two deeply passionate letters he wrote to her that have survived.
Sadly, Ippolita died a mere four years after their marriage, while Castiglione was away in Rome as ambassador for the Duke of Mantua. Castiglione, the pope believed, should have informed the Holy See of Charles V 's intentions, for it was his duty to investigate what Spain was planning against the Eternal City.
While in his letter to the pope dated December 10,he had the audacity to criticize Vatican policies, asserting that its own inconsistencies and vacillations had undermined its stated aim of pursuing a fair agreement with the emperor and had provoked Charles V to attack.
Against all expectations, Castiglione received the pope's apologies and the emperor honored him with the offer of the position of Bishop of Avila. Historians today believe that Castiglione had carried out his ambassadorial duties to Spain in an honorable manner and bore no responsibility for the sack of Rome.
He died of the plague in Toledo in After his death in a monument was erected to him in the sanctuary of Sta Maria delle Grazie, outside of his birthplace of Mantua.
It was designed by the mannerist painter and architect Giulio Romanoa pupil of Raphael, and inscribed with the following words: Baldassare Castiglione of Mantua, endowed by nature with every gift and the knowledge of many disciplines, learned in Greek and Latin literature, and a poet in the Italian Tuscan language, was given a castle in Pesaro on account of his military prowess, after he had conducted embassies to both great Britain and Rome.
While he was working at the Spanish court on behalf of Clement VII, he drew up the Book of the Courtier for the education of the nobility; and in short, after Emperor Charles V had elected him Bishop of Avila, he died at Toledo, much honored by all the people.
He lived fifty years, two months, and a day. His mother, Luigia Gonzaga, who to her own sorrow outlived her son, placed this memorial to him in And it is this virtue which women lend to society.
They are the custodians of the social covenant. In the code of the Courtier the Renaissance woman comes into her own and the mission which Isabella [of Este, Marchesa of Mantua, known as the "first lady of the Renaissance"] pursued amid the strenuous turmoil of actual life is realized, in these animated pages, by her passive sister-in-law Elizabetta.
Though she takes no part in the conversation, she presides over it, and her presence permeates its conduct. The men defer to her, especially in their conduct with women—"with whom we had the freest and commerce, but such was the respect we bore to the will of the Duchess that freedom was the greatest restraint.
The book, in dialog form, is an elegiac portrait of the exemplary court of Guidobaldo da Montefeltro of Urbino during Castiglione's youthful stay there at the beginning of the sixteenth century.
It depicts an elegant philosophical conversation, presided over by Elisabetta Gonzagawhose husband, Guidobaldo, an invalid, was confined to bed and her sister-in-law Emilia Pia.
Castiglione himself does not contribute to the discussion, which is imagined as having occurred while he was away.
The book is Castiglione's memorial tribute to life at Urbino and to his friendships with the other members of the court, all of whom went on to have important positions and many of whom had died by the time the book was published, giving poignancy to their portrayals.
The conversation takes place over a span of four days in the yearwhile Castiglione was supposedly absent on an embassy to England. It addresses the topic, proposed by Federigo Fregoso, of what constitutes an ideal Renaissance gentleman.
In the Middle Agesthe perfect gentleman had been a chivalrous knight who distinguished himself by his prowess on the battlefield. Castiglione's book changed that.Castiglione vs. Machiavelli PowerPoint Presentation, PPT - DocSlides- What is a courtier?.
A courtier was an attendant at a royal court. Could be an adviser to the king or queen. Baldassare.
Castiglione. Courtier and diplomat who served many princes. Wrote. Book of the Courtier. ID: In Castiglione's realm, she matches the qualities of dignity and strong virtues. Hillary Clinton clearly shows qualities mentioned in both excerpts regarding her position as a leader and as a woman.
First, Hillary Clinton as a leader possesses a great number of qualities mentioned by Machiavelli, one of which is represented in her handling of the .
The Essential Petrarch (Hackett Classics) [Petrarch, Peter Hainsworth] on grupobittia.com *FREE* shipping on qualifying offers. Petrarch fashioned so many different versions of himself for posterity that it is an exacting task to establish where one might start to explore Hainsworth's study meets this problem through examples of what Petrarch wrote.
The Prince, written by Machiavelli, and The Courtier, written by Castiglione, are both somewhat how-to guides for nobility, royalty, and princes.
However, there are many distinct differences among the ideas of Castiglione and Machiavelli. is The Courtier, published by Baldassare Castiglione in ; a graceful discussion of love, courtly manners, and the ideal education for a perfect gentleman, it had enormous influence throughout Europe. Castiglione had a humanist education, but he wrote The Courtier in Italian, the language Bembo chose for his dialogue on.
The Prince, written by Machiavelli, and The Courtier, written by Castiglione, are both somewhat how-to guides for nobility, royalty, and princes. However, there are many distinct differences among the ideas of Castiglione and Machiavelli.