376:
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".
27:
368:): 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 Here, the use of the old and outdated Tuscan language is seen as a form of excess rather than a desirable trait.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).
372:
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.
204:, 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.
249:
338:
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.
300:, 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
289:"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.
337:
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
288:
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
375:
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
371:
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.
207:
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,
329:
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).
235:
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.
216:. 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.
227:
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
149:
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
292:
Castiglione's characters opine about how their courtier can impress his audience and win its approval. Similar to the
Classical Roman rhetoricians
176:
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
418:(1959), translated by Charles S. Singleton, generally considered the best translation. Available in a number of editions including: Doubleday
364:
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
259:
587:
304:, becomes an important element in the courtier's appearance to the audience. Edoardo Saccone states in his analysis of Castiglione, "
360:
Another feature of rhetoric which
Castiglione discusses is the role of written language and style. Castiglione declined to imitate
164:— with a reverent tribute to the friends of Castiglione's youth. It pays tribute in particular to the chastely married Duchess
345:
and be esteemed as excellent, it would be in his best interest to have this appearance of nonchalance. By failing to employ
742:
627:
449:
431:
423:
196:
The book is organized as a series of conversations supposed to have taken place over four nights in 1507 between the
103:
or (in the third chapter) court lady, worthy to befriend and advise a prince or political leader. Inspired by the
850:
840:
510:
Richards, Jennifer
Richards. "Assumed Simplicity and the Critique of Nobility: Or, How Castiglione Read Cicero"
115:. The book quickly became enormously popular and was assimilated by its readers into the genre of prescriptive
108:
656:
Rebhorn, Wayne (1992). "Baldesar
Castiglione, Thomas Wilson, and the Courtly Body of Renaissance Rhetoric".
269:
156:
The book offers a poignantly nostalgic evocation of an idealized milieu — that of the small courts of the
835:
801:
553:
458:
386:
855:
393:
26:
92:
468:
593:
8:
830:
265:
128:
111:(1524–1529), Castiglione set the narrative of the book in his years as a courtier in the
476:
845:
780:
763:
Graham, Robert J. (1990). "Composing ourselves in Style: The
Aesthetics of Literacy in
715:
165:
357:
and impresses his audience, thereby achieving excellence and perfection (Saccone 16).
738:
623:
616:
445:
439:
427:
419:
231:
had a great influence on the English upper class's conception of English gentlemen.
772:
707:
665:
550:
Courtesy literature can be traced back to 13th century German and Italian writers.
157:
104:
87:
79:
321:
is the most important rhetorical device the courtier needs. Peter Burke describes
503:
Muchembled, Robert. "Manners, Courts, and Civility". In Ruggiero, Guido, editor,
201:
169:
112:
487:
The Fortunes of the Courtier: The European Reception of Castiglione's Cortegiano
138:
492:
Cavallo, Jo-Ann. "Joking Matters: Politics and Dissimulation in Castiglione's
467:
as edited by Walter Raleigh for David Nutt, Publisher, London, 1900. From the
824:
669:
173:
124:
116:
521:
The Courtier. (Writers of Italy series) University of Edinburgh Press: 1978
177:
161:
55:
737:. University Park, Pennsylvania: The Pennsylvania State University Press.
478:
The Book of the Courtier from the Italian of Count Baldassare Castiglione
464:
310:
228:
185:
698:
Saccone, Eduardo (1987). "The Portrait of the Courtier in Castiglione".
411:. Translated by Singleton, Charles S. New York: Charles Scribner's Sons.
353:
to his speech and everything else he does, the courtier appears to have
784:
297:
133:
719:
184:
just before the author's death. An influential English translation by
809:
361:
120:
45:
776:
711:
213:
209:
197:
150:
100:
96:
407:
Castiglione, Baldesar (1901). Eckstein Opdycke, Leonard (ed.).
365:
293:
181:
532:
409:
The Book of the Courtier: The Scribner's Sons Translation
341:
The Count contends that if the courtier wants to attain
349:he destroys his opportunity for grace. By applying
615:
500:, Vol. 53, No. 2 (Summer, 2000), pp. 402–424.
123:, self-presentation, and morals, particularly at
822:
613:
168:of Urbino, to whom Castiglione had addressed a
618:Culture and Values: A Survey of the Humanities
614:Cunningham, Lawrence; Reich, John J. (2006).
592:. Penn State University Press. Archived from
262:to certain ideas, incidents, or controversies
505:A Companion to the Worlds of the Renaissance
308:consists of, or rather is obtained through,
119:or books of manners, dealing with issues of
682:
538:
474:
437:
406:
333:The Count advocates the courtier engage in
644:Book of the Courtier: Baldesar Castiglione
507:(Wiley-Blackwell, 2006), pp. 156–173.
272:this issue before removing this message.
99:on the topic of what constitutes an ideal
25:
758:
756:
754:
571:Castiglione's Allegory: Veiled Policy in
687:. Mineola, New York: Dover Publications.
697:
655:
519:Baldesar Castiglione: A reassessment of
823:
762:
751:
732:
646:, Penguin books, Bungay , p. 13.
86:
489:. Penn State University Press, 1995.
242:
426:(1959) and Norton Critical Edition
266:create a more balanced presentation
16:1528 book by Baldassare Castiglione
13:
14:
867:
795:
475:Castiglione, Baldassarre (1900).
438:Castiglione, Baldassarre (1903).
771:. University of Illinois Press.
683:Castiglione, Baldassare (2003).
247:
726:
463:(1561), English translation by
769:Journal of Aesthetic Education
691:
676:
649:
636:
607:
580:
563:
555:Encyclopædia Britannica Online
544:
1:
400:
191:
735:The Fortunes of the Courtier
589:The Fortunes of the Courtier
219:
160:which were vanishing in the
7:
379:
238:
95:is a lengthy philosophical
10:
872:
109:Ambassador of the Holy See
387:Book of the Civilized Man
125:princely, or royal courts
61:
51:
41:
33:
24:
803:The Book of the Courtier
685:The Book of the Courtier
670:10.1525/rh.1993.11.3.241
573:The Book of the Courtier
525:
517:Woodhouse, John Robert.
512:Renaissance Quarterly 54
460:The Book of the Courtier
441:The Book of the Courtier
416:The Book of the Courtier
394:The Book of the Governor
327:The Book of the Courtier
317:According to the Count,
225:The Book of the Courtier
147:The Book of the Courtier
88:[ilkorteˈdʒaːno]
75:The Book of the Courtier
811:Il libro del Cortegiano
806:at the Internet Archive
552:"Courtesy Literature",
514:: 2 (Summer 2001), 463.
188:was published in 1561.
851:Royal and noble courts
841:Renaissance literature
444:. C. Scribner's Sons.
143:The Civil Conversation
93:Baldassare Castiglione
83:
733:Burke, Peter (1996).
622:. Thomson Wadsworth.
498:Renaissance Quarterly
494:Book of the Courtier
469:University of Oregon
129:Giovanni Della Casa
107:during his time as
21:
836:Italian literature
577:(Routledge, 2014).
569:See: W. R. Albury,
166:Elisabetta Gonzaga
19:
642:Bull, G. (1967)
286:
285:
264:. Please help to
256:This section may
71:
70:
863:
817:
789:
788:
760:
749:
748:
730:
724:
723:
695:
689:
688:
680:
674:
673:
653:
647:
640:
634:
633:
621:
611:
605:
604:
602:
601:
584:
578:
567:
561:
559:
548:
542:
539:Castiglione 1901
536:
482:
455:
412:
281:
278:
251:
250:
243:
158:High Renaissance
127:, books such as
90:
63:Publication date
29:
22:
18:
871:
870:
866:
865:
864:
862:
861:
860:
856:Duchy of Urbino
821:
820:
815:
798:
793:
792:
777:10.2307/3332798
761:
752:
745:
731:
727:
696:
692:
681:
677:
654:
650:
641:
637:
630:
612:
608:
599:
597:
586:
585:
581:
568:
564:
551:
549:
545:
537:
533:
528:
452:
403:
382:
282:
276:
273:
252:
248:
241:
222:
202:Duchy of Urbino
194:
113:Duchy of Urbino
64:
17:
12:
11:
5:
869:
859:
858:
853:
848:
843:
838:
833:
819:
818:
814:at Wikisource
807:
797:
796:External links
794:
791:
790:
750:
743:
725:
712:10.2307/478508
690:
675:
664:(3): 241–274.
648:
635:
628:
606:
579:
562:
543:
541:, p. 319.
530:
529:
527:
524:
523:
522:
515:
508:
501:
490:
485:Burke, Peter.
483:
472:
456:
450:
435:
413:
402:
399:
398:
397:
390:
381:
378:
284:
283:
268:. Discuss and
255:
253:
246:
240:
237:
221:
218:
193:
190:
139:Stefano Guazzo
117:courtesy books
69:
68:
65:
62:
59:
58:
53:
49:
48:
43:
39:
38:
35:
31:
30:
20:Il Cortegiano
15:
9:
6:
4:
3:
2:
868:
857:
854:
852:
849:
847:
844:
842:
839:
837:
834:
832:
829:
828:
826:
813:
812:
808:
805:
804:
800:
799:
786:
782:
778:
774:
770:
766:
759:
757:
755:
746:
744:0-271-01517-9
740:
736:
729:
721:
717:
713:
709:
705:
701:
694:
686:
679:
671:
667:
663:
659:
652:
645:
639:
631:
629:0-534-58227-3
625:
620:
619:
610:
596:on 2016-09-24
595:
591:
590:
583:
576:
572:
566:
557:
556:
547:
540:
535:
531:
520:
516:
513:
509:
506:
502:
499:
495:
491:
488:
484:
480:
479:
473:
470:
466:
462:
461:
457:
453:
451:9780385094214
447:
443:
442:
436:
433:
432:0-393-97606-8
429:
425:
424:0-385-09421-3
421:
417:
414:
410:
405:
404:
396:
395:
391:
389:
388:
384:
383:
377:
373:
369:
367:
363:
358:
356:
352:
348:
344:
339:
336:
331:
328:
324:
320:
315:
313:
312:
307:
303:
299:
295:
290:
280:
277:November 2013
271:
267:
263:
261:
254:
245:
244:
236:
234:
230:
226:
217:
215:
211:
205:
203:
199:
189:
187:
183:
179:
175:
171:
167:
163:
159:
154:
152:
148:
144:
140:
136:
135:
130:
126:
122:
118:
114:
110:
106:
105:Spanish court
102:
98:
94:
89:
85:
84:Il Cortegiano
81:
77:
76:
66:
60:
57:
54:
50:
47:
44:
40:
36:
32:
28:
23:
816:(in Italian)
810:
802:
768:
765:The Courtier
764:
734:
728:
703:
699:
693:
684:
678:
661:
657:
651:
643:
638:
617:
609:
598:. Retrieved
594:the original
588:
582:
574:
570:
565:
554:
546:
534:
518:
511:
504:
497:
493:
486:
477:
459:
440:
415:
408:
392:
385:
374:
370:
359:
354:
350:
347:sprezzatura,
346:
342:
340:
335:sprezzatura,
334:
332:
326:
322:
318:
316:
309:
305:
301:
291:
287:
274:
260:undue weight
257:
233:The Courtier
232:
224:
223:
206:
195:
178:Aldine Press
162:Italian Wars
155:
146:
142:
132:
74:
73:
72:
56:Aldine Press
706:(1): 1–18.
465:Thomas Hoby
351:sprezzatura
323:sprezzatura
319:sprezzatura
311:sprezzatura
229:Thomas Hoby
186:Thomas Hoby
137:(1558) and
831:1528 books
825:Categories
600:2010-10-31
481:. D. Nutt.
401:References
298:Quintilian
192:Principles
134:Il Galateo
846:Etiquette
658:Rhetorica
362:Boccaccio
220:Reception
214:fine arts
198:courtiers
121:etiquette
52:Publisher
46:Etiquette
380:See also
239:Rhetoric
210:Classics
174:Platonic
170:sequence
151:allegory
145:(1574).
101:courtier
97:dialogue
34:Language
785:3332798
700:Italica
434:(2002).
270:resolve
200:of the
80:Italian
42:Subject
37:Italian
783:
741:
720:478508
718:
626:
575:(1528)
558:, 2008
448:
430:
422:
366:Mantua
355:grazia
343:grazia
306:grazia
302:grazia
294:Cicero
182:Venice
781:JSTOR
716:JSTOR
526:Notes
258:lend
91:) by
739:ISBN
624:ISBN
446:ISBN
428:ISBN
420:ISBN
296:and
212:and
67:1528
773:doi
767:".
708:doi
666:doi
496:."
325:in
314:."
180:in
172:of
141:'s
131:'s
827::
779:.
753:^
714:.
704:64
702:.
662:11
660:.
153:.
82::
787:.
775::
747:.
722:.
710::
672:.
668::
632:.
603:.
560:.
471:.
454:.
279:)
275:(
78:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
