's Angelo Poliziano's Lamia: Text, Translation, and PDF
In 1492, Angelo Poliziano released his Lamia, a praelectio, or establishing oration to a direction he may train that educational 12 months on Aristotle s earlier Analytics on the Florentine collage. Having heard murmurings that he was once no longer thinker sufficient to coach the Aristotelian textual content, Poliziano moves again, providing in influence a fable-tinted historical past of philosophy. greater than a repudiation of neighborhood gossip, the textual content represents a rethinking of the project of philosophy. This quantity bargains the 1st English translation, an version of the Latin textual content, and 4 reviews that set this wealthy instance of humanist Latin writing in context.
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Additional resources for Angelo Poliziano's Lamia: Text, Translation, and Introductory Studies (Brill’s Studies in Intellectual History)
Allen (Tempe: MRTS, 2000 [repr. ]), 230 (tr. Allen). B. Allen, Synoptic Art: Marsilio Ficino on the History of Platonic Interpretation (Florence: Olschki, 1998), 149–93; and Robichaud, in this volume. On the differences in opinion between Ficino and Poliziano, see Wesseling, “Introduction,” xvii. ” See I. Maïer, Les manuscrits d’Ange Politien (Geneva: Droz, 1965), 13–14; see also Candido in this volume. poliziano’s lamia in context 33 of a man with two bags. Each is full of vices, and one hangs from the front of his body, the other from the back.
64 During this period, the 1480s and early 1490s, Ficino’s Platonism grew ever more esoteric. 65 These and other similar Greek texts, lost to the west in the middle ages, presented mentalities that shared a family resemblance to Christianity. Miraculous wonder working figures sent by the divine to aid humanity, the power of ritual to function almost sacramentally, parable-like approaches to wisdom: these and more features were shared both by members of the late ancient pagan 62 See J. Hankins, Humanism and Platonism in the Italian Renaissance, 2 vols.
Outside a great fire burns, and in between the fire and the entrance of the cave, there is, adjoining a wall, a road that others traverse, carrying utensils and images of various animate beings. The things being conveyed are above the wall and their shadows, cast by the fire, can be seen by the cave dwellers. Since they are bound, the cave dwellers cannot see themselves or their fellow inhabitants, and they assume that those shadow-images represent reality. If one of them were freed from his chains and compelled to go up and out to see the world beyond the cave, he would be incredulous.
Angelo Poliziano's Lamia: Text, Translation, and Introductory Studies (Brill’s Studies in Intellectual History)