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The appearance in Western Europe of learned Greek refugees after the fall of Constantinople to the Ottoman Turks in 1453, the establishment of the Florentine Academy by Marsilio Ficino (in concert with his younger and more radical associate Pico della Mirandola, author, inter alia, of the optimistically exaggerated and therefore basically non-Augustinian treatise On the Dignity of Man), the consequent publication of the entire text of Plato in printed Latin translation by Ficino--followed ten years later by that of the Enneads of Plotinus in 1494--marked the possibility of a new kind of Christian (or semi-Christian) thinking.
Nothing more typified the hoped-for reinvigorated Christianity than the enthusiasm to return to the original sources of the religion, and to its original languages; hence the scholarly edition of the New Testament soon to be produced by Erasmus and the enthusiasm of the would-be reformers, in England as elsewhere in Europe, for that Greek tongue which not only bore with it the texts of Plato and Plotinus but the Christian scriptures themselves.
In Miller's final analysis, More reconciles these dichotomies by a "deep awareness of God's providential love in the person of Christ.
15) Erasmus could not have read De Tristitia but that does not prevent Martz from imagining how More pens a tribute to Erasmus from his prison cell.
Betteridge lays out his thesis immediately: "that More seeks to develop a distinctive position that combines late medieval devotionalism with an Augustan emphasis on the ethics of writing and reading" (156).
The authorship of the letter is disputed; many scholars think More wrote it himself or at least collaborated with Margaret.
Given that this scene represents the first appearance of Thomas More in Wolf Hall, the interpretation of the character that readers and audiences take away from it will almost certainly influence the way they interpret More in future scenes.
When Thomas More next appears in Wolf Hall, he is considerably older and much more politically important than he was when he and Cromwell first met.
The question is of great significance to More, in his early writings as much as in his later martyrdom.
By challenging us to notice not only the similarities but also the differences between More and Shakespeare, Hallett and Hallett draw attention to the defects in viewing either artist through the lens of the other.
5 These stages are discontinuous: on the day of his death, More thanks the King for imprisoning him, thus granting him the time and space to contemplate his own death and his removal from the world.
It is possible to imagine More returning to a medieval but still familiar method of discourse in a last ditch effort to reawaken the King to his own moral integrity.
There is another [cause], which, as I believe, is more special to you Englishmen.
Seven decades later the gap between America's rich and poor is greater than any other industrialized nation, and more and more folks are feeling forgotten and abandoned.
Excerpts from traditional repertoire (Swan Lake, Don Quixote, Coppelia) are balanced with more unusual fare--a bit from Alonso's Oedipus Rex, and a bedroom scene from Alberto Alonso's Romeo and Juliet, set, not to Prokofiev's score, but to Berlioz's dramatic symphony.