Compleat Gentleman, 1634. with an Introd. by G. S. Gordon


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Compleat Gentleman, 1634


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COMPLEAT GENTLEMAN 1634 W/AN I


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Compleat Gentleman, 1634. With an Introd. by G.S. Gordon


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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.




Compleat Gentleman 1634


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Peacham's Compleat Gentleman, 1634


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Excerpt from Peacham's Compleat Gentleman, 1634: With an Introduction by G. S. Gordon Peacham's Compleat Gentleman is a record of the manners, education, and way of thinking of the better sort of Cavalier gentry before the Civil wars. It is also part of that great Literature of Courtesy which still awaits the discerning pen of some magnanimous and sympathetic historian. The attempt to define the gentleman is as old as the institution of nobility itself; and every age, since literature began, has claimed the right to make its own definition. For the gentleman is always the protege of the age whose incense he breathes; and he has his fashions and his periods like everything else which society creates. Achilles listening to the Centaur or Ulysses with Minerva at his elbow, the young Academicians of Athens, the orators of Cicero and Quintilian, are, if we look rightly, as much a part of the varied and fascinating history of the gentleman as the Courtier of Castiglione and the 'Compleat Gentleman' of Peacham, as Chesterfield's man of fashion and the beaus of the Georges. It is an apt device, approved by Peacham, which represents the prince with a book in one hand and a sword in the other. With the latter we are not concerned; but just what this book may be, whether Plato's Republic or the Bible, Cicero's Offices or Amadis de Gau, matters everything. The fact that we preferred the Offices to the Republic had a great deal to do with the character of the later Renaissance in England. The genius of Platonism, which had inspired the finest products of Elizabethan poetry, went, as it had come, by the poets. With it went also the hey-day of the Renaissance gentleman, the Courtier, who for the next half-century, as the Cavalier, had to struggle for his very existence, and perished in his triumph at the Restoration. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.







Mortal Gods


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According to the commonly accepted view, Thomas Hobbes began his intellectual career as a humanist, but his discovery, in midlife, of the wonders of geometry initiated a critical transition from humanism to the scientific study of politics. In Mortal Gods, Ted Miller radically revises this view, arguing that Hobbes never ceased to be a humanist. While previous scholars have made the case for Hobbes as humanist by looking to his use of rhetoric, Miller rejects the humanism/mathematics dichotomy altogether and shows us the humanist face of Hobbes’s affinity for mathematical learning and practice. He thus reconnects Hobbes with the humanists who admired and cultivated mathematical learning—and with the material fruits of Great Britain’s mathematical practitioners. The result is a fundamental recasting of Hobbes’s project, a recontextualization of his thought within early modern humanist pedagogy and the court culture of the Stuart regimes. Mortal Gods stands as a new challenge to contemporary political theory and its settled narratives concerning politics, rationality, and violence.