Baldassare Castigliones The Book Of The Courtier

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Baldassare Castigliones The Book Of The Courtier



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THE BOOK OF THE COURTIER - TOP TIPS/TECHNIQUES (ANIMATED BOOK REVIEW)

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So we can truthfully say that true art is what does not seem to be art; and the most important thing is to conceal it, because if it is revealed this discredits a man completely and ruins his reputation. I remember once having read of certain outstanding orators of the ancient world who, among the other things they did, tried hard to make everyone believe that they were ignorant of letters; and, dissembling their knowledge, they made their speeches appear to have been composed very simply and according to the promptings of Nature and truth rather than effort and artifice. For if the people had known of their skills, they would have been frightened of being deceived.

So you see that to reveal intense application and skill robs everything of grace. Who is there among you who doesn't laugh when Pierpaolo dances in that way of his, with those little jumps with his legs stretched on tiptoe, keeping his head motionless, as if he were made of wood, and all so labored that he seems to be counting every step? Who is so blind that he doesn't see in this the clumsiness of affectation? And in contrast we see in many of the men and women who are with us now, that graceful and nonchalant spontaneity as it is often called because of which they seem to be paying little, if any, attention to the way they speak or laugh or hold themselves, so that those who are watching them imagine that they couldn't and wouldn't ever know how to make a mistake.

Another feature of rhetoric which Castiglione discusses is the role of written language and style. Here, the use of the old and outdated Tuscan language is seen as a form of excess rather than a desirable trait.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 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 basically states that the language does not matter, but rather the style, authority, and grace of the work matters most Courtier Robert J.

This also illustrates the Count's response on 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. 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 This is where the style of which the courtier writes encourages the persuasiveness or successfulness 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" [11] 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. 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. From Wikipedia, the free encyclopedia. This section may lend undue weight to certain ideas, incidents, or controversies. Please help to create a more balanced presentation.

Discuss and resolve this issue before removing this message. November Penn State University Press. Archived from the original on Retrieved Reich Culture and Values: A Survey of the Humanities. Thomson Wadsworth. ISBN The Book of the Courtier. Mineola, New York: Dover Publications. The Fortunes of the Courtier. Journal of Aesthetic Education.