Wednesday, March 7, 2012

Today's topic is humanism and Neo-Platonism. We begin with Marsilio Ficino (1433--99), who received the support first of Cosimo and then of Lorenzo de Medici; his Neo-Platonic philosophical interests characterized the latter half of the fifteenth century. Ficino founded in Florence a Platonic Academy, modeled on the ancient Athenian Platonic Academy, both of them places for aristocratic types to gather and converse. This was a model of education different from the formalized curriculum that was found in the universities, and it played an important role in translating and promoting Greek literature.

In 1453, the city of Constantinople fell to the Turks, and as a result, Italy was full of Greek refugees. These included many scholars, who were much in demand as teachers of Greek. Believe it or not, Greek studies became wildly popular among the aristocracy, kind of like a fad. The reconciliation of ancient and Christian thought that had been so difficult for Petrarch was achieved here.

Neo-Platonism represents a return to speculative philosophy, but of a different sort from that found in the universities, which had been based on Aristotle. I should tell you something about Plato, an Athenian philosopher who lived from 428--348 B.C. He was a student of Socrates and Aristotle's teacher, best known for his theory of forms. The underlying insight here is that what is intelligible (intuited through the mind) is more real than what is intuited through the senses. We perceive through the senses, but what we see is only a copy of what is ultimately real. The job of the philosopher is to ascend from the visible, physical world into the realm of the intelligible. The idea, or form, is the essence of a thing, which makes it what it is.

Platonism is compatible with Christianity at many levels, particularly in its other-worldly focus. St. Augustine in the late 4th century would find the Platonic philosophers to be the most helpful in his own religious odyssey. While I don't want to dwell overly much on labels, I consider the Neo-Platonists to be humanistic in terms of their interest in ancient literature, and in their concern about the impact of these ideas on the lives of human beings (as opposed to speculation for its own sake).

Music could be used as part of magic to attract benevolent impulses. The idea behind sympathetic magic is that these symbols attract forces that are already inherent in natural objects. Black magic, on the other hand, attempts to manipulate demonic powers. Ficino was a doctor who practiced astral medicine, linking parts of the body to signs of the zodiac. For the Neo-Platonists the connection between mind and body extended to the universe as a whole. Magic thus could be considered a kind of pious meditation.

Marsilio Ficino begins his commentary on Plato's Symposium with a comparison of the two Venuses, the heavenly and the earthly, represented by the painter Titian in his famous protrayal of Sacred and Profane Love. The sacred Venus is the nude, not needing the earthly trappings of the elaborate clothing the profane Venus wears. She is draped only with the white of purity and the red of heavenly passion, and holds aloft a lamp. Yet the earthly Venus is not to be despised; she is the partner to the heavenly love. The two are seated on a tomb, into which the Cupid between them is reaching. Love thus takes us out of our earthly life and into the world to come.

The Symposium (the link is to the full text, in case you're curious) is one of Plato's most famous dialogues, featuring his mentor Socrates as the main character. The word "symposium" a Greek term for a drinking-party, at which the guests (in this case at least!) conversed on philosophical matters. In this case the subject was love. Ficino's commentary attempts to explore the significance of the conversation and draw out its meaning. The character Agathon is one of the main speakers at the party; another character, the woman Diotima, is a mysterious priestess whom Socrates consulted on the question, and whose answer he relates to the young men in the dialogue.

There is one other character mentioned who is important, Alcibiadis, who is a youth of aristocratic background and a follower of Socrates. This young man is a rather rambunctious type, who stumbles into the party in a state of inebriation after it is well along, and tells a story about his attempt at seducing Socrates. His desire to possess the older man in an erotic encounter was thwarted by Socrates' godlike self-control, in spite of the fact that Alcibiadis is an extremely desirable man with a beautiful, well-proportioned body.

The frankly homoerotic substance of Platonic love in general and the Symposium in particular can be disturbing not only to cultural conservatives, but also to those who are concerned about a culture that seems to exclude women altogether. Ancient Athens was a place where citizen-women were kept tightly confined to their homes except for certain specified occasions. Athenian men socialized with one another but did not include their wives. Instead, they had female "companions," high-class prostitutes who were the only women allowed to interact freely with men. Wives were expected to be chaste and obedient. When the Florentines found themselves inspired by the example of Athens, they also tended to imitate the Athenians in their relegation of women to the background.

One more point of information: There is a marked contrast between the thought-world of Ficino and Pico on the one hand and the political focus of the earlier part of the fifteenth century on the other. By the middle of the century, power in Florence was more or less monopolized by one family, the Medici. Until 1434 they had been in exile, but when in that year they were recalled, the patriarch Cosimo became the de facto ruler of Florence from behind the scenes. The forms of republican government were still in place, but no one held office or made policies without Cosimo's blessing. He maintained this power until his death in 1464. From 1464 to 1469, Cosimo's son Piero took over, but was a much weaker ruler. Then the dashing Lorenzo the Magnificent became the leader, ruling until 1492. Things went downhill after that: from 1492 to 1494 Lorenzo's son, another Piero (the name must be unlucky!) was run out of town following a devastating invasion by King Charles VIII of France. It was Lorenzo who presided over the Golden Age of Florence, a splendid period during which Lorenzo overextended the Medici bank in his patronage of artists and philosophers. (You'll be reading about all of these people in more detail when we read April Blood).

Homework and Panel Questions (for homework do two):

  1. Look at Ficino's discussion of the two Venuses and the significance each has in the contemplative life. How is it that they work together? What in particular are the limitations of the earthly Venus, and what are we advised to do in relation to this kind of love?
  2. Next, address the question of gender as it is represented in the writings of Ficino that we're reading for class. Look at Ficino's description of Love, of ideal beauty, for example. Is there any room for female beauty in this picture? Is there any room for the female half of the species, for that matter? Is it possible for women to participate in this sort of speculative philosophy?
  3. In the Poliziano selection, how do heaven and earth converge to create an image of ideal beauty? Consult Sandro Botticelli's famous Primavera for a visual comparison.
  4. Finally, is this stuff verging on paganism? Does either Ficino or Poliziano manage to rescue himself from such an implication?

Laurel Carrington carringt@stolaf.edu
Most recent update: January 26, 2012

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