The women of the Renaissance : $b A study of feminismMaulde-La-Clavière, R. de (René)
History
The women of the Renaissance : $b A study of feminism
Maulde-La-Clavière, R. de (René)
Feminism -- France -- History; Feminism -- Italy -- History; Renaissance; Women -- History -- Renaissance, 1450-1600
In his _Calandra_, Bibbiena gives an example of one who is completely
uninteresting, speaking, acting, and dressing like the rest of men. But
these young fellows were men, and what is more, men of education, not
so foolish as, after tasting of a life of refinement, to fail long to
recognise its advantages. Sometimes, under a guileless demeanour, they
suffered temptations the reverse of philosophic: Vegio[67] calls them,
without mincing matters, “abominable bucks.” They learnt by experience
how hard it is to get on by zeal and earnestness, and how easy by other
means. They cultivated literature to some purpose. No one thought any
the worse of Antony de la Salle, the austere tutor of the house of Anjou
in the 15th century, for writing _The Fifteen Joys of Marriage_ or _The
Hundred Novels_, or of Lemaire’s[68] notion of elevating the ideas of
the young Charles V. by offering him delicate nourishment in the shape
of a _Judgment of Paris_ of photographic realism—a picture of the future
reserved by heaven for princes and the great ones of the earth. Such
things were read: dissertations on Aristotle were not.
In proportion as the women posed as patrons of literature, the tutor type
appears in higher relief. The torrent of invective let loose against
them leaves no room for doubt that the tutors had red-letter days.
The dramatists and the writers of novels do not condone the airs of
proprietorship they assumed in regard to mothers or cousins. They show
you a poor devil of a pedagogue, a dried-up anatomy, void of personal
merit, ill-featured, grotesque, boorish, dying for love of some fair,
rich and distinguished girl, whom he pesters with glowing love-letters,
or with sonnets spiced with epicureanism. What peals of laughter there
are when he, like many others, comes in due course to taste the rod in
pickle!
From the moment when Aretino, in his _Marescalco_, which appeared in
1533, revealed the dramatic possibilities of such a part, the type was
fixed.
Before the tutor appears on the scene you know what you are going to
see: a spectacled pedant, ungainly, loutish, pretentious, a twaddling
bore, full of philology and quotations. His very features have acquired a
mechanical cast betraying his habit of holding forth on the obvious, as
Montaigne says, or of extinguishing youth by his stupidity, his “hoggish
wisdom,” to adopt the words of Rabelais.
Then, in virtue of a law of fate, the glory of the tutor waned and
fell. The impulse that went forth towards liberal studies brought so
many rivals into the field that, unless he opened a private seminary or
obtained a professorial chair, the tutor was ruined. His salary became
diminutive, and, as we know, the man who is poorly paid is thought little
of. He may take all the pains imaginable, set impositions, rap knuckles,
pull ears, but no one is satisfied.
“I know no worse blockhead in the world than the scholar, except it be
the pedant.”
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Elsewhere in the archive
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account