“This book is nothing less than the definitive study of a text long considered central to understanding the Renaissance and its place in Western culture.” —James Hankins, Harvard University Pico della Mirandola died in 1494 at the age of thirty-one. During his brief and extraordinary life, he invented Christian Kabbalah in a book that was banned by the Catholic Church after he offered to debate his ideas on religion and philosophy with anyone who challenged him. Today he is best known for a short speech, the Oration on the Dignity of Man, written in 1486 but never delivered. Sometimes called a “Manifesto of the Renaissance,” this text has been regarded as the foundation of humanism and a triumph of secular rationality over medieval mysticism. Brian Copenhaver upends our understanding of Pico’s masterwork by re-examining this key document of modernity. An eminent historian of philosophy, Copenhaver shows that the Oration is not about human dignity. In fact, Pico never wrote an Oration on the Dignity of Man and never heard of that title. Instead he promoted ascetic mysticism, insisting that Christians need help from Jews to find the path to heaven—a journey whose final stages are magic and Kabbalah. Through a rigorous philological reading of this much-studied text, Copenhaver transforms the history of the idea of dignity and reveals how Pico came to be misunderstood over the course of five centuries. Magic and the Dignity of Man is a seismic shift in the study of one of the most remarkable thinkers of the Renaissance.

An ardent treatise for the Dignity of Man, which elevates Humanism to a truly Christian level. This translation of Pico della Mirandola's famed "Oration," hitherto hidden away in anthologies, was prepared especially for Gateway Editions, making it available for the first time in a stand-alone volume. The youngest son of the Prince of Mirandola, Pico lived during the Renaissance, an era of change and philosophical ferment. The tenacity with which he clung to fundamental Christian teachings while crying out against his brilliant though half-pagan contemporaries made him exceptional in a time of exceptional men. While Pico, as Russell Kirk observes in his introduction, was an ardent spokesman for the "dignity of man," his devout nature elevated humanism to a truly Christian level, which makes his writing as pertinent today as it was in the fifteenth century.

The immortality of the soul is one of the oldest tropes in the history of philosophy and one that gained significant momentum in 16th-century Europe. But what came before Pietro Pomponazzi and his contemporaries? Through examination of four neglected but central figures, Joanna Papiernik uncovers the rich and varied nature of the afterlife debate in 15th-century Italy. By engaging with old prints, manuscripts and other archival material, this book reveals just how much interest there was in the question of immortality before the 16th-century boom in Aristotelian translations. In particular, Papiernik sheds light on the treatises of Agostino Dati, Leonardo Nogarola, Antonio degli Agli and Giovanni Canali, all of which have until now been overlooked in modern scholarship. From Dati's critiques of ancient and existing positions to Agli's study of immortality and its relation to the metaphysics of light, this volume investigates not only how wide-ranging the debate was but also the important impact it had on later philosophical thinking. Deftly combining close reading with a broad intellectual survey, and including two editions of unpublished primary texts, Philosophies of the Afterlife in the Early Italian Renaissance provides a crucial insight into the development of early Renaissance Platonism and philosophy of religion.

Focusing upon Marlowe the playwright as opposed to Marlowe the man, the essays in this collection position the dramatist's plays within the dramaturgical, ethical, and sociopolitical matrices of his own era. The volume also examines some of the most heated controversies of the early modern period, such as the anti-theatrical debate, the relations between parents and children, Machiavaelli¹s ideology, the legitimacy of sectarian violence, and the discourse of addiction. Some of the chapters also explore Marlowe's polysemous influence on the theater of his time and of later periods, but, most centrally, upon his more famous contemporary poet/playwright, William Shakespeare.

Since the nineteenth century, scholars have debated the controversial relationships between humanism, the Renaissance and the Reformation. Challenging the dominant narrative on the subject, Giovanni Tortoriello reconstructs the debates that characterized the early Reformation movements. He shows that Martin Luther's theology of the cross developed in reaction to the irenic tendencies of the Renaissance. With the spread of Platonism, Hermeticism, and Kabbalah in the fifteenth century, the identity of Christianity shifted and the boundaries between the different religions thinned. In response to this attempt to minimize the differences among the various religions, Luther reiterated the centrality and uniqueness of the salvific event of the cross. Confessional biases and theological prejudices have obliterated the role that Platonism, Hermeticism, and Christian Kabbalah played in the early Reformation debates. The author reconstructs these controversies and situates Luther's theology of the cross in this historical context.

The story of the beliefs and practices called 'magic' starts in ancient Iran, Greece, and Rome, before entering its crucial Christian phase in the Middle Ages. Centering on the Renaissance and Marsilio Ficino - whose work on magic was the most influential account written in premodern times - this groundbreaking book treats magic as a classical tradition with foundations that were distinctly philosophical. Besides Ficino, the premodern story of magic also features Plotinus, Iamblichus, Proclus, Aquinas, Agrippa, Pomponazzi, Porta, Bruno, Campanella, Descartes, Boyle, Leibniz, and Newton, to name only a few of the prominent thinkers discussed in this book. Because pictures play a key role in the story of magic, this book is richly illustrated.

First Published in 1993. Routledge is an imprint of Taylor & Francis, an informa company.