Articles liés à Boethius' Consolation Of Philosophy

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Boethius

 
9781169269712: Boethius' Consolation Of Philosophy

Synopsis

Boethius' Consolation of Philosophy is a philosophical treatise written by the Roman philosopher and statesman Anicius Manlius Severinus Boethius in the early 6th century AD. The book is a dialogue between Boethius and Philosophy, who appears to him in the form of a woman. Boethius, who has been imprisoned and awaiting execution, is in a state of despair and seeks solace and guidance from Philosophy. Throughout the book, Philosophy presents various arguments and ideas about the nature of happiness, the role of fortune and fate in human affairs, the relationship between God and the world, and the nature of the human soul. Philosophy's teachings are based on the principles of Stoicism and Neoplatonism, and she encourages Boethius to focus on the eternal and unchanging aspects of reality rather than the fleeting and transient aspects of life. The Consolation of Philosophy is considered a seminal work of medieval philosophy and had a significant influence on the development of Christian theology and philosophy. It is also regarded as one of the most important works of Western literature, with its themes of human suffering, the search for meaning, and the power of reason and faith still resonating with readers today.An Excellent Translation With Very Useful Notes, And A Life Of Boethius, Drawn Up With Great Accuracy And Fidelity.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work

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Présentation de l'éditeur

An excerpt from the Introduction:

THE author of the De Consolatione Philosophiae lived during a critical period of one of those great divides of history where the moribund old and the as yet inchoate new are blended in a tangle almost defying the efforts of the critic to unravel- The bright sunlight of Augustan historic literature had given place to a rapidly deepening twilight soon to become the midnight of the "Dark Ages." Boethius personally occupies a unique position as the last representative of ancient Latin literature—the end of the line of which Ennius was the starting-point and which culminated in the great world-literature of the Augustan period. The fall of the Roman Empire of the West may well have been the first event borne in upon Boethius's early intelligence, and his growing youth would almost certainly witness the struggle of the last outpost of the ancient world-power. A portion of Gaul was held under the Eagles for ten years longer, with Syagrius for its Imperator, until the victorious companions of Chlodowig overran that one remaining oasis of pure Roman Civilization in Western Europe. The field was thus left free for the expansion of Germanic Barbarism into the polity of the Middle Ages and, by the time Boethius had reached manhood, the final hindrance was removed to the already-growing dominion of the Papacy. It is curious, as regards the former of these two facts, to note that the cause of the revolt against Romulus Augustulus, the son of the prefect Orestes, was the refusal of the demand of the barbarians that they should be allotted a third of the lands of Italy to be held on a tenure of military service. As regards the second point, the myth is significant which gives the indulgence in a Papal intrigue with the court of Constantinople as the cause of Boethius's disgrace with Theodoric.

While on the one side we see the new nations, represented by the Goths, introducing barbaric customs and social forms from the north, we must not forget that Rome at this time, and probably for more than a century later, was in externals still mainly the old classical Rome. The absurd belief so long current that "the Goths and the Vandals" were the destroyers of ancient architecture and ancient art has now been entirely exploded for serious students of history. Apart from the fortunes of war, there is no ground whatever for conceiving that the barbarians were guilty of any special acts of destruction. As Gregorovius and other modern scholars have observed, it is probable enough that the Goths, like other warriors on plunder bent, rifled some of the smaller works of art for the sake of their gold, silver or precious stones, but with the larger works, such as statuary, and above all, architecture, we have reason to believe that the injury they did on their campaigns was comparatively trifling. Theodoric himself always showed a laudable desire to preserve the monuments of the city in their integrity. What Rome was like in his time may be gathered from a passage in Cassiodorus (Var. viii. 13), "Nam quid populus copiosissimus statuarum, greges etiam abundissimi equorum sunt cautela servandi." This quotation alone affords us positive evidence of the artistic wealth of Rome after the barbarian invasions. The real destroyer of the classical art of the Italian cities was not the much calumniated "Vandalism" of the Northerners, or even to any large extent the zeal of the Christians, as such, but the greed of the inhabitants themselves, and doubtless amongst them many families proud to claim a long patrician pedigree. For centuries, the practice of dismantling ancient buildings and plundering statuary in order to Use the materials for building purposes was ruthlessly carried on, and throughout the early Middle Ages the vast lime-kilns of Rome and its neighbourhood were fed by the treasures of antiquity...

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