Download Antic Hay by Aldous Huxley, David Lodge, David Bradshaw PDF

By Aldous Huxley, David Lodge, David Bradshaw

WITH A FOREWORD through DAVID LODGE

When idea leads Theodore Gumbril to layout a kind of pneumatic trouser to ease the ache of sedentary existence, he comes to a decision the time has come to renounce educating and search his fortune within the city. He quickly unearths himself stuck up within the hedonistic international of his acquaintances Mercaptan, Lypiatt and the completely civilised Myra Viveash, and his burning goals start to lose their urgency...

Wickedly humorous and deliciously barbed, the radical epitomises the glittering neuroticism of the Twenties.

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8) as antithetical to the ways of cortesia. Borsiere, fashioned as a courtier in Boccaccio’s hands, belongs to Dante’s historical past of the thirteenth century. The juxtaposition of a Florentine courtier and a Genoese merchant, a fictional member of one of the most powerful magnate families in Genoa, allows Boccaccio to revise Dante’s lament for the lost years of Florentine cortesia within the peninsular context of the merchant class. 98 I will begin with an examination of these tales in order to evince the nuances of Boccaccio’s view of cortesia and the elite as influenced by Dante’s vision of Florence’s past, a historical vision coloured by those years that elapsed between the two authors.

1 Instead, northern and central Italian elite families largely espoused a life of factionalism and warfare, a form of cortesia that more resembled a version of chivalry based on feudal power and violence than a social ethos meant to promote civic harmony. This version of cortesia began to be cultivated in the era after the Peace of Constance (1183), when the milites, a social group composed of families with true claims to nobility and those with noble pretensions, lost power of their consular regimes.

When located outside of the court and within the parameters of the city, cortesia now dwells with artists in exile from Florence. The temporary glories sought in the name of greed spell the end of Florence’s greatness. More than the death of an idea of courtly behaviour, the lament for cortesia now reads as the lament for the city of Dante. Reading Boccaccio’s biography and his biography of Dante in terms of his reception of Dante’s Commedia and the vision of Florentine and Italian history described therein reveals these convergences.

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