This book tells the story of seven new letters from Sir Thomas More to Frans van Cranevelt that were discovered among a bundle of letters that were auctioned in London in 1989, part of the private archive of Cranevelt. The letters span the years 1519–1522.

Saint Thomas More’s _Utopia_ is one of the most important works of European humanism and serves as a key text in survey courses on Western intellectual history, the Renaissance, political theory, and many other subjects. Preeminent More scholar Clarence H. Miller does justice to the full range of More’s rhetoric in this masterful translation. In a new afterword to this edition, Jerry Harp contextualizes More’s life and _Utopia_ within the wider frames of European humanism and (...) the Renaissance. “Clarence H. Miller’s fine translation tracks the supple variations of More’s Latin with unmatched precision, and his Introduction and notes are masterly. Jerry Harp’s new Afterword adroitly places More’s wonderful little book into its broader contexts in intellectual history.”—George M. Logan, author of _The Meaning of More’s “Utopia”_ “Sir Thomas More's _Utopia_ is not merely one of the foundational texts of western culture, but also a book whose most fundamental concerns are as urgent now as they were in 1516 when it was written. Clarence H. Miller's wonderful translation of More's classic is now happily once again available to readers. This is the English edition that best captures the tone and texture of More's original Latin, and its notes and introduction, along with the lively afterward by Jerry Harp, graciously supply exactly the kinds of help a modern reader might desire.”—David Scott Kastan, Yale University. (shrink)

Saint Thomas More’s _Utopia_ is one of the most important works of European humanism and serves as a key text in survey courses on Western intellectual history, the Renaissance, political theory, and many other subjects. Preeminent More scholar Clarence H. Miller does justice to the full range of More’s rhetoric in this masterful translation. In a new afterword to this edition, Jerry Harp contextualizes More’s life and _Utopia_ within the wider frames of European humanism and (...) the Renaissance. “Clarence H. Miller’s fine translation tracks the supple variations of More’s Latin with unmatched precision, and his Introduction and notes are masterly. Jerry Harp’s new Afterword adroitly places More’s wonderful little book into its broader contexts in intellectual history.”—George M. Logan, author of _The Meaning of More’s “Utopia”_ “Sir Thomas More's _Utopia_ is not merely one of the foundational texts of western culture, but also a book whose most fundamental concerns are as urgent now as they were in 1516 when it was written. Clarence H. Miller's wonderful translation of More's classic is now happily once again available to readers. This is the English edition that best captures the tone and texture of More's original Latin, and its notes and introduction, along with the lively afterward by Jerry Harp, graciously supply exactly the kinds of help a modern reader might desire.”—David Scott Kastan, Yale University. (shrink)

This article explores silence and the ethics of conscience through a study of the life and late letters of Sir Thomas More. More's silence is a paradigm case for the contest of conscience under conditions of tyranny, and it is one of the most influential in the formulation of principles of conscience and human rights in modern constitutional democracies. The article focuses on More's prosecution by King Henry VIII, and offers close analysis of the concept of (...) conscience discussed in his last letters. The approach is historical and philosophical, and puts More's case in dialogue with other classic and modern texts on the ethics of conscience. Emphasis is placed on More's principle of self-determination as essential to conscience. (shrink)

Tudor historians of Henry VIII's reign strove both to define the great political theological controversies of the day and to shape the future understanding of past events. This essay considers how Roman Catholic accounts of the life and martyrdom of Sir Thomas More, including those by Nicholas Harpsfield and Thomas Stapleton, shaped subsequent Protestant works of fiction, written during the 1590s. The essay explores, in particular, the collaborative play, Sir Thomas More, by Anthony Munday and (...) revised by Shakespeare and others; and Sir John Harington's references to More and Bishop John Fisher in the preface to his translation of Orlando Furioso and his extensive anecdotal remarks about More's scatological witticisms in his satirical tract, The Metamorphosis of Ajax. Such fictional works presage both the hesitant trend towards ecumenism and the imagined reunion of Christendom of the subsequent Jacobean reign, and the later emergence of the transnational secular public sphere, which transpired during the late seventeenth and eighteenth centuries. (shrink)

This textual analysis of thematic unity in the collaborative play Sir Thomas More presents both new discoveries and analysis of source material and of the play's careful use thereof. Special focus is given to the series of Latin, Senecan sententiae showcased in scenes 11 and 13, as More reacts to his fall from high office and worldly fortunes. By means of this analysis, the article offers further insight into the remarkable character of the play's Thomas (...) class='Hi'>More, namely his habit of balancing tragic and Senecan attitudes with more comedic ones in order to play the well-prepared role of a comic actor, despite a tragic stage. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Was Isaac Newton an Arian?Thomas C. PfizenmaierHistorians of Newton's thought have been wide ranging in their assessment of his conception of the trinity. David Brewster, in his The Life of Sir Isaac Newton (1831), was fully convinced that Newton was an orthodox trinitarian, although he recognized that "a traditionary belief has long prevailed that Newton was an Arian."1 Two reasons were used to defend his conclusion that Newton (...) was orthodox. The first was a letter from John Craig, a friend of Newton, written shortly after Newton's death to John Conduitt, the husband of Newton's niece. In this letter Craig remarked that Newton's theological opinions "were sometimes different from those which are commonly received" but that he hoped Conduitt would publish Newton's theological papers, "that the world may see that Sir Isaac Newton was as good a Christian as he was a mathematician and philosopher."2 The second reason with which Brewster defended his conclusion was his acknowledgment that the doctrine of the trinity itself had variations.I had no hesitation when writing the Life of Sir Isaac Newton in 1830, in coming to the conclusion that he was a believer in the Trinity; and in giving this opinion on the creed of so great a man, and so indefatigable a student of scripture, I was well aware that there are various forms of Trinitarian truth, and various modes of expressing it, which have been received as orthodox in the purest societies of the Christian Church.3L. T. More in his biography Isaac Newton gently chided Brewster for not publishing some of the crucial manuscripts, which eventually became [End Page 57] part of the Keynes collection.4 From these additional manuscripts More reached the conclusion that Newton was not orthodox but an Arian. He proceeded to say that Newton was not only an Arian but, because of the manner in which he understood Jesus' role as prophet, a Unitarian.5More recently the famous British economist John M. Keynes, who considered it a great "impiety" that the Portsmouth family's collection of Newton's non-scientific manuscripts were dispersed at the Sotheby's auction in 1936 and who recovered about half of them creating the "Keynes" collection at Cambridge, provided yet a third interpretation of Newton's thought.Very early in life Newton abandoned orthodox belief in the Trinity. At this time the Socinians were an important Arian sect amongst intellectual circles. It may be that Newton fell under Socinian influences, but I think not. He was rather a Judaic monotheist of the school of Maimonides. He arrived at this conclusion, not on so-to-speak rational or skeptical grounds, but entirely on the interpretation of ancient authority. He was persuaded that the revealed documents give no support to the Trinitarian doctrines which were due to late falsifications. The revealed God was one God.6Among contemporary scholars, the consensus is that Newton was an Arian rather than a Socinian.7 This view is clearly expressed by Richard [End Page 58] Westfall who writes, "Well before 1675, Newton had become an Arian in the original sense of the term. He recognized Christ as a divine mediator between God and man, who was subordinate to the Father who created him."8 Yet Frank Manuel, in his The Religion of Isaac Newton (1974), advises that we not try to push Newton into a theological categorization too quickly. He reminds us that Newton was, if nothing else, an original thinker.It is an error to seize upon his antitrinitrianism in order to pigeonhole him in one of the recognized categories of heresy—Arian, Socinian, Unitarian, or Deist.9So how did Isaac Newton conceive of the trinity? In exploring his writing on the subject we will be guided by two principles mentioned above. The first is Brewster's insight that the trinitarian doctrine has in fact been understood with a certain degree of variety within the sphere of orthodoxy. The second is from Manuel's reminder, that we must resist the temptation to make Newton "fit" some predetermined category or school of trinitarian thought. We will begin by looking at the resources available for studying... (shrink)

This article introduces the discovery of a “Sonet in the commendation of Sir Thomas More Knyght” found in a copy of the 1557 English Workes printed by Richard Tottel and edited by William Rastell. It argues the sonnet was written by a Tudor Catholic early in Elizabeth's reign and should also be read in light of its 1557 print context: its physical place in Workes alongside Rastell's Preface, and in conjunction with Tottel's Miscellany printed the same year. Read (...) through such a lens, this newly discovered sonnet helps illuminate the idiosyncratic complexity of Catholic experience in Elizabethan England concerning memory, martyrdom, censorship and repression. (shrink)