Renaissance Philosophy

The Art of Worldly Wisdom; Reflections: Or, Sentences and Moral Maxims; and Maxims and Reflections

Baltasar Gracián, François Duc De La Rochefoucauld, Johann Wolfgang von Goethe

• Publisher: Open Road Media
• Year: 2017
• ISBN:
  9781504044516
• Topic: Philosophy
• Subtopic: Ethics & Moral Philosophy

Wisdom for today's world from three great thinkers of the Renaissance era. This collection of three philosophical works by Renaissance men offers timeless advice on how to prosper and live morally in business, romance, religion, and society. Although written in the Renaissance era, these guides still resonate today and are collected here for easy reference. In The Art of Worldly Wisdom, Baltasar Gracián advises people of all walks of life how to approach political, professional, and personal situations in a dog-eat-dog world. Comprised of three hundred pithy aphorisms, this influential work of philosophy offers thought-provoking and accessible advice. Some subjects include " Never Compete, " " The Art of Letting Things Alone, " and " Anticipate Injuries and Turn Them into Favours." Reflections; or Sentences and Moral Maxims by François de La Rochefoucauld offers hundreds of brief, brutally honest observations of humankind and its self-serving nature. The perfect read for any realist—or anyone with the desire to evaluate their moral standing—this edition includes three supplements with additional maxims and essays. In Maxims and Reflections, Johann Wolfgang von Goethe takes a detour from his usual literary endeavors and offers snippets of his musings on life, literature, science, nature, politics, and the human condition. Essential for fans of Goethe's works, it provides unique insight into the mind of the last true Renaissance man. This ebook has been professionally proofread to ensure accuracy and readability on all devices.

Auf des Glückes großer Waage

Steht die Zunge selten ein;

Du mußt steigen oder sinken,

Du mußt herrschen und gewinnen,

Oder dienen und verlieren,

Leiden oder triumphieren,

Amboß oder Hammer sein.

—Goethe, Ein Kophtisches Lied.

(On the great scales of fortune,

The balance rarely keeps still;

You must rise or sink,

You must rule and win

Or serve and lose,

Suffer or triumph,

Be the anvil or the hammer.)

Translation of Goethe by John Bruno Hare

When you are an anvil, hold you still,

When you are a hammer, strike your fill.

—G. Herbert, Jacula Prudentum

To Mrs. G. H. Lewis

Dear Mrs. Lewis,

This little book were not worthy of being associated with your name, did it not offer an ideal of life at once refined and practical, cultured yet wisely energetic. Gracián points to noble aims, and proposes, on the whole, no ignoble means of attaining to them. The Spanish Jesuit sees clear, but he looks upward.

There is, however, one side of life to which he is entirely blind, as was perhaps natural in an ecclesiastic writing before the Age of Salons. He nowhere makes mention in his pages of the gracious influence of Woman as Inspirer and Consoler in the Battle of Life. Permit me to repair this omission by placing your name in the forefront of this English version of his maxims. To those honoured with your friendship this will by itself suffice to recall all the ennobling associations connected with your sex.

Believe me, dear Mrs. Lewis,

Yours most sincerely,

Joseph Jacobs

Kilburn, 26th October 1892.

PREFACE

MY ATTENTION WAS first drawn to the Oráculo Manual by Mr. (now Sir Mountstuart) Grant Duff’s admirable article on Balthasar Gracián in the Fortnightly Review of March 1877. I soon after obtained a copy of Schopenhauer’s excellent version, and during a journey in Spain I procured with some difficulty a villainously printed edition of Gracián’s works (Barcelona, 1734, “Por Joseph Giralt”), which contains the Oráculo Manual towards the end of the first volume (pp. 431-494).

I have translated from this last, referring in the many doubtful places of its text to the first Madrid edition of 1653, the earliest in the British Museum. I have throughout had Schopenhauer’s version by my side, and have found it, as Sir Mountstuart Grant Duff says, “a most finished piece of work,” though I have pointed out in the Notes a few cases where he has failed, in my opinion, to give Gracián’s meaning completely or correctly. I have little doubt that I am a fellow-sinner in this regard: I know no prose style that offers such difficulty to a translator as Gracián’s laconic and artificial epigrams. It is not without reason that he has been called the Intraducible. The two earlier English versions miss his points time after time, and I found it useless to refer to them. On the other hand, I have ventured to adopt some of Sir Mountstuart Grant Duff’s often very happy renderings in the extracts contained in his Fortnightly article.

I have endeavoured to reproduce Gracián’s Laconism and Cultismo in my version, and have even tried to retain his many paronomasias and jingles of similar sound. I may have here and there introduced others of my own to redress the balance for cases where I found it impossible to produce the same effect in English. In such cases I generally give the original in the Notes. Wherever possible I have replaced Spanish proverbs and proverbial phrases by English ones, and have throughout tried to preserve the characteristic rhythm and brevity of the Proverb. In short, if I may venture to say so, I have approached my task rather in the spirit of Fitzgerald than of Bohn.

The gem on the title, representing a votive offering to Hermes, the god of Worldly Wisdom, is from a fine paste in the British Museum of the best period of Greek glyptic art. I have to thank Mr. Cecil Smith of that Institution for kind advice in the selection.

Let me conclude these prefatory words with a piece of advice as oracular as my original: When reading this little book for the first time, read only fifty maxims and then stop for the day.

Joseph Jacobs

TESTIMONIA

Il est si concis si rompu et si estrangement coupé qu’il semble qu’il ait pris l’obscurité à tasche: aussi le Lecteur a besoin d’en deuiner le sens & souvent quand il l’a compris il trouve qu’il s’est estudié à faire une énigme d’une chose fort commune.

F. Van Aerssens, Voyage d’Espagne, 1667, p. 294.

Il a beaucoup d’élévation, de subtilité, de force et même de bon sens: mais on ne sait le plus souvent ce qu’il veut dire, et il ne le sait pas peut-être lui-même. Quelques-uns de ses Ouvrages ne semblent être fait, que pour n’être point entendus.

Bouhour’s Entretiens d’Ariste et d’Eugène, 1671, p. 203.

Luisa de Padilla, a Lady of great Learning, and Countess of Aranda, was in like manner angry with the famous Gratian upon his publishing his Treatise of the Discreto, wherein she fancied that he had laid open those Maxims to common Readers, which ought only to be reserved for the knowledge of the Great. These Objections are thought by many of so much weight that they often defend the above-mention’d Authors by affirming they have affected such an Obscurity in their Style and Manner of Writing, that tho’ every one may read their Works there will be but very few who can comprehend their Meaning.

The Spectator, No. 379 (1712).

En cherchant toujours l’énergie et le sublime il devient outré et se perd dans les mots. Gracián est aux bons moralistes ce que Don Quichotte est aux vrais héros. Its ont l’un et l’autre un faux air de grandeur qui en impose aux sots et qui fait rire les sages.

Abbé Desfontaines,1745.

Qué de elogios no se deben al autor del Criticon! En medio de las antitesis, paronomasias y toda la metralla culta es una de las obras más recomendables de nuestra literatura por la felicidad de la invention, la inagotable riqueza de imagination y de sales, por la viveza de sus pinturas y por la gracia, soltura y naturalidad del estilo.

Don Manuel Sievela, Biblioteca selecta de literatura española (1819).

Si hubiese Gracián procedido con más sobriedad en el uso de estos juegos y conceptos ¿qual es el escritor de su tiempo de tantos dotes y caudal nativo para ser el más fecondo y elegante, sabiendo, como lo manifesto, en dónde estaban las delicadezas y los donaires, esto es, lo amargo, lo dulce, lo picante, lo salado de la lengua castellana?

Don Antonio Capmany, Teatro de la elocuencia española, tomo v.

The Oráculo Manual has been more used than any other of the author’s works. It is intended to be a collection of maxims of general utility, but it exhibits good and bad precepts, sound judgments, and refined sophisms, all confounded together. In this work Gracián has not forgotten to inculcate his practical principles of Jesuitism to be all things to all men (“hacerse a todos”), nor to recommend his favourite maxim, “to be common in nothing” (“en nada vulgar”), which, in order to be valid, would require a totally different interpretation from that which he has given it.

Bouterwek.

The person, however, who settled the character of cultismo and in some respects gave it an air of philosophical pretension, was Baltazar Gracián, a Jesuit of Aragon, who lived between 1601 and 1658, exactly the period when the cultivated style took possession of Spanish prose and rose to its greatest consideration.

G. Ticknor, History of Span. Lit. iii. 222.

Dabei ist es das Einzigeseiner Art und nie ein anderes über denselben Gegenstand geschrieben worden; denn nur ein Individuum aus der feinsten aller Nationen, der spanischen, konnte es versuchen. … Dasselbe lehrt die Kunst derer Allesich befliessigen und ist daher für Jedermann. Besonders aber ist es geeignet das Handbuch aller derer zu werden, die in der grossen Welt leben, ganz vorzüglich aber junger Leute, die ihr Glück darin zu machen bemüht sind und denen es mit Einem Mal und zum Voraus die Belehrung giebt die sie sonst erst durch lange Erfahrung erhalten.

A. Schopenhauer, Litterarische Notiz we seiner Uebersetzung (1831, published 1861).

Avec beaucoup d’esprit, d’instruction & de facilité il n’a rien produit qui puisse aujourd’hui soutenir l’examen de la critique la plus impartiale.

Puibusque, Histoire comparée des littératures espagnole et française, 1843, i. p. 559.

Gracián aurait pu être un excellent écrivain s’il n’avait pas voulu devenir un écrivain extraordinaire. Doué d’une vaste érudition, d’un esprit fin, d’un talent profond d’observation, il était né pour éclairer son siècle; mais la vanité de devenir novateur corrompit son goût, en le portant à introduire dans la prose ce langage précieux, ces expressions alambiquées que Gongora avait introduit dans les vers.

A. de Backer, Bibliothèque des écrivains de la Compagnie de Jésus, 1869, s.v. Gracián.

Asi como las máximas de Antonio Perez fueron muy populares entre cortesanos ó doctos ó ilustrados, así españoles como extranjeros, por aquella delicadeza especial de estilo, las del Padre Baltasar Gracián alcanzaron la misma estima por ese atildamiento en el decir: atildamiento que tenia en si un inexplicable atractivo, y que aunque algo participaba del general culteranismo de la literatura española en aquel siglo, encerraba cierto buen gusto deslumbrador y lisonjero para el lector que on profundisimos conceptos preciaba con la fuerza de su ingenio aquellos.

Don Adolfo de Castro, Obras escogidas de Filósofia, 1873, p. cviii.

Taking the book as a guide, especially for those who intend to enter public life, I have never chanced to meet with anything which seemed to me even distantly to approach it … It would possibly be rather difficult to disprove the thesis that the Spanish nation has produced the best maxims of practical wisdom, the best proverb, the best epitaph, and the best motto in the world, If I had to sustain it, I would point with reference to the first head to the Oráculo Manual.

Sir M. E. Grant Duff on “Balthasar Gracián” in Fortnightly Review, March 1877.

Some have found light in the sayings of Balthasar Gracián, a Spaniard who flourished at the end of the seventeenth century. … I do not myself find Gracián much of a companion, though some of his aphorisms give a neat turn to a commonplace.

J. Morley on “Aphorisms,” Studies, 1891, p. 86.

INTRODUCTION

I. Of Balthasar Gracián and his Works

WE MAY CERTAINLY say of Gracián what Heine by an amiable fiction said of himself: he was one of the first men of his century. For he was born 8th January 1601 N.S.1 at Belmonte, a suburb of Calatayud, in the kingdom of Aragon. Calatayud, properly Kalat Ayoub, “Job’s Town,” is nearly on the site of the ancient Bilbilis, Martial’s birthplace. As its name indicates, it was one of the Moorish settlements, and nearly one of the most northern. By Gracián’s time it had again been Christian and Spanish for many generations, and Gracián himself was of noble birth. For a Spaniard of noble birth only two careers were open, arms and the Church. In the seventeenth century arms had yielded to the cassock, and Balthasar and his three brothers all took orders. Felipe, his eldest, joined the order of St. Francis; the next brother, Pedro, became a Trinitarian during his short life; and the third, Raymundo, became a Carmelite.2 Balthasar himself tells us (Agudeza, c. xxv.) that he was brought up in the house of his uncle, the licentiate Antonio Gracián, at Toledo, from which we may gather that both his father and his mother, a Morales, died in his early youth. He joined the Company of Jesus in 1619, when in its most flourishing state, after the organising genius of Acquaviva had given solid form to the bold counter-stroke of Loyola to the Protestant Revolution. The Ratio Studiorum was just coming into full force, and Gracián was one of the earliest men in Europe to be educated on the system which has dominated the secondary education of Europe almost down to our own days. This point is of some importance, we shall see, in considering Gracián’s chief work.

Once enrolled among the ranks of the Jesuits, the individual disappears, the Jesuit alone remains. There is scarcely anything to record of Gracián’s life except that he was a Jesuit, and engaged in teaching what passes with the Order for philosophy and sacred literature, and became ultimately Rector of the Jesuit College at Tarragona. His great friend was Don Vincencio Juan de Lastanosa, a dilettante of the period, who lived at Huesca, and collected coins, medals, and other archæological bric-a-brac. Gracián appears to have shared his tastes, for Lastanosa mentions him in his description, of his own cabinet. A long correspondence with him was once extant and seen by Latassa, who gives the dates and places where the letters were written. From these it would seem that Gracián moved about considerably from Madrid to Zarogoza, and thence to Tarragona. From another source we learn that Philip III. often had him to dinner to provide Attic salt to the royal table. He preached, and his sermons were popular. In short, a life of prudent prosperity came to an end when Balthasar Gracián, Rector of the Jesuit College at Tarragona, died there 6th December 1658, at the age of nearly fifty-eight years.

Of Gracián’s works there is perhaps more to say even while leaving for separate consideration that one which is here presented to the English reader and forms his chief claim to attention. Spanish literature was passing into its period of swagger, a period that came to all literatures of modern Europe after the training in classics had given afresh the sense of style. The characteristic of this period in a literature is suitably enough the appearance of “conceits” or elaborate and far-fetched figures of speech. The process began with Antonia Guevara, author of El Libro Aureo, from which, according to some, the English form of the disease known as Euphuism was derived. But it received a further impetus from the success of the stilo culto of Gongora in poetry.3 Gongorism drove “conceit” to its farthest point: artificiality of diction could go no farther in verse: it was only left for Gracián to apply it to prose.

He did this for the first time in 1630 in his first work, El Heroe. This was published, like most of his other works, by his lifelong friend Lastanosa, and under the name of Lorenzo Gracián, a supposititious brother of Gracián’s, who, so far as can be ascertained, never existed. The whole of El Heroe exists, in shortened form, in the Oráculo Manual.4 The form, however, is so shortened that it would be difficult to recognise the original primores, as they are called, of El Heroe. Yet it is precisely in the curtness of the sentences that the peculiarity of the stilo culto consists. Generally elaborate metaphor and far-fetched allusions go with long and involved sentences of the periodic type. But with Gracián the aim is as much towards shortness as towards elaboration. The embroidery is rich but the jacket is short, as he himself might have said. As for the subject-matter, the extracts in the Oráculo will suffice to give some notion of the lofty ideal or character presented in El Heroe, the ideal indeed associated in the popular mind with the term hidalgo.5

A later book, El Discreto, first published in 1647, gives the counterpoise to El Heroe by drawing an ideal of the prudent courtier as contrasted with the proud and spotless hidalgo. This too is fully represented in the book before us, but the curtailment is still more marked than in the case of El Heroe. There is evidence that Gracián wrote a similar pair of contrasts, termed respectively El Galante and El Varon Atento, which were not published but were incorporated in the Oráculo Manual by Lastanosa. The consequences of this utilisation of contrasts will concern us later.

Reverting to Gracián’s works somewhat more in their order, his éloge of Ferdinand, the Magus of Columbus’ epoch, need not much detain us. It is stilted and conventional and does not betray much historical insight. Gracián’s Agudeza y Arte de Ingenio is of more importance and interest as the formal exposition of the critical principles of Cultismo. It is concerned more with verse than prose and represents the Poetics of Gongorism. A curious collection of flowers of rhetoric in Spanish verse could be made from it. Of still more restricted interest is the Comulgador or sacred meditations for holy communion. I do not profess to be a judge of this class of literature, if literature it can be called, but the fact that the book was deemed worthy of an English translation as lately as 1876 seems to show that it still answers the devotional needs of Catholics. It has ...

Table of contents

• Cover
• Title Page
• The Art of Worldly Wisdom
• Reflections: Or, Sentences and Moral Maxims
• Maxims and Reflections