Stephen Greenblatt Quotes

Compared to the unleashed forces of warfare and of faith, Mount Vesuvius was kinder to the legacy of antiquity.

There was a time in the ancient world—a very long time—in which the central cultural problem must have seemed an inexhaustible outpouring of books. Where to put them all? How to organize them on the groaning shelves? How to hold the profusion of knowledge in one’s head? The loss of this plenitude would have been virtually inconceivable to anyone living in its midst. Then, not all at once but with the cumulative force of a mass extinction, the whole enterprise came to an end. What looked stable turned out to be fragile, and what had seemed for all time was only for the time being.

Poggio Bracciolini was a book hunter, perhaps the greatest in an age obsessed with ferreting out and recovering the heritage of the ancient world. The finding of a lost book does not ordinarily figure as a thrilling event, but behind that one moment was the arrest and imprisonment of a pope, the burning of heretics, and a great culturewide explosion of interest in pagan antiquity. The act of discovery fulfilled the life’s passion of a brilliant book hunter. And that book hunter, without ever intending or realizing it, became a midwife to modernity.

The transformation was not sudden or once-for-all, but it became increasingly possible to turn away from a preoccupation with angels and demons and immaterial causes and to focus instead on things in this world; to understand that humans are made of the same stuff as everything else and are part of the natural order; to conduct experiments without fearing that one is infringing on God’s jealously guarded secrets; to question authorities and challenge received doctrines; to legitimate the pursuit of pleasure and the avoidance of pain; to imagine that there are other worlds beside the one that we inhabit; to entertain the thought that the sun is only one star in an infinite universe; to live an ethical life without reference to postmortem rewards and punishments; to contemplate without trembling the death of the soul.

A comparably capacious embrace of beauty and pleasure—an embrace that somehow extends to death as well as life, to dissolution as well as creation—characterizes Montaigne’s restless reflections on matter in motion, Cervantes’s chronicle of his mad knight, Michelangelo’s depiction of flayed skin, Leonardo’s sketches of whirlpools, Caravaggio’s loving attention to the dirty soles of Christ’s feet.

Something happened in the Renaissance, something that surged up against the constraints that centuries had constructed around curiosity, desire, individuality, sustained attention to the material world, the claims of the body. The cultural shift is notoriously difficult to define, and its significance has been fiercely contested. But it can be intuited easily enough when you look in Siena at Duccio’s painting of the enthroned Virgin, the Maestà, and then in Florence at Botticelli’s Primavera.

On the other side of anger at those who either peddled false visions of security or incited irrational fears of death, Lucretius offered a feeling of liberation and the power to stare down what had once seemed so menacing. What human beings can and should do, he wrote, is to conquer their fears, accept the fact that they themselves and all the things they encounter are transitory, and embrace the beauty and the pleasure of the world.

Art always penetrates the particular fissures in one’s psychic life.

I am committed by trade to urging people to attend carefully to the verbal surfaces of what they read.

This was the crucial moment in the development of the English language, the moment in which the deepest things, the things upon which the fate of the soul depended, were put into ordinary, familiar, everyday words. Two men above all others, William Tyndale and Thomas Cranmer, rose to the task. Without them, without the great English translation of the New Testament and the sonorous, deeply resonant Book of Common Prayer, it is difficult to imagine William Shakespeare.

He saw in Falstaff...a debauched genius; a fathomlessly cynical, almost irresistible confidence man; a diseased, cowardly, seductive, lovable monster; a father who cannot be trusted.

Everyone understood that Latin learning was inseparable from whipping. One educational theorist of the time speculated that the buttocks were created in order to facilitate the learning of Latin.

In Gilgamesh the human formed from clay is a wild man, with flowing hair (possibly all over his body) and the strength and manner of life of the animals. In Genesis the clay human is created "in the image of God" and has from the beginning the status of one who is not a companion to the other animals but of one who dominates them.

Allusions to "hidden counsels" and "mysterious reasons" are almost always the mark of doctrinal incoherence.