By John D. Lyons
This publication seeks to appreciate what mind's eye intended in early smooth Europe, relatively in early glossy France, earlier than the Romantic period gave the time period its sleek that means. the writer explores the topics surrounding early smooth notions of mind's eye (including hostility to mind's eye) during the writings of such figures as Descartes, Montaigne, François de revenues, Pascal, the Marquise de Sévigné, Madame de Lafayette, and Fénelon.
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Additional info for Before imagination : embodied thought from Montaigne to Rousseau
Freedom from fear of the future) and the freedom to imagine, beyond the inquisitiveness and the control of those around us. 58 Seneca portrays the pursuit of his mental exercises as going on out of sight, concurrently with his busy life: As for me, Lucilius, my time is free; it is indeed free, and wherever I am, I am master of myself. For I do not surrender myself to my affairs, but loan myself to them, and I do not hunt out excuses for wasting my time. And wherever I am situated, I carry on my own meditations and ponder in my mind some wholesome thought.
Both the rhetorical tradition and the Stoic ethical doctrines presented imagination as a skill available to any educated person for use, not simply in professional pursuits such as public speaking, painting, and writing, but in the everyday business of private life. A central ﬁgure in reviving and propagating this way of thinking was the learned Bordeaux landowner and jurist, Michel de Montaigne. one The Return of Stoic Imagination “There is no desire more natural than the desire for knowledge,” wrote Montaigne to begin “Of experience”(III, 13), the ﬁnal chapter of his Essays.
72 Even though a very large part of Quintilian’s Institutio Oratoria is devoted to questions of grammar, style, ﬁgures of speech, and so forth, the way the orator develops his mind is a crucial component of proper rhetorical education. The distinction between the uneducated and the trained rhetorician is most fundamentally, for Quintilian, the development of a certain relationship between the orator’s interior and his outward appearance. Imagination is one of the practices that permits the inner world of the orator to be usefully independent of outer circumstance, for the orator does not depend on the emotional stimulus of the speaking situation but supplies his own through a simulated reality.
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