Many scholars have sought to understand renaissance culture in terms of self-fashioning, a concept that sees the sixteenth-century preoccupation with imitation and performance as symptoms of a desire to conform outwardly to social expectations. Historians of Tudor England and biographers of Thomas More, influenced by this concept, have despaired of discovering the “true” Thomas More behind a bewildering array of self-fashioned masks that More “wore” as both an author and public figure. Recent scholarship seeks to show the coherence of More's (...) character, despite the fact that his life and writings do not fit neatly into contemporary scholarly categories. Understanding More as a “Christian Humanist” and focusing on More's intervention in a controversy between his friends Erasmus and Dorp, this study positions More as engaging in typological emulation, whereby in imitating the correspondence of Jerome and Augustine, he seeks to embody more perfectly the ideal of the Christian orator. (shrink)

Thomas More’s 281 epigrams form a diverse and seemingly haphazard collection of occasional and programmatic pieces written in a variety of meters on diverse topics. Since most of More’s papers disappeared in the years immediately following his death, it is difficult and perhaps impossible to reconstruct on the basis of external evidence the rationale behind the selection and distribution of his epigrams. Despite this challenge, internal evidence provides some clues. Nearly half of the epigrams are translations of Greek originals. Some (...) of these Greek originals serve as the basis for sequences of epigrams, one of which is the “Lame Beggars Sequence.” Through a process of iterative amplificatio, More progressively cultivates eloquence as he extends the meaning of his original to encompass moral and political themes. In turn, he develops the theme into original compositions before producing a final translation that encompasses both the literal and moral senses of the original Greek. (shrink)