The Life Of Thomas More

Peter Ackroyd's The Life of Thomas More is a masterful reconstruction of the life and imagination of one of the most remarkable figures of history. Thomas More (1478-1535) was a renowned statesman; the author of a political fantasy that gave a name to a literary genre and a worldview (Utopia); and, most famously, a Catholic martyr and saint. Born into the professional classes, Thomas More applied his formidable intellect and well-placed connections to become the most powerful man in England, second only to the king. As much a work of history as a biography, The Life of Thomas More gives an unmatched portrait of the everyday, religious, and intellectual life of the early sixteenth century. In Ackroyd's hands, this renowned "man for all seasons" emerges in the fullness of his complex humanity; we see the unexpected side of his character--such as his preference for bawdy humor--as well as his indisputable moral courage.

Utopia is a work of fiction and socio-political satire by Thomas More published in 1516 in Latin. The book is a frame narrative primarily depicting a fictional island society and its religious, social and political customs. Many aspects of More's description of Utopia are reminiscent of life in monasteries.

Most previous biographers of Thomas More have sought to prove him a saint; in this, the first full-scale biography of More in half a century, Richard Marius, a leading Reformation historian, seeks to restore the man. More’s life spanned a tumultuous period in Western history. He was born in 1478 into a society still medieval in its customs and laws. But by the time of his death in 1535 England was already shaken to its depths by the powerful and unsettling ideas of the Renaissance. Marius draws upon important recent research and his profound knowledge of More’s own voluminous writing to make a coherent whole of the life and work of the immensely complex man who was both a product of the times and a singular figure in them. He gives us More the boy—his London childhood, he deep respect for his father, who rose from a tradesman’s background to become a judge of the highest court in the land (a “council of fathers” was to rule More’s kingdom of Utopia) . . . More the youth—sent at about age twelve to serve in the household of the powerful and political Bishop Morton, later struggling to choose between the priesthood and the lures of secular life: marriage and a career in the great world… More the Londoner, the city man—lawyer, graduate of the Inns of Court, member of the rising middle class with its drive for an achievement and position. We see More the humanist man of letter as Marius treats in full his friendship with Erasmus; his now controversial History of Richard III, from which Shakespeare’s Richard derives; and the originals and meanings of his most famous work, Utopia. More the family man is reveal in his relationship with his father, his two wives, and his children as far more complex than the sanctified image of legend. Marius explore More’s public career as Lord Chancellor, as champion of the Catholic church, and finally as martyr to the old faith. He shows us a man who, although he hated and feared tyrants, always believes that authority as a source of order was necessary to the public good—a man who as royal councilor and Lord Chancellor upheld his king until the very moment when, in response to Henry’s final tyranny, he chose “to die the King’s good servant, but God’s first.” Marius also demonstrates that it was the centuries-old authority of the Catholic Church that More revered; that he was as suspicious of paper supremacy as of any tyranny. The man Marius ultimately reveals is one more passionate and driven (in his family life, his convictions, his persecution of heretics) than the serene hero of A Man For All Seasons. But he is also a man possessed of such wit, integrity and charm that he was loved not only by his family but by almost everyone who knew him. It is the special triumph of this biography that with its rare combination of impeccable scholarship and narrative power, we are brought into the presence of a whole person with all his flaws and virtues, and that by the time More meets his death, he has become familiar and important to us not merely as a historical figure but also as a human being.

Presented to modern readers in English for the first time in 500 years, The Life of Pico is a biography of one of the Renaissance¿s most famous figures: Giovanni Pico de la Mirandola (1463-94). Given More¿s demanding personal spiritual life, one would assume that More wishes to praise a famous and virtuous man. But what emerges from this book is quite different. Pico turns out to be an extraordinarily virtuous, talented, and wealthy man, but a man nonetheless, who is missing something essential. And so More calls Pico "a very spectacle" of virtue.More sees Pico as very much like himself, as the two turn out to have very similar life experiences. Both carry some scars from difficult or missing relationships with their fathers, both are extremely talented and powerful in their time, and both had been steered toward a religious vocation which they did not embrace. The book is as much a riddle about More as it is an explanation of Pico. More's great-grandson and biographer, Cresacre More, claims that Thomas More as a young man sought to emulate Pico once he decided that his path in life was marriage and not the cloth. The book's first half contains the abridged account of Pico's life. The second half is More's rhymed verse on the 12 rules of spiritual battle, the 12 weapons of spiritual battle, and the 12 properties of a lover, followed by Pico's prayer to God. In the last analysis, this biography of Pico becomes an exercise in the discernment of true virtue, in the contradictions and difficulties one encounters in the immersion into the world, and at the same time, in the life of God.

Annotation. The first study to examine More's complete works in view of his concept of statesmanship and, in the process, link his humanism, faith, and legal and political vocations into a coherent narrative.b.