Tudor school-boy life: the dialogues of Juan Luis Vives

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Juan Luis Vives. Tudor school-boy life: the dialogues of Juan Luis Vives

Tudor school-boy life: the dialogues of Juan Luis Vives

Table of Contents

INTRODUCTION

J. L. VIVES: A SCHOLAR OF THE RENASCENCE. 1492–1492

THE SIGNIFICANCE OF THE DIALOGUES OF J. L. VIVES

The Dedication of the School-Dialogues of Vives:

Contents of the Dialogues

Home and School Life

Subject-matter and Style

Popularity

The Greek Words in Vives’ Dialogues

Euphrosynus Lapinius

Style

Characteristics of Vives as a Writer of Dialogues

Vives as a Precursor of the Drama

Some Educational Aspects of Vives’ Dialogues

Vives’ Idea of the School

Games

Nature Study

Wine-drinking and Water-drinking

The Vernacular

The Educational Ideal of Vives

Vives’ Last Dialogue: The Precepts of Education

NOTE

TUDOR SCHOOL-BOY LIFE

I. SURRECTIO MATUTINA—Getting up in the Morning

I. Getting Up

II. Dressing

III. Using the Comb

IV. Washing

V. Prayer

II. PRIMA SALUTATIO—Morning Greetings

I. Morning Salutation

II. Playing with the Dog

III. The Father’s Little Talk with his Boy

III. DEDUCTIO AD LUDUM—Escorting to School

IV. EUNTES AD LUDUM LITERARIUM—Going to School

V. LECTIO—Reading

VI. REDITUS DOMUM ET LUSUS PUERILIS— The Return Home and Children’s Play

I. The Game of Nuts

II. The Game of Odd and Even

III. The Game of Dice

IV. The Game of Draughts

V. Playing Cards

VII. REFECTIO SCHOLASTICA—School Meals

I. Breakfast

II. Lunch—Food—Drink

III. Afternoon Meal

IV. Chief Meal

V. Sleeping Draught

The Cups

Grace Before Meat

Grammatical Questions—1. On Genders. 2. On Tenses

Pronunciation

Manners at Table—The Clearing of the Table

Grace after the Meal

VIII. GARRIENTES—Students’ Chatter

I. Story of the Trunk

II. The Hour-Bells

III. The Timepiece

IV. The French

V. The Deaf Woman

VI. The Lost Book

VII. The Twins

VIII. Mannius the Hunter

IX. Curius the Dicer

X. The Nightingale and the Cuckoo

XI. Our Masters

XII. Clodius the Lover

XIII. Lusco the Merchant

XIV. Antony the “Cook”

XV. The Tumbler

XVI. Hermogenes

XVII. The Boorish Youth

XVIII. The Man with the Neck Chain

XIX. The Overseer of Studies

IX. ITER ET EQUUS—Journey on Horseback

X. SCRIPTIO—Writing

I. The Usefulness of Writing

Nobles

II. The Writing-master

True Nobility

III. Modes of Writing

IV. The Making of (Quill) Pens

V. Ink

VI. Paper

VII. The Copy

What should be Avoided in Writing

VIII. Forming Letters in Writing

XI. VESTITUS ET DEAMBULATIO MATUTINA— Getting Dressed and the Morning Constitutional

First Part

Second Part

Description of Spring—1. Sight. 2. Hearing

3. Smell. 4. Taste. 5. Touch

The Mind

XII. DOMUS—The New House

The Vestibulum—The Door—The Threshold

The Door—The Hall

The Staircase

Winding Stairs—The Floor—The Upper Story

The Dining-Room—The Window

The Summer-house—The Sleeping-room

The Sweating Chamber

The Chapel

The Kitchen—Eating Chamber—The Cellar

The Back-door

The Portico

XIII. SCHOLA—The School

I. The Teachers

II. Grades or Honours of Scholars—Tyro—Baccalaureus—Licentiates—Doctors

The Rector

III. Hours of Teaching and Repetition

IV. Authors

V. The Library

VI. The Disputation—1. The Praeses

XIV. CUBICULUM ET LUCUBRATIO—The Sleeping-room and Studies by Night

I. Studies by Night

Time

Circumstances Aiding Studies

Subjects of Study

II. The Bed—Its Equipment

Adjuncts

XV. CULINA—The Kitchen

I. The Hiring of Apicius

II. The Precepts of Apicius

III. Songs

XVI. TRICLINIUM—The Dining-room

I. The Introduction (Initium)

II. Narration—Description of Scopas

Description of the Dining-hall

XVII. CONVIVIUM—The Banquet

I. The Beginning (Initium)

II. First Course—Bread

Fruits

Meats

Wine

Drinking

Water

Beer

Pottage

Fish

Birds

III. Second Course

IV. End of the Banquet

XVIII. EBRIETAS—Drunkenness

I. Exordium

Digression

II. The Exposition (Narratio)

Cause

Effects

XIX. REGIA—The King’s Palace

I. Introduction (Exordium)

Apparel—The Countenance

II. Exposition (Narratio)—The King

The Dauphin—Dignitaries—Prefects

Counsellors

Secretaries

Courtiers

Chancellor—Secretary—Litigants—Prefect of the Bed-chamber

Master of the Feast

Ladies’ Quarters

Leisure Time—Flattery

XX. PRINCEPS PUER—The Young Prince

I. The Teaching of Morobulus—The Study of Literature

Teachers

The Act of Governing

First Similitude

Second Similitude

Third Similitude

How the Art of Governing is to be Acquired

1. Teachers no longer Living

2. Living Teachers

The Sort of Leisure to be Shunned—The Assertion of the Similitude (Protasis)

Its Explanation (Apodosis)

XXI. LUDUS CHARTARUM SEU FOLIORUM—Card-playing or Paper-games

I. Introduction on the Weather

II. The Playing—Drawing Lots

Partners

Modes of Distribution of Cards

The Stake

The Contest

End of the Game

XXII. LEGES LUDI—Laws of Playing A VARIED DIALOGUE ON THE CITY OF VALENCIA

Part I. Lutetia

Valencia

Walk through the City of Valencia

Games—Ball

The Market

Part II. The Laws of Play—The First Law

The Second Law

The Third Law

The Fourth Law

The Fifth Law

The Sixth Law

XXIII. CORPUS HOMINIS EXTERIUS—The Exterior of Man’s Body

I. Introduction (Exordium)

II. Criticism

XXIV. EDUCATIO—Education

I. Introduction (Exordium)

II. The Controversy

Family Teaching

The Real “Good”

The Statement of the Problem (Propositio)

Assumptio (Hypothesis)—Complexio (Conclusion)

III. Epilogue

XXV. PRAECEPTA EDUCATIONIS—The Precepts of Education

I. Introductory (Exordium)

II. The Exposition (Narratio)

The Precepts

III. Epilogue

FOOTNOTES:

INDEX

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Juan Luis Vives

Published by Good Press, 2019

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The German historian of Latin School-Dialogues, Dr. Bömer, speaks of the characteristic power of Vives in introducing, in relatively short space, the ordinary daily life of boys, and tracking it into the smallest corners. “If a boy is putting on his clothes, we learn every single article of clothing, and all the topics of toilettes and the names of each object (Dialogues I. and XI.). When two school-boys pay a visit to a stranger’s house, we have shown to us its whole inner arrangement by an expert guide (XII.). Interesting observations are made on the different parts of the human body by a painter, Albert Dürer (XXIII.). With a banquet as the occasion, we are introduced to the equipment of a dining-room (XVI.), with ordinary kinds of foods and drinks (XVII.), and if we like we can betake ourselves to the cook in the kitchen and watch the direction of operations (XV.).xxiii We are told in another Dialogue (XVIII.) of a man’s fear to go home to his wife after too liberal a banquet, and how she would entertain him with longer homilies than those of St. Chrysostom. When a company of scholars wish to make a distant excursion, all kinds of horses and carriages, with their trappings, are presented to the notice of the reader (IX.).”6 Then, to show us life under the most favourable of circumstances, Vives gives a dialogue on the King’s Palace (XIX.).

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