El tópico &lt;i&gt;optimum non nasci&lt;/i&gt; y las argumentaciones humanísticas &lt;i&gt;de miseria hominis&lt;/i&gt;.

Jesús Gómez

doi:10.3989/revliteratura.2010.v72.i143.202

Abstract

The paradigm of eulogies about human dignity or indignity includes, with rhetorical variations, topoi authorized by the Greek and Latin tradition; amongst them, the topos of seeing life as a punishment, therefore it being better not being born ( optimum non nasci ) or dying as soon as possible. This study examines Sedeno’s interpretation of this topos in his Coloquio de bienaventuranza (1536), according to the humanistic discussions de miseria hominis . Sedeno recreates Solon’s reasoning, which stems from his interview with king Croesus (following Herodotus account), without resorting to the mystery of salvation or any other Christian beliefs, therefore highlighting the singularity of his viewpoint in the humanistic debate about human happiness.

Highlights

The paradigm of eulogies about human dignity or indignity includes, with rhetorical variations, topoi authorized by the Greek and Latin tradition; amongst them, the topos of seeing life as a punishment, it being better not being born or dying as soon as possible
This study examines Sedeño’s interpretation of this topos in his Coloquio de bienaventuranza (1536), according to the humanistic discussions de miseria hominis
6 Sabemos que los dos protagonistas del Coloquio de bienaventuranza tienen existencia histórica: Solón de Atenas y Creso de Lidia, al margen de la veracidad sobre su posible entrevista, puesta en duda por gran parte de la crítica actual

Summary

Introduction

The paradigm of eulogies about human dignity or indignity includes, with rhetorical variations, topoi authorized by the Greek and Latin tradition; amongst them, the topos of seeing life as a punishment, it being better not being born (optimum non nasci) or dying as soon as possible. 93, señala un aspecto esencial que es necesario tener en cuenta: «el estudio del contexto en el que aparecen [los topoi] y la necesidad de reconocer su carácter individual en el uso artístico»; como ocurre con el tópico que veremos, sobre cuyo contexto humanístico he investigado dentro de las líneas de trabajo pertenecientes al proyecto colectivo «Inventario, descripción, edición crítica y anotación de textos de prosa hispánica bajomedieval y renacentista.

Results

Conclusion