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<rss xmlns:itunes="http://www.itunes.com/dtds/podcast-1.0.dtd" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:podcast="https://podcastindex.org/namespace/1.0" xmlns:media="http://search.yahoo.com/mrss/" version="2.0"><channel><title>Sonnets of Michael Angelo Buonarroti and Tommaso Campanella</title><link>https://www.spreaker.com/podcast/sonnets-of-michael-angelo-buonarroti-and-tommaso-campanella--7164591</link><description><![CDATA[Immerse yourself in the profound interplay of beauty and truth as we delve into the world of "Sonnets of Michael Angelo Buonarroti and Tommaso Campanella." This podcast celebrates the rich tapestry of artistic and philosophical thought that shaped the Italian Renaissance and the Counter-Reformation. Each episode features a new complete audiobook, inviting listeners to explore the contrasting yet complementary visions of a master artist devoted to the pursuit of beauty and a philosopher seeking the essence of truth. Through these unique explorations, we uncover how creativity and inquiry can illuminate the human experience, revealing the struggles and triumphs inherent in the quest for understanding. This is not a single narrative but a series of reflections on the complexities of art and philosophy, encouraging listeners to discover a new book with every episode and engage with the timeless themes that continue to resonate today.]]></description><atom:link href="https://www.spreaker.com/show/7164591/episodes/feed" rel="self" type="application/rss+xml"/><language>en</language><category>Books</category><copyright>Copyright Social Science Genre</copyright><image><url>https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/a5c43c68ec17481f14cd64cd532f6333.jpg</url><title>Sonnets of Michael Angelo Buonarroti and Tommaso Campanella</title><link>https://www.spreaker.com/podcast/sonnets-of-michael-angelo-buonarroti-and-tommaso-campanella--7164591</link></image><lastBuildDate>Sat, 22 Aug 2026 11:54:06 +0000</lastBuildDate><itunes:author>Michelangelo Buonarroti, Tommaso Campanella</itunes:author><itunes:owner><itunes:name>Social Science Genre</itunes:name><itunes:email>spreaker86@podcastlibrary.org</itunes:email></itunes:owner><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/a5c43c68ec17481f14cd64cd532f6333.jpg"/><itunes:subtitle>Immerse yourself in the profound interplay of beauty and truth as we delve into the world of "Sonnets of Michael Angelo Buonarroti and Tommaso Campanella." This podcast celebrates the rich tapestry of artistic and philosophical thought that shaped the...</itunes:subtitle><itunes:summary><![CDATA[Immerse yourself in the profound interplay of beauty and truth as we delve into the world of "Sonnets of Michael Angelo Buonarroti and Tommaso Campanella." This podcast celebrates the rich tapestry of artistic and philosophical thought that shaped the Italian Renaissance and the Counter-Reformation. Each episode features a new complete audiobook, inviting listeners to explore the contrasting yet complementary visions of a master artist devoted to the pursuit of beauty and a philosopher seeking the essence of truth. Through these unique explorations, we uncover how creativity and inquiry can illuminate the human experience, revealing the struggles and triumphs inherent in the quest for understanding. This is not a single narrative but a series of reflections on the complexities of art and philosophy, encouraging listeners to discover a new book with every episode and engage with the timeless themes that continue to resonate today.]]></itunes:summary><itunes:category text="Arts"><itunes:category text="Books"/></itunes:category><itunes:category text="Religion &amp; Spirituality"/><itunes:category text="Religion &amp; Spirituality"><itunes:category text="Christianity"/></itunes:category><itunes:explicit>false</itunes:explicit><podcast:guid>f1b805dd-4524-5d5a-88ba-af461b319156</podcast:guid><itunes:type>episodic</itunes:type><item><title>Sonnets of Michael Angelo Buonarroti and Tommaso Campanella-Michelangelo Buonarroti, Tommaso Campanella</title><link>https://www.spreaker.com/episode/sonnets-of-michael-angelo-buonarroti-and-tommaso-campanella-michelangelo-buonarroti-tommaso-campanella--74499706</link><description><![CDATA[Michael Angelo and Campanella represent widely sundered, though almost contemporaneous, moments in the evolution of the Italian genius. Michael Angelo was essentially an artist, living in the prime of the Renaissance. Campanella was a philosopher, born when the Counter-Reformation was doing all it could to blight the free thought of the sixteenth century; and when the modern spirit of exact enquiry, in a few philosophical martyrs, was opening a new stage for European science. The one devoted all his mental energies to the realisation of beauty: the other strove to ascertain truth. The one clung to Ficino's dream of Platonising Christianity: the other constructed for himself a new theology, founded on the conception of God immanent in nature. Michael Angelo expressed the aspirations of a solitary life dedicated to the service of art, at a time when art received the suffrage and the admiration of all Italy. Campanella gave utterance to a spirit, exiled and isolated, misunderstood by those with whom he lived, at a moment when philosophy was hunted down as heresy and imprisoned as treason to the public weal. The marks of this difference in the external and internal circumstances of the two poets might be multiplied indefinitely. Yet they had much in common. Both stood above their age, and in a sense aloof from it. Both approached poetry in the spirit of thinkers bent upon extricating themselves from the trivialities of contemporary literature. The sonnets of both alike are contributions to philosophical poetry in an age when the Italians had lost their ancient manliness and energy. Both were united by the ties of study and affection to the greatest singer of their nation, Dante, at a time when Petrarch, thrice diluted and emasculated, was the Phoebus of academies and coteries. This common antagonism to the degenerate genius of Italian literature is the link which binds Michael Angelo, the veteran giant of the Renaissance, to Campanella, the audacious Titan of the modern age. - Summary by Prefatory note to this volume]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74499706</guid><pubDate>Sun, 23 Aug 2026 09:08:42 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74499706/sonnets_of_michael_angelo_buonarroti_and_tommaso_campanella_michelangelo_buonarroti_tommaso_campanella.mp3" length="78567610" type="audio/mpeg"/><itunes:author>Michelangelo Buonarroti, Tommaso Campanella</itunes:author><itunes:subtitle>Michael Angelo and Campanella represent widely sundered, though almost contemporaneous, moments in the evolution of the Italian genius. Michael Angelo was essentially an artist, living in the prime of the Renaissance. Campanella was a philosopher,...</itunes:subtitle><itunes:summary><![CDATA[Michael Angelo and Campanella represent widely sundered, though almost contemporaneous, moments in the evolution of the Italian genius. Michael Angelo was essentially an artist, living in the prime of the Renaissance. Campanella was a philosopher, born when the Counter-Reformation was doing all it could to blight the free thought of the sixteenth century; and when the modern spirit of exact enquiry, in a few philosophical martyrs, was opening a new stage for European science. The one devoted all his mental energies to the realisation of beauty: the other strove to ascertain truth. The one clung to Ficino's dream of Platonising Christianity: the other constructed for himself a new theology, founded on the conception of God immanent in nature. Michael Angelo expressed the aspirations of a solitary life dedicated to the service of art, at a time when art received the suffrage and the admiration of all Italy. Campanella gave utterance to a spirit, exiled and isolated, misunderstood by those with whom he lived, at a moment when philosophy was hunted down as heresy and imprisoned as treason to the public weal. The marks of this difference in the external and internal circumstances of the two poets might be multiplied indefinitely. Yet they had much in common. Both stood above their age, and in a sense aloof from it. Both approached poetry in the spirit of thinkers bent upon extricating themselves from the trivialities of contemporary literature. The sonnets of both alike are contributions to philosophical poetry in an age when the Italians had lost their ancient manliness and energy. Both were united by the ties of study and affection to the greatest singer of their nation, Dante, at a time when Petrarch, thrice diluted and emasculated, was the Phoebus of academies and coteries. This common antagonism to the degenerate genius of Italian literature is the link which binds Michael Angelo, the veteran giant of the Renaissance, to Campanella, the audacious Titan of the modern age. - Summary by Prefatory note to this volume]]></itunes:summary><itunes:duration>9811</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/a5c43c68ec17481f14cd64cd532f6333.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Dialogues Concerning Natural Religion-David Hume</title><link>https://www.spreaker.com/episode/dialogues-concerning-natural-religion-david-hume--74460858</link><description><![CDATA[Michael Angelo and Campanella represent widely sundered, though almost contemporaneous, moments in the evolution of the Italian genius. Michael Angelo was essentially an artist, living in the prime of the Renaissance. Campanella was a philosopher, born when the Counter-Reformation was doing all it could to blight the free thought of the sixteenth century; and when the modern spirit of exact enquiry, in a few philosophical martyrs, was opening a new stage for European science. The one devoted all his mental energies to the realisation of beauty: the other strove to ascertain truth. The one clung to Ficino's dream of Platonising Christianity: the other constructed for himself a new theology, founded on the conception of God immanent in nature. Michael Angelo expressed the aspirations of a solitary life dedicated to the service of art, at a time when art received the suffrage and the admiration of all Italy. Campanella gave utterance to a spirit, exiled and isolated, misunderstood by those with whom he lived, at a moment when philosophy was hunted down as heresy and imprisoned as treason to the public weal. The marks of this difference in the external and internal circumstances of the two poets might be multiplied indefinitely. Yet they had much in common. Both stood above their age, and in a sense aloof from it. Both approached poetry in the spirit of thinkers bent upon extricating themselves from the trivialities of contemporary literature. The sonnets of both alike are contributions to philosophical poetry in an age when the Italians had lost their ancient manliness and energy. Both were united by the ties of study and affection to the greatest singer of their nation, Dante, at a time when Petrarch, thrice diluted and emasculated, was the Phoebus of academies and coteries. 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Campanella gave utterance to a spirit, exiled and isolated, misunderstood by those with whom he lived, at a moment when philosophy was hunted down as heresy and imprisoned as treason to the public weal. The marks of this difference in the external and internal circumstances of the two poets might be multiplied indefinitely. Yet they had much in common. Both stood above their age, and in a sense aloof from it. Both approached poetry in the spirit of thinkers bent upon extricating themselves from the trivialities of contemporary literature. The sonnets of both alike are contributions to philosophical poetry in an age when the Italians had lost their ancient manliness and energy. Both were united by the ties of study and affection to the greatest singer of their nation, Dante, at a time when Petrarch, thrice diluted and emasculated, was the Phoebus of academies and coteries. This common antagonism to the degenerate genius of Italian literature is the link which binds Michael Angelo, the veteran giant of the Renaissance, to Campanella, the audacious Titan of the modern age. - Summary by Prefatory note to this volume]]></itunes:summary><itunes:duration>14524</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/a5c43c68ec17481f14cd64cd532f6333.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Canzoniere-Dante Alighieri</title><link>https://www.spreaker.com/episode/canzoniere-dante-alighieri--74428927</link><description><![CDATA[Michael Angelo and Campanella represent widely sundered, though almost contemporaneous, moments in the evolution of the Italian genius. Michael Angelo was essentially an artist, living in the prime of the Renaissance. Campanella was a philosopher, born when the Counter-Reformation was doing all it could to blight the free thought of the sixteenth century; and when the modern spirit of exact enquiry, in a few philosophical martyrs, was opening a new stage for European science. The one devoted all his mental energies to the realisation of beauty: the other strove to ascertain truth. The one clung to Ficino's dream of Platonising Christianity: the other constructed for himself a new theology, founded on the conception of God immanent in nature. Michael Angelo expressed the aspirations of a solitary life dedicated to the service of art, at a time when art received the suffrage and the admiration of all Italy. Campanella gave utterance to a spirit, exiled and isolated, misunderstood by those with whom he lived, at a moment when philosophy was hunted down as heresy and imprisoned as treason to the public weal. The marks of this difference in the external and internal circumstances of the two poets might be multiplied indefinitely. Yet they had much in common. Both stood above their age, and in a sense aloof from it. Both approached poetry in the spirit of thinkers bent upon extricating themselves from the trivialities of contemporary literature. The sonnets of both alike are contributions to philosophical poetry in an age when the Italians had lost their ancient manliness and energy. Both were united by the ties of study and affection to the greatest singer of their nation, Dante, at a time when Petrarch, thrice diluted and emasculated, was the Phoebus of academies and coteries. 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Campanella was a philosopher,...</itunes:subtitle><itunes:summary><![CDATA[Michael Angelo and Campanella represent widely sundered, though almost contemporaneous, moments in the evolution of the Italian genius. Michael Angelo was essentially an artist, living in the prime of the Renaissance. Campanella was a philosopher, born when the Counter-Reformation was doing all it could to blight the free thought of the sixteenth century; and when the modern spirit of exact enquiry, in a few philosophical martyrs, was opening a new stage for European science. The one devoted all his mental energies to the realisation of beauty: the other strove to ascertain truth. The one clung to Ficino's dream of Platonising Christianity: the other constructed for himself a new theology, founded on the conception of God immanent in nature. Michael Angelo expressed the aspirations of a solitary life dedicated to the service of art, at a time when art received the suffrage and the admiration of all Italy. Campanella gave utterance to a spirit, exiled and isolated, misunderstood by those with whom he lived, at a moment when philosophy was hunted down as heresy and imprisoned as treason to the public weal. The marks of this difference in the external and internal circumstances of the two poets might be multiplied indefinitely. Yet they had much in common. Both stood above their age, and in a sense aloof from it. Both approached poetry in the spirit of thinkers bent upon extricating themselves from the trivialities of contemporary literature. The sonnets of both alike are contributions to philosophical poetry in an age when the Italians had lost their ancient manliness and energy. Both were united by the ties of study and affection to the greatest singer of their nation, Dante, at a time when Petrarch, thrice diluted and emasculated, was the Phoebus of academies and coteries. This common antagonism to the degenerate genius of Italian literature is the link which binds Michael Angelo, the veteran giant of the Renaissance, to Campanella, the audacious Titan of the modern age. - Summary by Prefatory note to this volume]]></itunes:summary><itunes:duration>13596</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/a5c43c68ec17481f14cd64cd532f6333.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Our Knowledge of the External World As a Field for Scientific Method in Philosophy-Bertrand Russell</title><link>https://www.spreaker.com/episode/our-knowledge-of-the-external-world-as-a-field-for-scientific-method-in-philosophy-bertrand-russell--74386343</link><description><![CDATA[Michael Angelo and Campanella represent widely sundered, though almost contemporaneous, moments in the evolution of the Italian genius. Michael Angelo was essentially an artist, living in the prime of the Renaissance. Campanella was a philosopher, born when the Counter-Reformation was doing all it could to blight the free thought of the sixteenth century; and when the modern spirit of exact enquiry, in a few philosophical martyrs, was opening a new stage for European science. The one devoted all his mental energies to the realisation of beauty: the other strove to ascertain truth. The one clung to Ficino's dream of Platonising Christianity: the other constructed for himself a new theology, founded on the conception of God immanent in nature. Michael Angelo expressed the aspirations of a solitary life dedicated to the service of art, at a time when art received the suffrage and the admiration of all Italy. Campanella gave utterance to a spirit, exiled and isolated, misunderstood by those with whom he lived, at a moment when philosophy was hunted down as heresy and imprisoned as treason to the public weal. The marks of this difference in the external and internal circumstances of the two poets might be multiplied indefinitely. Yet they had much in common. Both stood above their age, and in a sense aloof from it. Both approached poetry in the spirit of thinkers bent upon extricating themselves from the trivialities of contemporary literature. The sonnets of both alike are contributions to philosophical poetry in an age when the Italians had lost their ancient manliness and energy. Both were united by the ties of study and affection to the greatest singer of their nation, Dante, at a time when Petrarch, thrice diluted and emasculated, was the Phoebus of academies and coteries. 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Campanella gave utterance to a spirit, exiled and isolated, misunderstood by those with whom he lived, at a moment when philosophy was hunted down as heresy and imprisoned as treason to the public weal. The marks of this difference in the external and internal circumstances of the two poets might be multiplied indefinitely. Yet they had much in common. Both stood above their age, and in a sense aloof from it. Both approached poetry in the spirit of thinkers bent upon extricating themselves from the trivialities of contemporary literature. The sonnets of both alike are contributions to philosophical poetry in an age when the Italians had lost their ancient manliness and energy. Both were united by the ties of study and affection to the greatest singer of their nation, Dante, at a time when Petrarch, thrice diluted and emasculated, was the Phoebus of academies and coteries. This common antagonism to the degenerate genius of Italian literature is the link which binds Michael Angelo, the veteran giant of the Renaissance, to Campanella, the audacious Titan of the modern age. - Summary by Prefatory note to this volume]]></itunes:summary><itunes:duration>29579</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/a5c43c68ec17481f14cd64cd532f6333.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Flowers of Evil-Charles Baudelaire, James Huneker</title><link>https://www.spreaker.com/episode/flowers-of-evil-charles-baudelaire-james-huneker--74346222</link><description><![CDATA[Michael Angelo and Campanella represent widely sundered, though almost contemporaneous, moments in the evolution of the Italian genius. Michael Angelo was essentially an artist, living in the prime of the Renaissance. Campanella was a philosopher, born when the Counter-Reformation was doing all it could to blight the free thought of the sixteenth century; and when the modern spirit of exact enquiry, in a few philosophical martyrs, was opening a new stage for European science. The one devoted all his mental energies to the realisation of beauty: the other strove to ascertain truth. The one clung to Ficino's dream of Platonising Christianity: the other constructed for himself a new theology, founded on the conception of God immanent in nature. Michael Angelo expressed the aspirations of a solitary life dedicated to the service of art, at a time when art received the suffrage and the admiration of all Italy. Campanella gave utterance to a spirit, exiled and isolated, misunderstood by those with whom he lived, at a moment when philosophy was hunted down as heresy and imprisoned as treason to the public weal. The marks of this difference in the external and internal circumstances of the two poets might be multiplied indefinitely. Yet they had much in common. Both stood above their age, and in a sense aloof from it. Both approached poetry in the spirit of thinkers bent upon extricating themselves from the trivialities of contemporary literature. The sonnets of both alike are contributions to philosophical poetry in an age when the Italians had lost their ancient manliness and energy. Both were united by the ties of study and affection to the greatest singer of their nation, Dante, at a time when Petrarch, thrice diluted and emasculated, was the Phoebus of academies and coteries. 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Campanella was a philosopher,...</itunes:subtitle><itunes:summary><![CDATA[Michael Angelo and Campanella represent widely sundered, though almost contemporaneous, moments in the evolution of the Italian genius. Michael Angelo was essentially an artist, living in the prime of the Renaissance. Campanella was a philosopher, born when the Counter-Reformation was doing all it could to blight the free thought of the sixteenth century; and when the modern spirit of exact enquiry, in a few philosophical martyrs, was opening a new stage for European science. The one devoted all his mental energies to the realisation of beauty: the other strove to ascertain truth. The one clung to Ficino's dream of Platonising Christianity: the other constructed for himself a new theology, founded on the conception of God immanent in nature. Michael Angelo expressed the aspirations of a solitary life dedicated to the service of art, at a time when art received the suffrage and the admiration of all Italy. Campanella gave utterance to a spirit, exiled and isolated, misunderstood by those with whom he lived, at a moment when philosophy was hunted down as heresy and imprisoned as treason to the public weal. The marks of this difference in the external and internal circumstances of the two poets might be multiplied indefinitely. Yet they had much in common. Both stood above their age, and in a sense aloof from it. Both approached poetry in the spirit of thinkers bent upon extricating themselves from the trivialities of contemporary literature. The sonnets of both alike are contributions to philosophical poetry in an age when the Italians had lost their ancient manliness and energy. Both were united by the ties of study and affection to the greatest singer of their nation, Dante, at a time when Petrarch, thrice diluted and emasculated, was the Phoebus of academies and coteries. This common antagonism to the degenerate genius of Italian literature is the link which binds Michael Angelo, the veteran giant of the Renaissance, to Campanella, the audacious Titan of the modern age. - Summary by Prefatory note to this volume]]></itunes:summary><itunes:duration>6719</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/a5c43c68ec17481f14cd64cd532f6333.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Pascendi Dominici Gregis (On the Errors of the Modernists)-Pope St Pius X</title><link>https://www.spreaker.com/episode/pascendi-dominici-gregis-on-the-errors-of-the-modernists-pope-st-pius-x--74204916</link><description><![CDATA[Michael Angelo and Campanella represent widely sundered, though almost contemporaneous, moments in the evolution of the Italian genius. Michael Angelo was essentially an artist, living in the prime of the Renaissance. Campanella was a philosopher, born when the Counter-Reformation was doing all it could to blight the free thought of the sixteenth century; and when the modern spirit of exact enquiry, in a few philosophical martyrs, was opening a new stage for European science. The one devoted all his mental energies to the realisation of beauty: the other strove to ascertain truth. The one clung to Ficino's dream of Platonising Christianity: the other constructed for himself a new theology, founded on the conception of God immanent in nature. Michael Angelo expressed the aspirations of a solitary life dedicated to the service of art, at a time when art received the suffrage and the admiration of all Italy. Campanella gave utterance to a spirit, exiled and isolated, misunderstood by those with whom he lived, at a moment when philosophy was hunted down as heresy and imprisoned as treason to the public weal. The marks of this difference in the external and internal circumstances of the two poets might be multiplied indefinitely. Yet they had much in common. Both stood above their age, and in a sense aloof from it. Both approached poetry in the spirit of thinkers bent upon extricating themselves from the trivialities of contemporary literature. The sonnets of both alike are contributions to philosophical poetry in an age when the Italians had lost their ancient manliness and energy. Both were united by the ties of study and affection to the greatest singer of their nation, Dante, at a time when Petrarch, thrice diluted and emasculated, was the Phoebus of academies and coteries. This common antagonism to the degenerate genius of Italian literature is the link which binds Michael Angelo, the veteran giant of the Renaissance, to Campanella, the audacious Titan of the modern age. - Summary by Prefatory note to this volume]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74204916</guid><pubDate>Tue, 18 Aug 2026 09:08:53 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74204916/pascendi_dominici_gregis_on_the_errors_of_the_modernists_pope_st_pius_x.mp3" length="124532849" type="audio/mpeg"/><itunes:author>Michelangelo Buonarroti, Tommaso Campanella</itunes:author><itunes:subtitle>Michael Angelo and Campanella represent widely sundered, though almost contemporaneous, moments in the evolution of the Italian genius. Michael Angelo was essentially an artist, living in the prime of the Renaissance. Campanella was a philosopher,...</itunes:subtitle><itunes:summary><![CDATA[Michael Angelo and Campanella represent widely sundered, though almost contemporaneous, moments in the evolution of the Italian genius. Michael Angelo was essentially an artist, living in the prime of the Renaissance. Campanella was a philosopher, born when the Counter-Reformation was doing all it could to blight the free thought of the sixteenth century; and when the modern spirit of exact enquiry, in a few philosophical martyrs, was opening a new stage for European science. The one devoted all his mental energies to the realisation of beauty: the other strove to ascertain truth. The one clung to Ficino's dream of Platonising Christianity: the other constructed for himself a new theology, founded on the conception of God immanent in nature. Michael Angelo expressed the aspirations of a solitary life dedicated to the service of art, at a time when art received the suffrage and the admiration of all Italy. Campanella gave utterance to a spirit, exiled and isolated, misunderstood by those with whom he lived, at a moment when philosophy was hunted down as heresy and imprisoned as treason to the public weal. The marks of this difference in the external and internal circumstances of the two poets might be multiplied indefinitely. Yet they had much in common. Both stood above their age, and in a sense aloof from it. Both approached poetry in the spirit of thinkers bent upon extricating themselves from the trivialities of contemporary literature. The sonnets of both alike are contributions to philosophical poetry in an age when the Italians had lost their ancient manliness and energy. Both were united by the ties of study and affection to the greatest singer of their nation, Dante, at a time when Petrarch, thrice diluted and emasculated, was the Phoebus of academies and coteries. This common antagonism to the degenerate genius of Italian literature is the link which binds Michael Angelo, the veteran giant of the Renaissance, to Campanella, the audacious Titan of the modern age. - Summary by Prefatory note to this volume]]></itunes:summary><itunes:duration>15551</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/a5c43c68ec17481f14cd64cd532f6333.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Radio Beasts-Ralph Milne Farley</title><link>https://www.spreaker.com/episode/radio-beasts-ralph-milne-farley--74159317</link><description><![CDATA[Michael Angelo and Campanella represent widely sundered, though almost contemporaneous, moments in the evolution of the Italian genius. Michael Angelo was essentially an artist, living in the prime of the Renaissance. Campanella was a philosopher, born when the Counter-Reformation was doing all it could to blight the free thought of the sixteenth century; and when the modern spirit of exact enquiry, in a few philosophical martyrs, was opening a new stage for European science. The one devoted all his mental energies to the realisation of beauty: the other strove to ascertain truth. The one clung to Ficino's dream of Platonising Christianity: the other constructed for himself a new theology, founded on the conception of God immanent in nature. Michael Angelo expressed the aspirations of a solitary life dedicated to the service of art, at a time when art received the suffrage and the admiration of all Italy. Campanella gave utterance to a spirit, exiled and isolated, misunderstood by those with whom he lived, at a moment when philosophy was hunted down as heresy and imprisoned as treason to the public weal. The marks of this difference in the external and internal circumstances of the two poets might be multiplied indefinitely. Yet they had much in common. Both stood above their age, and in a sense aloof from it. Both approached poetry in the spirit of thinkers bent upon extricating themselves from the trivialities of contemporary literature. The sonnets of both alike are contributions to philosophical poetry in an age when the Italians had lost their ancient manliness and energy. Both were united by the ties of study and affection to the greatest singer of their nation, Dante, at a time when Petrarch, thrice diluted and emasculated, was the Phoebus of academies and coteries. This common antagonism to the degenerate genius of Italian literature is the link which binds Michael Angelo, the veteran giant of the Renaissance, to Campanella, the audacious Titan of the modern age. - Summary by Prefatory note to this volume]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74159317</guid><pubDate>Mon, 17 Aug 2026 09:09:12 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74159317/radio_beasts_ralph_milne_farley.mp3" length="238784674" type="audio/mpeg"/><itunes:author>Michelangelo Buonarroti, Tommaso Campanella</itunes:author><itunes:subtitle>Michael Angelo and Campanella represent widely sundered, though almost contemporaneous, moments in the evolution of the Italian genius. Michael Angelo was essentially an artist, living in the prime of the Renaissance. Campanella was a philosopher,...</itunes:subtitle><itunes:summary><![CDATA[Michael Angelo and Campanella represent widely sundered, though almost contemporaneous, moments in the evolution of the Italian genius. Michael Angelo was essentially an artist, living in the prime of the Renaissance. Campanella was a philosopher, born when the Counter-Reformation was doing all it could to blight the free thought of the sixteenth century; and when the modern spirit of exact enquiry, in a few philosophical martyrs, was opening a new stage for European science. The one devoted all his mental energies to the realisation of beauty: the other strove to ascertain truth. The one clung to Ficino's dream of Platonising Christianity: the other constructed for himself a new theology, founded on the conception of God immanent in nature. Michael Angelo expressed the aspirations of a solitary life dedicated to the service of art, at a time when art received the suffrage and the admiration of all Italy. Campanella gave utterance to a spirit, exiled and isolated, misunderstood by those with whom he lived, at a moment when philosophy was hunted down as heresy and imprisoned as treason to the public weal. The marks of this difference in the external and internal circumstances of the two poets might be multiplied indefinitely. Yet they had much in common. Both stood above their age, and in a sense aloof from it. Both approached poetry in the spirit of thinkers bent upon extricating themselves from the trivialities of contemporary literature. The sonnets of both alike are contributions to philosophical poetry in an age when the Italians had lost their ancient manliness and energy. Both were united by the ties of study and affection to the greatest singer of their nation, Dante, at a time when Petrarch, thrice diluted and emasculated, was the Phoebus of academies and coteries. This common antagonism to the degenerate genius of Italian literature is the link which binds Michael Angelo, the veteran giant of the Renaissance, to Campanella, the audacious Titan of the modern age. - Summary by Prefatory note to this volume]]></itunes:summary><itunes:duration>29818</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/a5c43c68ec17481f14cd64cd532f6333.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Priest and His Disciples (Shaw Translation)-Hyakuzō Kurata</title><link>https://www.spreaker.com/episode/priest-and-his-disciples-shaw-translation-hyakuzo-kurata--74116403</link><description><![CDATA[Michael Angelo and Campanella represent widely sundered, though almost contemporaneous, moments in the evolution of the Italian genius. Michael Angelo was essentially an artist, living in the prime of the Renaissance. Campanella was a philosopher, born when the Counter-Reformation was doing all it could to blight the free thought of the sixteenth century; and when the modern spirit of exact enquiry, in a few philosophical martyrs, was opening a new stage for European science. The one devoted all his mental energies to the realisation of beauty: the other strove to ascertain truth. The one clung to Ficino's dream of Platonising Christianity: the other constructed for himself a new theology, founded on the conception of God immanent in nature. Michael Angelo expressed the aspirations of a solitary life dedicated to the service of art, at a time when art received the suffrage and the admiration of all Italy. Campanella gave utterance to a spirit, exiled and isolated, misunderstood by those with whom he lived, at a moment when philosophy was hunted down as heresy and imprisoned as treason to the public weal. The marks of this difference in the external and internal circumstances of the two poets might be multiplied indefinitely. Yet they had much in common. Both stood above their age, and in a sense aloof from it. Both approached poetry in the spirit of thinkers bent upon extricating themselves from the trivialities of contemporary literature. The sonnets of both alike are contributions to philosophical poetry in an age when the Italians had lost their ancient manliness and energy. Both were united by the ties of study and affection to the greatest singer of their nation, Dante, at a time when Petrarch, thrice diluted and emasculated, was the Phoebus of academies and coteries. This common antagonism to the degenerate genius of Italian literature is the link which binds Michael Angelo, the veteran giant of the Renaissance, to Campanella, the audacious Titan of the modern age. - Summary by Prefatory note to this volume]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74116403</guid><pubDate>Sun, 16 Aug 2026 10:35:24 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74116403/priest_and_his_disciples_shaw_translation_hyakuzo_kurata.mp3" length="165386786" type="audio/mpeg"/><itunes:author>Michelangelo Buonarroti, Tommaso Campanella</itunes:author><itunes:subtitle>Michael Angelo and Campanella represent widely sundered, though almost contemporaneous, moments in the evolution of the Italian genius. Michael Angelo was essentially an artist, living in the prime of the Renaissance. Campanella was a philosopher,...</itunes:subtitle><itunes:summary><![CDATA[Michael Angelo and Campanella represent widely sundered, though almost contemporaneous, moments in the evolution of the Italian genius. Michael Angelo was essentially an artist, living in the prime of the Renaissance. Campanella was a philosopher, born when the Counter-Reformation was doing all it could to blight the free thought of the sixteenth century; and when the modern spirit of exact enquiry, in a few philosophical martyrs, was opening a new stage for European science. The one devoted all his mental energies to the realisation of beauty: the other strove to ascertain truth. The one clung to Ficino's dream of Platonising Christianity: the other constructed for himself a new theology, founded on the conception of God immanent in nature. Michael Angelo expressed the aspirations of a solitary life dedicated to the service of art, at a time when art received the suffrage and the admiration of all Italy. Campanella gave utterance to a spirit, exiled and isolated, misunderstood by those with whom he lived, at a moment when philosophy was hunted down as heresy and imprisoned as treason to the public weal. The marks of this difference in the external and internal circumstances of the two poets might be multiplied indefinitely. Yet they had much in common. Both stood above their age, and in a sense aloof from it. Both approached poetry in the spirit of thinkers bent upon extricating themselves from the trivialities of contemporary literature. The sonnets of both alike are contributions to philosophical poetry in an age when the Italians had lost their ancient manliness and energy. Both were united by the ties of study and affection to the greatest singer of their nation, Dante, at a time when Petrarch, thrice diluted and emasculated, was the Phoebus of academies and coteries. This common antagonism to the degenerate genius of Italian literature is the link which binds Michael Angelo, the veteran giant of the Renaissance, to Campanella, the audacious Titan of the modern age. - Summary by Prefatory note to this volume]]></itunes:summary><itunes:duration>20653</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/a5c43c68ec17481f14cd64cd532f6333.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Astrophel and Stella-Sir Philip Sidney</title><link>https://www.spreaker.com/episode/astrophel-and-stella-sir-philip-sidney--73422947</link><description><![CDATA["Astrophel and Stella" by Sir Philip Sidney is a poignant collection of sonnets that explores the complexities of love and desire through the lens of unrequited passion. This timeless work delves into themes of longing, beauty, and the interplay between love and pain, making it a profound reflection on the human experience. The emotional depth and lyrical quality of Sidney's verses resonate with listeners today, reminding us of the universal struggles and joys that accompany love. As one of the cornerstones of English literature, "Astrophel and Stella" continues to inspire and captivate, inviting audiences to reflect on their own relationships and the nature of affection.]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73422947</guid><pubDate>Tue, 04 Aug 2026 09:01:19 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73422947/astrophel_and_stella_sir_philip_sidney.mp3" length="48482480" type="audio/mpeg"/><itunes:author>Michelangelo Buonarroti, Tommaso Campanella</itunes:author><itunes:subtitle>"Astrophel and Stella" by Sir Philip Sidney is a poignant collection of sonnets that explores the complexities of love and desire through the lens of unrequited passion. This timeless work delves into themes of longing, beauty, and the interplay...</itunes:subtitle><itunes:summary><![CDATA["Astrophel and Stella" by Sir Philip Sidney is a poignant collection of sonnets that explores the complexities of love and desire through the lens of unrequited passion. This timeless work delves into themes of longing, beauty, and the interplay between love and pain, making it a profound reflection on the human experience. The emotional depth and lyrical quality of Sidney's verses resonate with listeners today, reminding us of the universal struggles and joys that accompany love. As one of the cornerstones of English literature, "Astrophel and Stella" continues to inspire and captivate, inviting audiences to reflect on their own relationships and the nature of affection.]]></itunes:summary><itunes:duration>6054</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/a5c43c68ec17481f14cd64cd532f6333.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Sonnets of Michael Angelo Buonarroti and Tommaso Campanella - Michelangelo Buonarroti Tommaso Campanella</title><link>https://www.spreaker.com/episode/sonnets-of-michael-angelo-buonarroti-and-tommaso-campanella-michelangelo-buonarroti-tommaso-campanella--72895201</link><description><![CDATA[Michael Angelo and Campanella represent widely sundered, though almost contemporaneous, moments in the evolution of the Italian genius. Michael Angelo was essentially an artist, living in the prime of the Renaissance. Campanella was a philosopher, born when the Counter-Reformation was doing all it could to blight the free thought of the sixteenth century; and when the modern spirit of exact enquiry, in a few philosophical martyrs, was opening a new stage for European science. The one devoted all his mental energies to the realisation of beauty: the other strove to ascertain truth. The one clung to Ficino's dream of Platonising Christianity: the other constructed for himself a new theology, founded on the conception of God immanent in nature. Michael Angelo expressed the aspirations of a solitary life dedicated to the service of art, at a time when art received the suffrage and the admiration of all Italy. Campanella gave utterance to a spirit, exiled and isolated, misunderstood by those with whom he lived, at a moment when philosophy was hunted down as heresy and imprisoned as treason to the public weal. The marks of this difference in the external and internal circumstances of the two poets might be multiplied indefinitely. Yet they had much in common. Both stood above their age, and in a sense aloof from it. Both approached poetry in the spirit of thinkers bent upon extricating themselves from the trivialities of contemporary literature. The sonnets of both alike are contributions to philosophical poetry in an age when the Italians had lost their ancient manliness and energy. Both were united by the ties of study and affection to the greatest singer of their nation, Dante, at a time when Petrarch, thrice diluted and emasculated, was the Phoebus of academies and coteries. 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Michael Angelo was essentially an artist, living in the prime of the Renaissance. Campanella was a philosopher,...</itunes:subtitle><itunes:summary><![CDATA[Michael Angelo and Campanella represent widely sundered, though almost contemporaneous, moments in the evolution of the Italian genius. Michael Angelo was essentially an artist, living in the prime of the Renaissance. Campanella was a philosopher, born when the Counter-Reformation was doing all it could to blight the free thought of the sixteenth century; and when the modern spirit of exact enquiry, in a few philosophical martyrs, was opening a new stage for European science. The one devoted all his mental energies to the realisation of beauty: the other strove to ascertain truth. The one clung to Ficino's dream of Platonising Christianity: the other constructed for himself a new theology, founded on the conception of God immanent in nature. Michael Angelo expressed the aspirations of a solitary life dedicated to the service of art, at a time when art received the suffrage and the admiration of all Italy. Campanella gave utterance to a spirit, exiled and isolated, misunderstood by those with whom he lived, at a moment when philosophy was hunted down as heresy and imprisoned as treason to the public weal. The marks of this difference in the external and internal circumstances of the two poets might be multiplied indefinitely. Yet they had much in common. Both stood above their age, and in a sense aloof from it. Both approached poetry in the spirit of thinkers bent upon extricating themselves from the trivialities of contemporary literature. The sonnets of both alike are contributions to philosophical poetry in an age when the Italians had lost their ancient manliness and energy. Both were united by the ties of study and affection to the greatest singer of their nation, Dante, at a time when Petrarch, thrice diluted and emasculated, was the Phoebus of academies and coteries. This common antagonism to the degenerate genius of Italian literature is the link which binds Michael Angelo, the veteran giant of the Renaissance, to Campanella, the audacious Titan of the modern age. - Summary by Prefatory note to this volume]]></itunes:summary><itunes:duration>9811</itunes:duration><itunes:keywords>angelo,both,buonarroti,campanella,genius,michael,renaissance,sonnets,spirit,tommaso</itunes:keywords><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/a5c43c68ec17481f14cd64cd532f6333.jpg"/><itunes:episodeType>full</itunes:episodeType></item></channel></rss>
