By Jack Vance
The Panarch of Pao is lifeless and Beran Panasper, his younger son and inheritor, needs to flee the planet to stay and avenge his father's loss of life. it really is on the mystery citadel on this planet Breakness that Beran discovers the feared fact at the back of the assassination of his father-and even more. the folk of Pao are a docile lot, content material to reside in concord with the remainder of the cosmos, however the scientists at Breakness search to change the psychology of the Paonese for his or her personal purpose-and Beran holds the main to their audacious plan. Beran will go back to Pao, remodeling his domestic international past his teacher's wildest goals. yet even though he has been shaped right into a guy of Breakness, Beran's middle is of Pao. And he brings to his global the seeds of switch that might store Pao...or ruin it.
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Additional info for The Languages of Pao
To dissemble one’s desire by hitching it to someone else’s, by way of a brilliant sleight of hand on Sidney’s part, is to separate oneself slightly from it, to loosen its hold and thus open a space for rational calculation that is at the same time—paradoxically, according to an old humanist ideology that puts reason and cupiditas on either side of a great divide—self-interested. And this is just the space of politic agency. The self-interested agent as Sidney imagines him is acquisitive but not quite passionate, liberated from grand providential design and also, by his dissembling, from the passions of others, which are now instrumental but never governing.
The second response might seem at ﬁrst even more naïve: here, narrator and characters alike rejected Sidney’s double view, taking on the ethical problems attendant on self-interest directly, as matters of explicit thematic concern, and with great sincerity. This move to an open investigation of self-interest and politic irony set up the wide-ranging and complex consideration of interest in midcentury romance; it can be traced most explicitly in Wroth’s Urania, which at moments reads almost like a direct commentary on Sidney’s ideas.
George Puttenham’s The Arte of English Poesie, ﬁrst published in 1589, was not nearly as sanguine about its courtiers’ intentions. ”14 “The Courtly ﬁgure Allegoria,” says Puttenham, is when we speake one thing and thinke another, and that our wordes and our meanings meete not. The use of this ﬁgure is so large, and his vertue of so great efﬁcacie as it is supposed no man can pleasantly utter and perswade without it, but in effect is sure never or very seldome to thrive and prosper in the world, that cannot skilfully put in ure [sic], in somuch as not onely every common Courtier, but also the gravest 34 Seventeenth-Century English Romance Counsellour, yea and the most noble and wisest Prince of them all are many times enforced to use it, by example (say they) of the great Emperour who had it usually in his mouth to say, Qui nescit dissimulare nescit regnare.
The Languages of Pao by Jack Vance