Abstract

Many scholars have sought to understand renaissance culture in terms of self-fashioning, a concept that sees the sixteenth-century preoccupation with imitation and performance as symptoms of a desire to conform outwardly to social expectations. Historians of Tudor England and biographers of Thomas More, influenced by this concept, have despaired of discovering the “true” Thomas More behind a bewildering array of self-fashioned masks that More “wore” as both an author and public figure. Recent scholarship seeks to show the coherence of More's character, despite the fact that his life and writings do not fit neatly into contemporary scholarly categories. Understanding More as a “Christian Humanist” and focusing on More's intervention in a controversy between his friends Erasmus and Dorp, this study positions More as engaging in typological emulation, whereby in imitating the correspondence of Jerome and Augustine, he seeks to embody more perfectly the ideal of the Christian orator.