THE PRINCIPLE OF HOPE

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human tendency towards freedom — as a minimum of work and state, as a maximum of joy.
Counterpart to More: Campanella's City of the Sun or the utopia of social order
The bourgeois blossomed later on, precisely by affirming new constraint. Imposed by the king on the small feudal lords and their splintered economy. This was the case
in the seventeenth century, when production changed from manual crafts to large workshops, to manufacture. When it consequently moved, in advanced countries,
towards a large, uniformly run economic body. The Baroque is the age of centralized royal power, and it was progressive at that time. A totally authoritarian and also
bureaucratic utopia: Campanella's ‘Civitas solis’, published in 1623, now corresponded to the harmony of bourgeois interests with the monarchy. Instead of freedom,
as in More, the tune that now rings out is that of order, with rulers and supervisors. Instead of a president of the Utopians, in a simple Franciscan cloak, with a harvest
crown, a ruler appears, a world pope. And what Campanella found most seductive about America was no longer, as in More, the paradisial innocence of the islanders,
but the highly constructed Inca empire of the past. Lewis Mumford, in ‘The Story of Utopias’, 1922, calls Campanella's utopia nothing short of a ‘marriage between
Plato's Republic and the court of Montezuma’. After all, as noted above, Plato's ‘Republic’ was the first utopianizing order, long before there was a novel of an ideal
state based on freedom. In its title as in its geographical situation, Campanella's ‘City of the Sun’ touches on that of Iamboulos; though the Sun in Campanella's City
does not shine with effortless Hellenistic­oriental abundance, but simply with centralized rigour, of the sort which was also practised in truly Campanellan fashion by the
artificial Jesuit state in Paraguay. Campanella's dreams as a whole were connected with contemporary power units; he projected these on to a utopian screen. Not in
order to ideologize them, but he believed in the coming of his dream kingdom and emphasized the existing great powers solely as instruments for hastening its arrival.
Although he spent twenty­seven years in the dungeons of Spanish reaction, which did not trust him, Campanella, who is first supposed to have had relations with the
Turks, wildly acclaimed Spanish world­domination, and ultimately that of France, but in both cases exclusively as places of preparation for the messianic