Renaissance: history, culture, and significance

Renaissance

The characteristics of the Renaissance man have endured, influencing modern ideals embodied by men like James Bond. Renaissance women received far less attention in literature and commentary between the 14th and 16th century, but Baldassare Castiglione comments on some of the features distinguishing the ideal Renaissance lady. Both Renaissance men and women exhibit remarkable well-roundedness and cultivated talents in fields as diverse as writing, oratory, athletics, and music. However, Castiglione notes that Renaissance women should always maintain an aura of "soft and dainty tenderness" whatever they do (p. 35, lines 191-192). The Renaissance woman is therefore as well-rounded as her male counterpart but exudes stereotypical feminine graces and physical beauty: Angelina Jolie could be named as a modern counterpart to the 15th century ideal. The ultimate goal of the Renaissance man and woman is to impress others: to be socially graceful and charming, at once talented and cool. An emphasis on "nonchalance" pervades Castiglione's writings in the Book of the Courtier, a collection of interview material completed in 1518. Castiglione's subjects, all courtly men, commented on what they believed the ideal man and woman should be. Similarly, Leon Battista Alberti stressed not only the importance of being well-rounded and skilled, but also of employing one's skills and talents toward the purpose of impressing others.

Renaissance social ideals therefore seem superficial, with a near disregard for morality and ethics. Indeed, one of the most striking features of Renaissance humanism is a rejection of Church dogma and a rediscovery of Classical Greco-Roman philosophy, art, and literature with a corresponding appreciation for reason and intellectual achievements. Thus, both Castiglione and Alberti, who wrote On the Family in 1443, stress the development of literary skills, especially those that refer directly to Classical works of poetry, literature, and philosophy. Not only should the well-rounded person learn how to read Latin and Greek, he should also be able to compose eloquent letters and poetry. Albert also notes the importance of good grammar skills and eloquence. Both Castiglione and Alberti discuss the benefits of public speaking skills, paying homage to the "poets, orators, and philosophers" of ancient Greek and Rome (Alberti, p. 30, line 11). Women, like men, should develop their "faculties of mind" through the literary and oratorical arts (Castiglione, p. 35, lines 198-199). Finally, Alberti claims that the quality of reading and writing supersedes quantity: fathers should teach their sons to read only reputable literature because allowing children to read fluff is like filling a bottle with sour wine: the smell remains for life (Alberti, p. 30). Alberti does not refer to women in the excerpt from On the Family.

Cultivating literary and oratorical skills requires hard work, a theme running throughout both Castiglione's and Alberti's texts. The Renaissance man and woman are made, not born: another remarkable feature of humanism. Human talents are not necessarily God-given; they can be developed through earnest dedication and discipline. Although Castiglione and Alberti both favor the wealthy classes as being emblematic of cultivated social graces, their discussion of hard work indicates that almost anyone can endeavor to fulfill the ideal and win praise. Alberti is particularly adamant about idleness, claiming that idleness is the "breeding place of vice," (Alberti p. 30, line 37). The author later asks, "Does an idle man differ from a tree trunk, a statue, or a putrid corpse?" (Alberti, p. 30, lines 43-44). Castiglione refers less directly to the vice of idleness by hinting at the effort required to cultivate skill in areas as diverse as sport, literature, music, and art.

Physical prowess and mastery of weaponry are essential skills for Castiglione's Renaissance man. Both men and woman are victims of their physical endowments. According to Castiglione, being too tall or too short can hinder the development of a man's athletic skills (p. 34). The Renaissance man is also literally well-rounded: he should be agile and strong, with "shapely" limbs (Castiglione, p. 30, line 26). Renaissance women must also fulfill specific requirements. Though they should develop their bodies as well as their minds, Renaissance women should not undertake strenuous activities, as even dancing too energetically can impede her "womanly sweetness," (Castiglione, p. 35, line 192). Neither men nor women should take sport -- or anything else -- too seriously because being well-rounded is more important than being a specialist. At the same time, both Castiglione and Alberti infer an appreciation for the diligent development of specific talents and skills, whether tennis, dancing, or archery. Therefore, the ideal person is not a dilettante. When the Renaissance man or woman becomes proficient at something, he or she can show that skill off in polite company, though without conceit. Being what modern people would call "cool" is a key component of the Renaissance ideal. Castiglione calls that feature "nonchalance," and the Renaissance man and woman should be talented and modest at the same time.

Moreover, both men and women should cultivate social graces to please the opposite sex. For men, playing music seems to "please the ladies," so Castiglione advises that all men learn how to master an instrument (Castiglione p. 35, line 159). Mastery of the instrument does not necessarily mean that the Renaissance man becomes a working musician for well-roundedness is the key. For women, learning a musical instrument can also win favors from the opposite sex but Castiglione warns women to stay away from "drums, fifes, or trumpets," which are deemed to "harsh" for a woman's dainty graces (p. 36, lines 242; 243). Women should also learn to play with nonchalance and even a "touch of shyness," (Castiglione, p. 36, line 248). Men, too, should be "genial and discreet," and neither gender should be boastful in their public presentations (Castiglione p. 34, line 91). Modesty is not set forth as a moral imperative, but rather, an attractive social feature.