Characteristic features of humanism. The formation of Renaissance humanism Renaissance humanists

Renaissance humanism

Renaissance humanism, classical humanism- a European intellectual movement that was an important component of the Renaissance. It arose in Florence in the middle of the 14th century and existed until the middle of the 16th century; from the end of the 15th century it passed to Germany, France, partly to England and other countries.

Renaissance humanism is the first stage in the development of humanism, a movement in which humanism first emerged as an integral system of views and a broad current of social thought, causing a genuine revolution in the culture and worldview of the people of that time. The main idea of ​​the Renaissance humanists was the improvement of human nature through the study of ancient literature.

Term

The original Latin form of this concept is studio humanitatis. In this form, it was introduced by the Renaissance humanists themselves, who reinterpreted Cicero, who at one time sought to emphasize that the concept of “humanity”, as the most important result of the culture developed in the ancient Greek city-states, was also instilled on Roman soil.

The meaning of the term "humanism" in the Renaissance (as opposed to today's meaning of the word) was: "zealous study of all that constitutes the integrity of the human spirit" because humanitas meant “the completeness and separation of human nature.” Also, this concept was contrasted with the “scholastic” study of the “divine” (studio divina). This understanding studio humanitatis first received its justification as an ideological program for a new mental movement in the writings of Petrarch.

Renaissance "humanism" is not a defense of human rights, but a study of man as he is. Humanism, from the point of view of Petrarch and other philosophers, meant moving man to the center of the world, studying man in the first place. The term “humanism” in this regard is somewhat synonymous with the word “anthropocentrism” and is opposed to the term “theocentrism”. In contrast to the religious philosophy of Western Europe, humanistic philosophy sets as its task the study of man with all his earthly and unearthly needs. Instead of ontological questions, ethical questions come to the fore.”

The word “humanist” appeared at the end of the 15th century. Actually, the term “humanism” in its current form, at the direction of Batkin, was first used in 1808 by the teacher F. Niethammer; after G. Voigt’s work “” (1859), a discussion of the historical content and limits of this concept began in science.

The humanists of the 15th century themselves usually called themselves “orators”, less often “rhetorians”, thereby emphasizing their difference from university scientists, as well as their connection with the ancient traditions of ancient orators.

Concept and activity

Vincenzo Catena. "Portrait of the Italian humanist Giangiorgio Trissino", 1510. The learned poet is depicted with a book - an attribute of knowledge

The humanists themselves talked about themselves as follows: Leonardo Bruni defined studio humanitatis so - “knowledge of those things that relate to life and morals, and which improve and adorn a person.” Salutati believed that this word combined “virtue and learning” (virtus atque doctrine), and “learnedness” presupposed the universality of knowledge based on mastery of “literature” (litterae), and “virtue” included spiritual meekness and benevolence (benignitas), meaning the ability to behave correctly. This virtue, according to humanists, was inseparable from classical education, and thus turned out to be not an innate quality, but something individually achieved through vigils over the classics. The Renaissance was dominated by the idea of ​​cultivation, the “cultivation” of the soul through the study of ancient authors, the ability, through humanistic pursuits, to realize and identify all the possibilities inherent in nature in the individual. Guarino Veronese wrote: “there is nothing more suitable and appropriate for acquiring virtues and good behavior than diligent reading of learned ancient writers.” Humanists believed that through humanistic pursuits a person would be able to realize all the possibilities inherent in the individual and cultivate his “virtues.” For Petrarch studio humanitatis were primarily a means of self-knowledge.

Modern scholars clarify the interpretations: Paul Kristeller understands by Renaissance humanism a “professional field” of activity approximately between the years, which consisted of studying and teaching a well-known set of disciplines (grammar, rhetoric, poetry, history and moral philosophy, including political philosophy) on the basis of classical Greco-Latin education. Thus, as Batkin notes, such boundaries of humanism do not coincide with the medieval quadrivium, differ from the traditional nomenclature of the liberal arts and show a serious gap between humanism and the then university education (law, medicine, natural science, logic, theology, philosophy in understanding of natural philosophy).

E. Garen interprets Renaissance humanism as a new worldview, which led to a comprehensive change in culture and was an important stage in history and philosophy, and all thinking in general. The center of interests of humanists was “literature” - philology and rhetoric, the Word was at the center of philosophy, and the cult of beautiful and pure classical speech reigned. The word was identified with Knowledge and Virtue, it was understood as the embodiment of the universal and divine human nature, as its harmonious ethos and an instrument of practical human activity in the circle of friends, family and native community (ideal homo civilis).

Humanistic “literature” made it possible to develop a new worldview, which was imbued with criticism, secularism, contrasted itself with the themes and methods of medieval scholasticism and, in addition, made it possible for the first time to understand the historical distance in relation to antiquity.

The lifestyle and ideals of the humanists

Humanistic pursuits, as a rule, remained a private matter of humanists, their hobby, not being their profession, although they brought reputation, and as a result, gifts from patrons.

The Renaissance humanists were an informal group of like-minded people who were distinguished by their inner content, and not by their official type of activity. Representatives of completely different strata, conditions and professions became humanists. Although some of the humanists were members of old guilds and corporations, what united them had nothing to do with this: “their meeting place was a country villa, a monastery library, a bookstore, a sovereign’s palace, or just a private house, where it was comfortable to talk and leaf through manuscripts.” , look at antique medals. In imitation of the ancients, they began to call their circles academies". (See for example Plato's Academy in Careggi). Batkin notes that, apparently, humanists were the first intellectuals in European history; other researchers agree that “the emergence of that category of people who later came to be called humanists, in essence, marked the beginning of the process of emergence in this era secular intelligentsia". The unifying feature for the circle of humanists was an exclusively spiritual community, which remained too broad and unrelated to material interests; “the line between humanism as a state of mind and as an activity is conditional.” Vergerio points out that humanism is not a profession, but a calling, and denounces people who turn to literature for the sake of money and honors, and not for the sake of learning and virtue.

An important component studio humanitatis in the ideas of the humanistic environment there was “leisure” (otium, ozio), filled with high pursuits, sweet and gratifying, always contrasted with service and various business duties (negotium, ufficio). Freedom to manage your time and yourself is a precondition for becoming a humanist. Lorenzo Valla lists five important conditions necessary for scientific studies:

  1. "Communication with educated people" (litteratorum consuetudo)
  2. "Abundance of Books"
  3. "Comfortable spot"
  4. "Free time" (temporis otium)
  5. "Peace of Mind" (animi vacuitas), a special “emptiness, unfilledness, release of the soul”, making it ready to be filled with learning and wisdom.

Humanists are reviving the philosophy of Epicureanism, which promotes pleasure - but primarily spiritual, not sensual (Cosimo Raimondi, "Defense of Epicurus", about 1420s; Lorenzo Valla, dialogue “On pleasure (On true and false good)”, 1433). The typical idea of ​​the Renaissance is questa dolcezza del vivere(“this sweetness of life”).

At the same time, there was a concept about the close connection between the ideals of contemplative life (vita contemplativa) and active (vita activa), and the latter had to be aimed at the benefit of society. Humanist scientists considered themselves teachers (Pier-Paolo Vegerio, Guarino Veronese, Vittorino da Feltre) and considered their main task to educate a perfect person who, thanks to a humanitarian education, can become an ideal citizen. Sciences are studied in order to make people free. In room XIV - beginning. XV centuries Coluccio Salutati and Leonardo Bruni put forward a new ideal of civil life, close to the Florentines (vita civile), in which classical education became inseparable from active political activity for the benefit of the republic - see Civic Humanism. Northern Italian humanists who lived in monarchies more closely associated the idea of ​​a perfect citizen with the ideal of a perfect sovereign; they also developed the ideal of a courtier obedient to him.

New ideal of man

In this environment, a new ideal of personality arose, generated by the secular and classical aspirations of the humanistic worldview. It was developed in humanistic literature.

The main principle of the entire humanistic ethics of the Renaissance was the doctrine of the high purpose of man, of his dignity - dignitas. He said that man, endowed with reason and an immortal soul, possessing virtue and limitless creative possibilities, free in his actions and thoughts, was placed at the center of the universe by nature itself. This doctrine was based on the views of ancient philosophy and also partly on the medieval theological doctrine that man was created in the image and likeness of God.(In essence, it was directed against Christian asceticism with its predetermination of man’s place in the hierarchy). One of the ancient sources of this idea was Cicero's dialogue "About laws."

“Nature, that is, God, has invested in man a heavenly and divine element, incomparably more beautiful and noble than anything mortal. She gave him talent, the ability to learn, reason - divine properties, thanks to which he can explore, distinguish and know what should be avoided and what should be followed in order to preserve himself. In addition to these great and priceless gifts, God also placed in the human soul moderation, restraint against passions and excessive desires, as well as shame, modesty and the desire to earn praise. In addition, God instilled in people the need for a strong mutual connection, which supports community, justice, fairness, generosity and love, and with all this a person can earn gratitude and praise from people, and favor and mercy from his creator. God has also placed in man’s chest the ability to withstand every labor, every misfortune, every blow of fate, to overcome every difficulty, to overcome sorrow, and not to be afraid of death. He gave man strength, fortitude, firmness, strength, contempt for insignificant trifles... Therefore, be convinced that man is born not to drag out a sad existence in inaction, but to work on a great and grandiose cause. By this he can, firstly, please God and honor him and, secondly, acquire for himself the most perfect virtues and complete happiness.”

Discussions on this topic were a favorite subject of humanists (Petrarch; Alberti, treatise "About family", 1433-43, 41; Manetti, treatise "On the Dignity and Superiority of Man" 1451-52; Ficino; Pico della Mirandola, "It's about human dignity" 1486) .

All their reasoning was imbued with one main idea - admiration for reason and its creative power. Reason is an invaluable gift of nature, which distinguishes man from all things, making him godlike. For the humanist, wisdom was the highest good available to people, and therefore they considered their most important task to be the promotion of classical literature. In wisdom and knowledge, they believed, a person finds true happiness - and this was his true nobility.

In contrast to the medieval and feudal ideal of the individual (religious and class), the new ideal, the humanistic one, had a clearly defined secular and social orientation. Humanists, drawing on the ancients, reject the importance of origin in assessing the dignity of a person, which now depends on his individual qualities.

Virtue

Other signs virtual, in addition to reason - prudence, moderation, courage, fortitude, patience, humanity, generosity, magnanimity, modesty, modesty, compassion. In addition, the ideal person is not only wise and happy, but also active. Alberti writes:

And we will say this: through kindness, a person creates and strengthens in himself true and endless peace and serenity of the soul, and lives free for himself, and as much as he is useful to himself, he is useful to others, satisfied with his thoughts, free from any anxiety. (...) True happiness is the calm and serenity of a joyful soul, free and content with itself.

Andrea Previtali. "Allegory of Fortune", 1490

The image of a person - the individual embodiment of a valiant and virtuous personality, will be embodied in the ideal of a perfect person (uomo universale). A person will feel like “the measure of all things” and have a proud consciousness of his superiority over the world, the high harmony of his physical and spiritual existence.

Other theses

Among other concepts important for the worldview of humanists, it should be noted:

Skills, knowledge and beliefs of humanists

Humanists were not narrow specialists, but were specialists in culture at all.“They are the bearers of a new nobility (nobilitas), identified with personal valor and knowledge." The humanist's main tool was philology. An impeccable knowledge of Latin and Greek, especially skillful command of classical Latin, was a necessary requirement for the reputation of a humanist; mastery of oral Latin was highly desirable. Clear handwriting and incredible memory were also required. In their studios, humanists were interested in the following subjects - grammar, rhetoric, ethics, history and poetry, etc. Humanists abandon medieval artistic forms, resurrecting new ones - poetry, the epistolary genre, fiction, philosophical treatises (as opposed to the scholastic pseudo-knowledge collected in various encyclopedias like Summa).

Not volgare, and classical Latin was in the hands of humanists the key to the Renaissance. Perfect mastery of “both languages” (i.e. Latin and Greek) led to the world of genuine ancient thought. Least of all, these people were purists for purism's sake. Latin united educated Europe not only in space, but also in time. To compose in the pure language of Cicero and Quintilian meant to include what was written in the great historical tradition, in a continuous cultural series, to clothe one’s work in bronze and marble, to attach it to eternity.

The highest reputation of humanism began to play a great role. A characteristic feature of the Renaissance was the highest social prestige of humanistic knowledge and talents, and the cult of culture. Good Latin style became a political necessity. In the first decades of the 15th century, admiration for humanistic learning would become a common feature of social life.

Attitude to antiquity

Humanists paid close attention to the study of primary sources rather than to others' interpretation of them. In addition, they were deeply disgusted barbarian latin, spoken in church and in universities. A side consequence of this thesis was the discovery of many previously lost classical texts, searches for Latin and Greek manuscripts in monastery libraries, and expeditions for ancient books.

Interest in antiquity becomes the defining thought of Renaissance humanism: “it is in it that they see the ideal that needs to be revived. For humanists, the Middle Ages seem to be a kind of “dark kingdom” that came after ancient culture. According to humanists, it is in imitation of ancient culture, in the revival of the ancient worldview, that the task of true philosophers lies. To do this, they translate almost all ancient Greek works from ancient Greek into Latin and modern languages; and everything that we now know about Ancient Greece, with few exceptions, was discovered precisely during the Renaissance. These works are not simply translated, but commented on, and the comments are not written from a theological point of view, but are textual, philological, so that many sciences arise, in particular philology in our modern understanding. This commentary was free from any dogmatic idea, and openness and freedom also characterized the humanists."

A common feature of the worldview of the early humanists, which stemmed from their characteristic desire to revive as much as possible the ideas and spirit of ancient culture, preserving (at the same time all the main content of the Christian doctrine), consisted in its paganization, that is, saturation with ancient, “pagan” moral and philosophical ideas. For example, Eneo Silvio Piccolomini, one of the humanists of this era, wrote that “Christianity is nothing more than a new, more complete presentation of the doctrine of the highest good of the ancients”- and, characteristically, Piccolomini will become Pope Pius II.

Any reasoning of humanists was supported by examples from ancient history. They loved to compare their contemporaries with the outstanding “men of antiquity” ( uomini illustri): the Florentines preferred the philosophers and politicians of Republican Rome, and the feudal circles preferred the generals and Caesars. At the same time, turning to antiquity was not felt as a resurrection of the dead - the proud self-awareness of themselves as direct descendants and continuers of traditions allowed humanists to remain themselves: “half-forgotten treasures of art and literature of antiquity are brought to light with jubilation, like expensive, long-lost property.”

Attitude to Christianity

Humanists never opposed themselves to religion. At the same time, opposing themselves to scholastic philosophizing, they believed that they were reviving the true Church and faith in God, without finding any contradiction in the combination of Christianity with ancient philosophy.

“Praising the human mind, humanists saw in rational human nature the image of God, what God endowed man with so that man could perfect and improve his earthly life. As a rational being, man is a creator and it is in this that he is similar to God. Therefore, a person’s duty is to participate in the world, and not to leave it, to improve the world, and not to look at it with ascetic detachment as something unnecessary for salvation. Man and the world are beautiful, because they were created by God, and man’s task is to improve the world, making it even more beautiful, in this man is a co-worker with God.” Thus, humanists argue with the work written by Pope Innocent III “On contempt for the world, or on the insignificance of human life”, where the body is humiliated and the spirit is praised, and they strive to rehabilitate the bodily principle in man (Gianozzo Manetti): The whole world created by God for man is beautiful, but the pinnacle of his creation is only man, whose body is many times superior to all other bodies. How amazing, for example, are his hands, these “living tools”, capable of any kind of work! Man is a reasonable, prudent and very insightful animal (...animal rationale, providum et saga...), it differs from the latter in that if every animal is capable of one activity, then a person can engage in any of them. Spiritual-physical man is so beautiful that he, being the creation of God, at the same time serves as the main model according to which the ancient pagans, and after them Christians, depict their gods, which contributes to the worship of God, especially among more rude and uneducated people. God is the creator of all things, while man is the creator of the great and beautiful kingdom of culture, material and spiritual.

At the same time, in relation to the clergy, humanists experienced more negative emotions: “the weakening of the humanists’ ties with the church, since many of them lived on the income received from their professional activities (as well as from noble and wealthy people who were independent of the church), increased their hostility in relation to official scholarship, imbued with the church-scholastic spirit. For many of them, such hostility developed into a sharply critical attitude towards the entire system of this scholarship, to its theoretical and philosophical foundations, to authoritarianism, outside of and without which this scholarship could not exist. It is also important to recall that the humanistic movement began in Italy during the era of the decline of the moral and political authority of the papacy associated with the events of its Avignon captivity (1309-1375), frequent schisms of the Catholic Church, when antipopes appeared in opposition to the legitimate popes and when the supremacy was disputed at church councils popes in the life of the church (...) The revival of this [classical Latin] language was a form of criticism of the dominant church-scholastic scholarship and religious practice, which operated in a “spoiled”, inexpressive Latin, far from ancient Roman classical images.” Critical studies of the history of the Catholic Church appear (“On the forgery of the Gift of Constantine”).

Humanistic theory of art

An important theorist and practitioner working on this topic was Leon Battista Alberti. At the heart of early humanistic aesthetics was the idea of ​​the ability of art to be imitated, borrowed from antiquity. "Imitation of Nature" ( imitatio, imitatio) is not simple copying, but a creative act with a conscious selection of the most perfect. The idea of ​​“art” (as a craft) was introduced in conjunction with talent, genius (individual interpretation by the artist) - ars et ingenium, as a formula for the aesthetic assessment of a work of art. The concept of “similarity” ( similitudo) - as a direct likeness necessary for a portrait.

Genres of humanist creativity

Epistoles

Letters (epistoles) were one of the most common genres of humanist creativity. They used letters not for the exchange of topical and personal information, but for general reasoning and exercises in literature according to the Cicero model. The epistole was often sent not only to the addressee, but also to his friends, who, in turn, made copies of it, so that as a result the message was distributed in many copies. In essence, it was not a “letter”, as this concept is interpreted today, but a composition of a special literary genre, which in some ways anticipated journalism. Since the time of Petrarch, the letters of humanists from the very beginning were intended specifically for publication.

Renaissance humanism

1 Term
2 Concept and activities
3 Lifestyle and ideals of humanists
3. 1 New ideal of man
3. 1. 1 Virtue

3. 2 Other points

4 Skills, knowledge and beliefs of humanists
4. 1 Attitude to antiquity
4. 2 Attitude to Christianity
4. 3 Humanistic theory of art

5 Genres of humanist creativity



6. 1 Famous humanists

Bibliography

Introduction

Renaissance humanism, classical humanism- a European intellectual movement that was an important component of the Renaissance. It originated in Florence in the mid-14th century and existed until the mid-16th century; from the end of the 15th century it passed to Germany, France, partly to England and other countries.

Renaissance humanism is the first stage in the development of humanism, a movement in which humanism first emerged as an integral system of views and a broad current of social thought, causing a genuine revolution in the culture and worldview of the people of that time. The main idea of ​​the Renaissance humanists was the improvement of human nature through the study of ancient literature.

Fresco by Raphael "School of Athens", where Leonardo and Bramante are depicted next to Pythagoras and Aristotle.

The original Latin form of this concept is studio humanitatis. In this form, it was introduced by the Renaissance humanists themselves, who reinterpreted Cicero, who at one time sought to emphasize that the concept of “humanity”, as the most important result of the culture developed in the ancient Greek city-states, was also instilled on Roman soil.

The meaning of the term "humanism" in the Renaissance (as opposed to today's meaning of the word) was: "zealous study of all that constitutes the integrity of the human spirit" because humanitas meant “the completeness and separation of human nature.” Also, this concept was contrasted with the “scholastic” study of the “divine” (studio divina). This understanding studio humanitatis first received its justification as an ideological program for a new mental movement in the writings of Petrarch.

Renaissance humanism is not a defense of human rights, but a study of man as he is. Humanism, from the point of view of Petrarch and other philosophers, meant moving man to the center of the world, studying man in the first place. The term “humanism” in this regard is somewhat synonymous with the word “anthropocentrism” and is opposed to the term “theocentrism”. In contrast to the religious philosophy of Western Europe, humanistic philosophy sets as its task the study of man with all his earthly and unearthly needs. Instead of ontological questions, ethical questions come to the fore.”

The word “humanist” appeared at the end of the 15th century. Actually, the term “humanism” in its current form, at the direction of Batkin, was first used in 1808 by the teacher F. Niethammer; after G. Voigt’s work “The Revival of Classical Antiquity and the First Century of Humanism” (1859), a discussion of the historical content and limits of this concept began in science.

2. Concept and activities

The humanists themselves talked about themselves as follows: Leonardo Bruni defined studio humanitatis so - “knowledge of those things that relate to life and morals, and which improve and adorn a person.” Salutati believed that this word combined “virtue and learning” (virtus atque doctrine) (litterae) (benignitas), meaning the ability to behave correctly. This virtue, according to humanists, was inseparable from classical education, and thus turned out to be not an innate quality, but something individually achieved through vigils over the classics. The Renaissance was dominated by the idea of ​​cultivation, the “cultivation” of the soul through the study of ancient authors, the ability, through humanistic pursuits, to realize and identify all the possibilities inherent in nature in the individual. Guarino Veronese wrote: “there is nothing more suitable and appropriate for acquiring virtues and good behavior than diligent reading of learned ancient writers.” Humanists believed that through humanistic pursuits a person would be able to realize all the possibilities inherent in the individual and cultivate his “virtues.” For Petrarch

a well-known set of disciplines (grammar, rhetoric, poetry, history and moral philosophy, including political philosophy) based on classical Greco-Latin education. Thus, as Batkin notes, such boundaries of humanism do not coincide with the medieval quadrivium, differ from the traditional nomenclature of the liberal arts and show a serious gap between humanism and the then university education (law, medicine, natural science, logic, theology, philosophy in understanding of natural philosophy).

E. Garen interprets Renaissance humanism as a new worldview, which led to a comprehensive change in culture and was an important stage in history and philosophy, and all thinking in general. The center of interests of humanists was “literature” - philology and rhetoric, the Word was at the center of philosophy, and the cult of beautiful and pure classical speech reigned. The word was identified with Knowledge and Virtue, it was understood as the embodiment of the universal and divine human nature, as its harmonious ethos and an instrument of practical human activity in the circle of friends, family and native community (ideal .

Humanistic “literature” made it possible to develop a new worldview, which was imbued with criticism, secularism, contrasted itself with the themes and methods of medieval scholasticism and, in addition, made it possible for the first time to understand the historical distance in relation to antiquity.

3. Lifestyle and ideals of humanists

Humanistic pursuits, as a rule, remained a private matter of humanists, their hobby, not being their profession, although they brought reputation, and as a result, gifts from patrons.

The Renaissance humanists were an informal group of like-minded people who were distinguished by their inner content, and not by their official type of activity. Representatives of completely different strata, conditions and professions became humanists. Although some of the humanists were members of old guilds and corporations, what united them had nothing to do with this: “their meeting place was a country villa, a monastery library, a bookstore, a sovereign’s palace, or just a private house, where it was comfortable to talk and leaf through manuscripts.” , look at antique medals. In imitation of the ancients, they began to call their circles " (See for example Plato's Academy in Careggi). Batkin notes that, apparently, humanists were the first intellectuals in European history; other researchers agree that “the emergence of that category of people who later came to be called humanists, in essence, marked the beginning of the process of emergence in this era secular intelligentsia" The unifying feature for the circle of humanists was an exclusively spiritual community, which at the same time remained too broad and ephemeral, inaccessible to material consolidation; “the line between humanism as a state of mind and as an activity is conditional.” Vergerio points out that humanism is not a profession, but a calling, and denounces people who turn to literature for the sake of money and honors, and not for the sake of learning and virtue.

An important component studio humanitatis in the ideas of the humanistic environment there was “leisure” (negotium, ufficio). Freedom to manage your time and yourself is a precondition for becoming a humanist. Lorenzo Valla lists five important conditions necessary for scientific studies:

1. "Communication with educated people"

2. “Abundance of Books”

4. (temporis otium)

(animi vacuitas), a special “emptiness, unfilledness, release of the soul”, making it ready to be filled with learning and wisdom.

Humanists are reviving the philosophy of Epicureanism, which promotes pleasure - but primarily spiritual, not sensual (Cosimo Raimondi, "Defense of Epicurus", about 1420s; Lorenzo Valla, dialogue , 1433). The typical idea of ​​the Renaissance is questa dolcezza del vivere(“this sweetness of life”).

At the same time, there was a concept about the close connection between the ideals of contemplative life (vita contemplativa) and active (vita activa), to educate a perfect person who, thanks to a liberal education, can become an ideal citizen. Sciences are studied in order to make people free. In room XIV - beginning. XV centuries Coluccio Salutati and Leonardo Bruni put forward a new ideal of civil life, close to the Florentines (vita civile), in which classical education became inseparable from active political activity for the benefit of the republic - see Civic humanism. Northern Italian humanists who lived in monarchies more closely associated the idea of ​​a perfect citizen with the ideal of a perfect sovereign; they also developed the ideal of a courtier obedient to him.

New ideal of man

In this environment, a new ideal of personality arose, generated by the secular and classical aspirations of the humanistic worldview. It was developed in humanistic literature.

The main principle of the entire humanistic ethics of the Renaissance was the doctrine of the high purpose of man, of his dignity - He said that man, endowed with reason and an immortal soul, possessing virtue and limitless creative possibilities, free in his actions and thoughts, was placed at the center of the universe by nature itself. This doctrine was based on the views of ancient philosophy and also partly on the medieval theological doctrine that man was created in the image and likeness of God.(In essence, it was directed against Christian asceticism with its predetermination of man’s place in the hierarchy). One of the ancient sources of this idea was Cicero's dialogue

Leon Battista Alberti writes:

divine, thanks to which he can explore, discern and know what should be avoided and what should be followed in order to preserve himself. In addition to these great and priceless gifts, God also placed in the human soul moderation, restraint against passions and excessive desires, as well as shame, modesty and the desire to earn praise. In addition, God instilled in people the need for a strong mutual connection, which supports community, justice, fairness, generosity and love, and with all this a person can earn gratitude and praise from people, and favor and mercy from his creator. God has also placed in man’s chest the ability to withstand every labor, every misfortune, every blow of fate, to overcome every difficulty, to overcome sorrow, and not to be afraid of death. He gave man strength, fortitude, firmness, strength, contempt for insignificant trifles... Therefore, be convinced that man is born not to drag out a sad existence in inaction, but to work on a great and grandiose cause. By this he can, firstly, please God and honor him and, secondly, acquire for himself the most perfect virtues and complete happiness.”

Discussions on this topic were a favorite subject of humanists (Petrarch; Alberti, treatise "About family" "On the Dignity and Superiority of Man" 1451-52; Ficino; Pico della Mirandola, "It's about human dignity" 1486).

For the humanist, wisdom was the highest good available to people, and therefore they considered their most important task to be the promotion of classical literature. In wisdom and knowledge, they believed, a person finds true happiness - and this was his true nobility.

In contrast to the medieval and feudal ideal of the individual (religious and class), the new ideal, the humanistic one, had a clearly defined secular and social orientation. Humanists, drawing on the ancients, reject the importance of origin in assessing the dignity of a person, which now depends on his individual qualities.

Virtue

Virtue (Italian virtú, lat. virtus) was the main defining category of the humanistic ideal of the individual. The person who possessed it was called But this concept, traditionally translated into Russian as “virtue, valor,” was even broader: it covered a whole range of moral norms and ideas, in addition, acquiring new shades throughout the 15th century. Unlike Christianity, for which the virtues were theological (faith, hope, charity), humanists proceeded from the principles of ancient ethics (Stoics, Aristotle, Cicero).

Aristotle introduces the idea, then repeated by Cicero, about the division of virtues into two kinds:

moral (courage, generosity, magnanimity, justice, friendliness)

mental (wisdom, prudence, ability for science and art)

The understanding of virtue as a reasonable self-restraint of passions and needs, as the harmony of human existence, goes back to Aristotle. And Cicero formulated the idea that virtue is an innate property of a person, improved by him in his life’s affairs, for it is “nothing more than nature that has achieved perfection and brought to its highest degree.”

For all humanists 1st floor. 15th century virtual was a universal category that determined the most important properties of the human personality, character and way of life. Originally an ideal was distinguished by strong features of religious and moral stoicism, but then it was softened by ideas about the inseparability of soul and body, spiritual and earthly needs, contemplative and active life. For the early humanists, the perfect person is is formed through joining studio humanitatis.

It is reason that guides a person to true virtue and wisdom. The first duty of man is to develop the mind through tireless knowledge and useful activity.

When asked by Alfonso of Aragon what the true purpose of a person is, Manetti answered briefly - “to act and think” ( age et intelligence).

Other signs virtual, in addition to reason - prudence, moderation, courage, fortitude, patience, humanity, generosity, magnanimity, modesty, modesty, compassion. In addition, the ideal person is not only wise and happy, but also active. Alberti writes:

with his own thoughts, free from any anxiety. (...) True happiness is the calm and serenity of a joyful soul, free and content with itself.

The image of a person - the individual embodiment of a valiant and virtuous personality, will be embodied in the ideal of a perfect person (uomo universale). A person will feel like “the measure of all things” and have a proud consciousness of his superiority over the world, the high harmony of his physical and spiritual existence.

Other theses

Among other concepts important for the worldview of humanists, it should be noted:

· idea of ​​the ratio free will with the concept of fortune. Unlike fate, which expresses the power of certain extraterrestrial forces over a person, fortune means social necessity, the pressure of circumstances. “And it is in relation to fortune, no matter how imperative it is in many cases, that the freedom of human will manifests itself with the greatest force. If in the face of fate the freedom of human will remains a supernatural secret of God, then in relation to fortune it is, in principle, in the hands of the person himself. Hence the unanimous proclamation of the freedom of human will by all humanists of the era in question, starting with Dante.” The motto of the Renaissance man was - Virtú vince fortuna

· proclamation the fundamental goodness of human nature and, more importantly, fundamental equality of all people, regardless of their birth, regardless of their belonging to one class or another.

· emphasizing the organic necessity of society, sociality for the harmonious development and existence of the human personality.

4. Skills, knowledge and beliefs of humanists

Humanists were not narrow specialists, but were specialists in culture “They are the bearers of a new nobility (nobilitas), identified with personal valor and knowledge." The humanist's main tool was philology. An impeccable knowledge of Latin and Greek, especially skillful command of classical Latin, was a necessary requirement for the reputation of a humanist; mastery of oral Latin was highly desirable. Clear handwriting and incredible memory were also required. In their studios, humanists were interested in the following subjects - grammar, rhetoric, ethics, history and poetry, etc. Humanists abandon medieval artistic forms, resurrecting new ones - poetry, the epistolary genre, fiction, philosophical treatises (as opposed to the scholastic pseudo-knowledge collected in various encyclopedias like Summa).

style became a political necessity. In the first decades of the 15th century, admiration for humanistic learning would become a common feature of social life.

4. 1. Attitude to antiquity

, spoken in church and in universities. A side consequence of this thesis was the discovery of many previously lost classical texts, searches for Latin and Greek manuscripts in monastery libraries, and expeditions for ancient books.

that came after ancient culture. According to humanists, it is in imitation of ancient culture, in the revival of the ancient worldview, that the task of true philosophers lies. To do this, they translate almost all ancient Greek works from ancient Greek into Latin and modern languages; and everything that we now know about Ancient Greece, with few exceptions, was discovered precisely during the Renaissance. These works are not simply translated, but commented on, and the comments are not written from a theological point of view, but are textual, philological, so that many sciences arise, in particular philology in our modern understanding. This commentary was free from any dogmatic notion, and openness and freedom also characterized the humanists."

A common feature of the worldview of the early humanists, which stemmed from their characteristic desire to revive as much as possible the ideas and spirit of ancient culture, preserving (at the same time all the main content of the Christian doctrine), consisted in its paganization “Christianity is nothing more than a new, more complete presentation of the doctrine of the highest good of the ancients”- and, characteristically, Piccolomini will become Pope Pius II.

Any reasoning of humanists was supported by examples from ancient history. They loved to compare their contemporaries with the outstanding “men of antiquity” ( ): the Florentines preferred the philosophers and politicians of Republican Rome, and the feudal circles preferred the generals and Caesars. At the same time, turning to antiquity was not felt as a resurrection of the dead - the proud self-awareness of themselves as direct descendants and continuers of traditions allowed humanists to remain themselves: “the half-forgotten treasures of art and literature of antiquity are brought to light with jubilation, like expensive, long-lost property.”

4. 2. Attitude towards Christianity

Humanists never opposed themselves to religion. At the same time, opposing themselves to scholastic philosophizing, they believed that they were reviving the true Church and faith in God, without finding any contradiction in the combination of Christianity with ancient philosophy.

“Praising the human mind, humanists saw in rational human nature the image of God, what God endowed man with so that man could perfect and improve his earthly life. As a rational being, man is a creator and it is in this that he is similar to God. Therefore, a person’s duty is to participate in the world, and not to leave it, to improve the world, and not to look at it with ascetic detachment as something unnecessary for salvation. Man and the world are beautiful, because they were created by God, and man’s task is to improve the world, making it even more beautiful, in this man is a co-worker with God.” Thus, humanists argue with the work written by Pope Innocent III “On contempt for the world, or on the insignificance of human life”, where the body is humiliated and the spirit is praised, and they strive to rehabilitate the bodily principle in man (Gianozzo Manetti): The whole world created by God for man is beautiful, but the pinnacle of his creation is only man, whose body is many times superior to all other bodies. How amazing, for example, are his hands, these “living tools”, capable of any kind of work! Man is , it differs from the latter in that if every animal is capable of one activity, then a person can engage in any of them. Spiritual-physical man is so beautiful that he, being the creation of God, at the same time serves as the main model according to which the ancient pagans, and after them Christians, depict their gods, which contributes to the worship of God, especially among more rude and uneducated people. God is the creator of all things, while man is the creator of the great and beautiful kingdom of culture, material and spiritual.

At the same time, in relation to the clergy, humanists experienced more negative emotions: “the weakening of the humanists’ ties with the church, since many of them lived on the income received from their professional activities (as well as from noble and wealthy people who were independent of the church), increased their hostility in relation to official scholarship, imbued with the church-scholastic spirit. For many of them, such hostility developed into a sharply critical attitude towards the entire system of this scholarship, to its theoretical and philosophical foundations, to authoritarianism, outside of and without which this scholarship could not exist. It is also important to recall that the humanistic movement began in Italy during the era of the decline of the moral and political authority of the papacy associated with the events of its Avignon captivity (1309-1375), frequent schisms of the Catholic Church, when antipopes appeared in opposition to the legitimate popes and when the supremacy was disputed at church councils popes in the life of the church (...) The revival of this [classical Latin] language was a form of criticism of the dominant church-scholastic scholarship and religious practice, which operated in a “spoiled”, inexpressive Latin, far from ancient Roman classical images.” Critical studies of the history of the Catholic Church appear (“On the forgery of the Gift of Constantine”).

4. 3. Humanistic theory of art

An important theorist and practitioner working on this topic was Leon Battista Alberti. At the heart of early humanistic aesthetics was the idea of ​​the ability of art to be imitated, borrowed from antiquity. "Imitation of Nature" ( imitatio, imitatio) is not a simple copying, but a creative act with a conscious selection of the most perfect. The idea of ​​“art” (as a craft) was introduced in conjunction with talent, genius (individual interpretation by the artist) - , as a formula for the aesthetic assessment of a work of art. The concept of “similarity” ( ) - as a direct likeness necessary for a portrait.

5. Genres of humanist creativity

5. 1. Epistoles

in literature according to Cicero's model. The epistole was often sent not only to the addressee, but also to his friends, who, in turn, made copies of it, so that as a result the message was distributed in many copies. In essence, it was not a “letter”, as this concept is interpreted today, but a composition of a special literary genre, which in some ways anticipated journalism. Since the time of Petrarch, the letters of humanists from the very beginning were intended specifically for publication.

The style of these letters was characterized by solemnity and publicity. As the researchers note, perhaps “no other type of source so expressively shows the artificiality, contrivedness, and stylized nature of the life and communication of humanists as their epistles.” Characteristic subgenres of epistol:

· hortatoriae- "inspirational appeal"

The authors, having accumulated a sufficient number of epistles, compiled collections of them, which they included in their lifetime collections of works. This is what Petrarch did, for example, from whom everyone took an example. Petrarch revised and edited his "Letters to Loved Ones" addressed to the long-deceased Cicero or Seneca, which allowed the author to express his position on various issues.

6. Periods of Renaissance humanism

The historical basis for the formation of humanism (as well as the entire Renaissance as a whole) was the flourishing of cities, economic and social changes, the birth of a new man and the need for his conscious self-affirmation and education.

It is customary to divide into:

· Early, so-called ethical-philological or civic humanism(Italy), includes frames from Salutati to Lorenzo Valla and Leon Batista Alberti (late 14th-mid 15th centuries). Arose in connection with the study and teaching of rhetoric, grammar, poetry, history and moral philosophy based on classical education, as opposed to the themes and methods of medieval scholasticism.

· Since the last third of the 15th century in Italy, humanistic interests have shifted slightly to a different sphere (theology, natural philosophy, natural science). This meant the emancipation of traditional spheres of culture, but at the same time led to the loss of certain features and achievements of early humanism, as well as to more complex interactions with the medieval heritage (Florentine neoplatonism of Ficino, neo-Aristotelianism of Pomponazzi, etc.).

· Outside Italy, humanism is experiencing a new rise, coming into close connection with the conflicts of the Reformation of the 16th century and intertwining with the problems of cultural self-determination of European nations ( northern humanism: Erasmus of Rotterdam, Thomas More, Johann Reuchlin).

6. 1. Famous humanists

In Italy it is worth noting Petrarch (who is considered the first humanist), Boccaccio, Lorenzo Valla, Pico della Mirandola, Leonardo da Vinci, Raphael, Michelangelo, then humanism spreads to other European countries simultaneously with the Reformation movement. Many great thinkers and artists of that time contributed to the development of humanism - Montaigne, Rabelais (France), Shakespeare, Bacon (England), L. Vives, Cervantes (Spain), Hutten, Durer (Germany), Erasmus of Rotterdam and others.

Literature

· Batkin L.M.. Italian humanists: lifestyle and style of thinking. M.: Nauka, 1978. Ed. on it. language 1990.

· Batkin L. M. Italian Renaissance: Problems and People. M.: Publishing house of the Russian State University for the Humanities, 1995.

· Bragina L. M. Italian humanism of the Renaissance. Ideals and practices of culture. M., 2002

· Gorfunkel A. Kh. Humanism and natural philosophy of the Italian Renaissance, M., 1977

· Korelin M. S. Early Italian humanism and its historiography, vol. 1-4, St. Petersburg, 1914

· Kudryavtsev O. F. Renaissance humanism and “Utopia”. M., 1991

· Revyakina N.V. Humanistic education in Italy in the XIV-XV centuries. Ivanovo, 1993

Bibliography:

1. Humanism (V. J. Kelle; L. M. Batkin) // Philosophical Encyclopedic Dictionary. M., 1983

2. Batkin L. M. Italian Renaissance: Problems and People. 1995, p. 48

3. V. P. Lega. Lectures on the history of Western philosophy

4. Grashchenkov V. N. Portrait in Italian painting of the Early Renaissance. M., 1996. T. 1. P. 70

5. Batkin quotes from the book. Marcel R. Marsile Ficin. Paris, 1958, p. 114

6. Batkin. Decree. Op. - P. 52.

7. Batkin. Decree. Op. - 61-2.

8. V.V. Sokolov. Renaissance philosophy

9. Batkin. Decree. Op. - P. 72

10. Grashchenkov. Decree. Op. P. 72.

11. Grashchenkov. Decree. Op. P. 74.

12. Batkin. Decree. Op. - P. 67.

13. Batkin. Decree. Op. - pp. 75-77.

14. Batkin. Decree. Op. - P. 105

15. G. Janitschek. Preface to Alberti's edition, 1877

16. Grashchenkov. Decree. Op. P. 85.

17. Petrarch. Letter to descendants

Material from Wikipedia - the free encyclopedia

Renaissance humanism, classical humanism- a European intellectual movement that was an important component of the Renaissance. It arose in Florence in the middle of the 14th century and existed until the middle of the 16th century; from the end of the 15th century it passed to Spain, Germany, France, partly to England and other countries.

Renaissance humanism is the first stage in the development of humanism, a movement in which humanism first emerged as an integral system of views and a broad current of social thought, causing a genuine revolution in the culture and worldview of the people of that time. The main idea of ​​the Renaissance humanists was the improvement of human nature through the study of ancient literature.

Term

The original Latin form of this concept is studio humanitatis. In this form, it was introduced by the Renaissance humanists themselves, who reinterpreted Cicero, who at one time sought to emphasize that the concept of “humanity”, as the most important result of the culture developed in the ancient Greek city-states, was also instilled on Roman soil.

The meaning of the term "humanism" in the Renaissance (as opposed to today's meaning of the word) was: "zealous study of all that constitutes the integrity of the human spirit" because humanitas meant “the completeness and separation of human nature.” Also, this concept was contrasted with the “scholastic” study of the “divine” (studio divina). This understanding studio humanitatis first received its justification as an ideological program for a new mental movement in the writings of Petrarch.

Renaissance "humanism" is not a defense of human rights, but a study of man as he is. Humanism, from the point of view of Petrarch and other philosophers, meant moving man to the center of the world, studying man in the first place. The term “humanism” in this regard is somewhat synonymous with the word “anthropocentrism” and is opposed to the term “theocentrism”. In contrast to the religious philosophy of Western Europe, humanistic philosophy sets as its task the study of man with all his earthly and unearthly needs. Instead of ontological questions, ethical questions come to the fore."

The word “humanist” appeared at the end of the 15th century. Actually, the term “humanism” in its current form, as noted by L. Batkin, was first used in 1808 by the teacher F. Niethammer; after G. Vogt’s work “” (1859), a discussion of the historical content and limits of this concept began in science.

The humanists of the 15th century themselves usually called themselves “orators”, less often “rhetorians”, thereby emphasizing their difference from university scientists, as well as their connection with the ancient traditions of ancient orators.

Concept and activity

The humanists themselves talked about themselves as follows: Leonardo Bruni defined studio humanitatis so - “knowledge of those things that relate to life and morals, and which improve and adorn a person.” Salutati believed that this word combined “virtue and learning” (virtus atque doctrine), and “scholarship” presupposed the universality of knowledge based on mastery of “literature” (litterae), and “virtue” included spiritual meekness and benevolence (benignitas), meaning the ability to behave correctly. This virtue, according to humanists, was inseparable from classical education, and thus turned out to be not an innate quality, but something individually achieved through vigils over the classics. In the Renaissance, the idea of ​​cultivation reigned, the “cultivation” of the soul through the study of ancient authors, the ability, through humanistic pursuits, to realize and identify all the possibilities inherent in nature in the individual. Guarino Veronese wrote: “there is nothing more suitable and appropriate for acquiring virtues and good behavior than diligent reading of learned ancient writers.” Humanists believed that through humanistic pursuits a person would be able to realize all the possibilities inherent in the individual and cultivate his “virtues.” For Petrarch studio humanitatis were primarily a means of self-knowledge.

Modern scholars clarify the interpretations: Paul Kristeller understands by Renaissance humanism a “professional field” of activity approximately between the years, which consisted of studying and teaching a well-known set of disciplines (grammar, rhetoric, poetry, history and moral philosophy, including political philosophy) on the basis of classical Greco-Latin education. Thus, as Batkin notes, such boundaries of humanism do not coincide with the medieval quadrivium, differ from the traditional nomenclature of the liberal arts and show a serious gap between humanism and the then university education (law, medicine, natural science, logic, theology, philosophy in understanding of natural philosophy).

E. Garen interprets Renaissance humanism as a new worldview, which led to a comprehensive change in culture and was an important stage in history and philosophy, and all thinking in general. The center of interests of humanists was “literature” - philology and rhetoric, the Word was at the center of philosophy, and the cult of beautiful and pure classical speech reigned. The word was identified with Knowledge and Virtue, it was understood as the embodiment of the universal and divine human nature, as its harmonious ethos and an instrument of practical human activity in the circle of friends, family and native community (ideal homo civilis).

Humanistic “literature” made it possible to develop a new worldview, which was imbued with criticism, secularism, contrasted itself with the themes and methods of medieval scholasticism and, in addition, made it possible for the first time to understand the historical distance in relation to antiquity.

The lifestyle and ideals of the humanists

Humanistic pursuits, as a rule, remained a private matter of humanists, their hobby, not being their profession, although they brought reputation, and as a result, gifts from patrons.
The Renaissance humanists were an informal group of like-minded people who were distinguished by their inner content, and not by their official type of activity. Representatives of completely different strata, conditions and professions became humanists. Although some of the humanists were members of old guilds and corporations, what united them had nothing to do with this: “their meeting place was a country villa, a monastery library, a bookstore, a sovereign’s palace, or just a private house, where it was comfortable to talk and leaf through manuscripts.” , look at antique medals. In imitation of the ancients, they began to call their circles academies". (See for example Plato's Academy in Careggi). Batkin notes that, apparently, humanists were the first intellectuals in European history; other researchers agree that “the emergence of that category of people who later came to be called humanists, in essence, marked the beginning of the process of emergence in this era secular intelligentsia". The unifying feature for the circle of humanists was an exclusively spiritual community, which remained too broad and unrelated to material interests; “the line between humanism as a state of mind and as an activity is conditional.” Vergerio points out that humanism is not a profession, but a calling, and denounces people who turn to literature for the sake of money and honors, and not for the sake of learning and virtue.

An important component studio humanitatis in the ideas of the humanistic environment there was “leisure” (otium, ozio), filled with high pursuits, sweet and gratifying, always contrasted with service and various business duties (negotium, ufficio). Freedom to manage your time and yourself is a precondition for becoming a humanist. Lorenzo Valla lists five important conditions necessary for scientific studies:

  1. "Communication with educated people" (litteratorum consuetudo)
  2. "Abundance of Books"
  3. "Comfortable spot"
  4. "Free time" (temporis otium)
  5. "Peace of Mind" (animi vacuitas), a special “emptiness, unfilledness, release of the soul”, making it ready to be filled with learning and wisdom.

Humanists are reviving the philosophy of Epicureanism, which promotes pleasure - but primarily spiritual, not sensual (Cosimo Raimondi, "Defense of Epicurus", about 1420s; Lorenzo Valla, dialogue “On pleasure (On true and false good)”, 1433). The typical idea of ​​the Renaissance is questa dolcezza del vivere(“this sweetness of life”).

At the same time, there was a concept about the close connection between the ideals of contemplative life (vita contemplativa) and active (vita activa), Moreover, the latter had to be aimed at the benefit of society. Humanist scientists considered themselves teachers (Pier-Paolo Vegerio, Guarino Veronese, Vittorino da Feltre) and considered their main task to educate a perfect person who, thanks to a humanitarian education, can become an ideal citizen. Sciences are studied in order to make people free. In room XIV - beginning. XV centuries Coluccio Salutati and Leonardo Bruni put forward a new ideal of civil life, close to the Florentines (vita civile), in which classical education became inseparable from active political activity for the benefit of the republic - see Civic Humanism. Northern Italian humanists who lived in monarchies more closely associated the idea of ​​a perfect citizen with the ideal of a perfect sovereign; they also developed the ideal of a courtier obedient to him.

New ideal of man

In this environment, a new ideal of personality arose, generated by the secular and classical aspirations of the humanistic worldview. It was developed in humanistic literature.

The main principle of the entire humanistic ethics of the Renaissance was the doctrine of the high purpose of man, of his dignity - dignitas. He said that man, endowed with reason and an immortal soul, possessing virtue and limitless creative possibilities, free in his actions and thoughts, was placed at the center of the universe by nature itself. This doctrine was based on the views of ancient philosophy and also partly on the medieval theological doctrine that man was created in the image and likeness of God.(In essence, it was directed against Christian asceticism with its predetermination of a person’s place in the hierarchy). One of the ancient sources of this idea was Cicero's dialogue "About laws."
Leon Battista Alberti writes:

“Nature, that is, God, has invested in man a heavenly and divine element, incomparably more beautiful and noble than anything mortal. She gave him talent, the ability to learn, reason - divine properties, thanks to which he can explore, distinguish and know what should be avoided and what should be followed in order to preserve himself. In addition to these great and priceless gifts, God also placed in the human soul moderation, restraint against passions and excessive desires, as well as shame, modesty and the desire to earn praise. In addition, God instilled in people the need for a strong mutual connection, which supports community, justice, fairness, generosity and love, and with all this a person can earn gratitude and praise from people, and favor and mercy from his creator. God has also placed in man’s chest the ability to withstand every labor, every misfortune, every blow of fate, to overcome every difficulty, to overcome sorrow, and not to be afraid of death. He gave man strength, fortitude, firmness, strength, contempt for insignificant trifles... Therefore, be convinced that man is born not to drag out a sad existence in inaction, but to work on a great and grandiose cause. By this he can, firstly, please God and honor him and, secondly, acquire for himself the most perfect virtues and complete happiness.”

Discussions on this topic were a favorite subject of humanists (Petrarch; Alberti, treatise "About family", 1433-43, 41; Manetti, treatise "On the Dignity and Superiority of Man" 1451-52; Ficino; Pico della Mirandola, "It's about human dignity" 1486) .

All their reasoning was imbued with one main idea - admiration for reason and its creative power. Reason is an invaluable gift of nature, which distinguishes man from all things, making him godlike. For the humanist, wisdom was the highest good available to people, and therefore they considered their most important task to be the promotion of classical literature. In wisdom and knowledge, they believed, a person finds true happiness - and this was his true nobility.

In contrast to the medieval and feudal ideal of the individual (religious and class), the new ideal, the humanistic one, had a clearly defined secular and social orientation. Humanists, drawing on the ancients, reject the importance of origin in assessing the dignity of a person, which now depends on his individual qualities.

Virtue

A common feature of the worldview of the early humanists, which stemmed from their inherent desire to revive as much as possible the ideas and spirit of ancient culture, while preserving all the main content of Christian doctrine, was its paganization, that is, saturation with ancient, “pagan” moral and philosophical ideas. For example, Eneo Silvio Piccolomini, one of the humanists of this era, wrote that “Christianity is nothing more than a new, more complete presentation of the doctrine of the highest good of the ancients”- and, characteristically, Piccolomini will become Pope Pius II.

Any reasoning of humanists was supported by examples from ancient history. They loved to compare their contemporaries with the outstanding “men of antiquity” ( uomini illustri): the Florentines preferred the philosophers and politicians of Republican Rome, and the feudal circles preferred the generals and Caesars. At the same time, turning to antiquity was not felt as a resurrection of the dead - the proud feeling of being direct descendants and continuers of traditions allowed humanists to remain themselves: “the half-forgotten treasures of art and literature of antiquity are brought to light with jubilation, like expensive, long-lost property.”

Attitude to Christianity

Humanists never opposed themselves to religion. At the same time, opposing themselves to scholastic philosophizing, they believed that they were reviving the true Church and faith in God, without finding any contradiction in the combination of Christianity with ancient philosophy.

“Praising the human mind, humanists saw in rational human nature the image of God, what God endowed man with so that man could perfect and improve his earthly life. As a rational being, man is a creator and it is in this that he is similar to God. Therefore, a person’s duty is to participate in the world, and not to leave it, to improve the world, and not to look at it with ascetic detachment as something unnecessary for salvation. Man and the world are beautiful, because they were created by God, and man’s task is to improve the world, making it even more beautiful, in this man is a co-worker with God.” Thus, humanists argue with the work written by Pope Innocent III “On contempt for the world, or on the insignificance of human life”, where the body is humiliated and the spirit is praised, and they strive to rehabilitate the bodily principle in man (Gianozzo Manetti): The whole world created by God for man is beautiful, but the pinnacle of his creation is only man, whose body is many times superior to all other bodies. How amazing, for example, are his hands, these “living tools”, capable of any kind of work! Man is a reasonable, prudent and very insightful animal (...animal rationale, providum et saga...), it differs from the latter in that if every animal is capable of one activity, then a person can engage in any of them. Spiritual-physical man is so beautiful that he, being the creation of God, at the same time serves as the main model according to which the ancient pagans, and after them Christians, depict their gods, which contributes to the worship of God, especially among more rude and uneducated people. God is the creator of all things, while man is the creator of the great and beautiful kingdom of culture, material and spiritual.
At the same time, in relation to the clergy, humanists experienced more negative emotions: “the weakening of the humanists’ ties with the church, since many of them lived on the income received from their professional activities (as well as from noble and wealthy people who were independent of the church), increased their hostility in relation to official scholarship, imbued with the church-scholastic spirit. For many of them, such hostility developed into a sharply critical attitude towards the entire system of this scholarship, to its theoretical and philosophical foundations, to authoritarianism, outside and without which this scholarship could not exist. It is also important to recall that the humanistic movement began in Italy during the era of the decline of the moral and political authority of the papacy associated with the events of its Avignon captivity (1309-1375), frequent schisms of the Catholic Church, when antipopes appeared in opposition to the legitimate popes and when the supremacy was disputed at church councils popes in the life of the church (...) The revival of this [classical Latin] language was a form of criticism of the dominant church-scholastic scholarship and religious practice, which operated in a “spoiled”, inexpressive Latin, far from ancient Roman classical images.” Critical studies of the history of the Catholic Church appear (“On the forgery of the Gift of Constantine”).

Humanistic theory of art

An important theorist and practitioner working on this topic was Leon Battista Alberti. At the heart of early humanistic aesthetics was the idea of ​​the ability of art to be imitated, borrowed from antiquity. "Imitation of Nature" ( imitatio, imitatio) is not simple copying, but a creative act with a conscious selection of the most perfect. The idea of ​​“art” (as a craft) was introduced in conjunction with talent, genius (individual interpretation by the artist) - ars et ingenium, as a formula for the aesthetic assessment of a work of art. The concept of “similarity” ( similitudo) - as a direct likeness necessary for a portrait.

Genres of humanist creativity

Epistoles

  • Early, so-called ethical-philological or civic humanism(Italy), includes frames from Salutati to Lorenzo Valla and Leon Batista Alberti (late 14th-mid 15th centuries). Arose in connection with the study and teaching of rhetoric, grammar, poetry, history and moral philosophy based on classical education, as opposed to the themes and methods of medieval scholasticism.
  • From the last third of the 15th century in Italy, humanistic interests shifted slightly to a different sphere (theology, natural philosophy, natural science). This meant the emancipation of traditional spheres of culture, but at the same time led to the loss of certain features and achievements of early humanism, as well as to more complex interactions with the medieval heritage (Florentine neoplatonism of Ficino, neo-Aristotelianism of Pomponazzi, etc.).
  • Outside Italy, humanism experienced a new rise, coming into close connection with the conflicts of the Reformation of the 16th century and intertwined with the problems of cultural self-determination of European nations ( northern humanism: Erasmus of Rotterdam, Thomas More, Johann Reuchlin).

Famous humanists

In Italy, it is worth noting Petrarch (who is considered the first humanist), Boccaccio, Lorenzo Valla, Pico della Mirandola, Leonardo da Vinci, Raphael, Michelangelo, then humanism spreads to other European countries simultaneously with the Reformation movement. Many great thinkers and artists of that time contributed to the development of humanism - Montaigne, Rabelais (France), Shakespeare, Bacon (England), L. Vives, Cervantes (Spain), Hutten, Durer (Germany), Erasmus of Rotterdam and others.

An excerpt characterizing Renaissance humanism

“It’s good, brother, but not about us,” Dolokhov told him.
“I’ll tell my sister to call her for dinner,” said Anatole. - A?
- You better wait until she gets married...
“You know,” said Anatole, “j”adore les petites filles: [I adore girls:] - now he’ll get lost.
“You’ve already fallen for a petite fille [girl],” said Dolokhov, who knew about Anatole’s marriage. - Look!
- Well, you can’t do it twice! A? – Anatole said, laughing good-naturedly.

The next day after the theater, the Rostovs did not go anywhere and no one came to them. Marya Dmitrievna, hiding something from Natasha, was talking with her father. Natasha guessed that they were talking about the old prince and making up something, and this bothered and offended her. She waited for Prince Andrei every minute, and twice that day she sent the janitor to Vzdvizhenka to find out if he had arrived. He didn't come. It was now harder for her than the first days of her arrival. Her impatience and sadness about him were joined by an unpleasant memory of her meeting with Princess Marya and the old prince, and fear and anxiety, for which she did not know the reason. It seemed to her that either he would never come, or that something would happen to her before he arrived. She could not, as before, calmly and continuously, alone with herself, think about him. As soon as she began to think about him, the memory of him was joined by the memory of the old prince, of Princess Marya and of the last performance, and of Kuragin. She again wondered if she was guilty, if her loyalty to Prince Andrei had already been violated, and again she found herself remembering in the smallest detail every word, every gesture, every shade of play of expression on the face of this man, who knew how to arouse in her something incomprehensible to her. and a terrible feeling. To the eyes of her family, Natasha seemed more lively than usual, but she was far from being as calm and happy as she had been before.
On Sunday morning, Marya Dmitrievna invited her guests to mass at her parish of the Assumption on Mogiltsy.
“I don’t like these fashionable churches,” she said, apparently proud of her free-thinking. - There is only one God everywhere. Our priest is wonderful, he serves decently, it’s so noble, and so is the deacon. Does this make it so sacred that people sing concerts in the choir? I don’t like it, it’s just self-indulgence!
Marya Dmitrievna loved Sundays and knew how to celebrate them. Her house was all washed and cleaned on Saturday; people and she were not working, everyone was dressed up for the holidays, and everyone was attending mass. Food was added to the master's dinner, and people were given vodka and roast goose or pig. But nowhere in the whole house was the holiday more noticeable than on Marya Dmitrievna’s broad, stern face, which on that day assumed an unchanging expression of solemnity.
When they had drunk coffee after mass, in the living room with the covers removed, Marya Dmitrievna was informed that the carriage was ready, and she, with a stern look, dressed in the ceremonial shawl in which she made visits, stood up and announced that she was going to Prince Nikolai Andreevich Bolkonsky to explain to him about Natasha.
After Marya Dmitrievna left, a milliner from Madame Chalmet came to the Rostovs, and Natasha, having closed the door in the room next to the living room, very pleased with the entertainment, began trying on new dresses. While she was putting on a sour cream bodice still without sleeves and bending her head, looking in the mirror at how the back was sitting, she heard in the living room the animated sounds of her father’s voice and another, female voice, which made her blush. It was Helen's voice. Before Natasha had time to take off the bodice she was trying on, the door opened and Countess Bezukhaya entered the room, beaming with a good-natured and affectionate smile, in a dark purple, high-necked velvet dress.
- Ah, ma delicieuse! [Oh, my charming one!] - she said to the blushing Natasha. - Charmante! [Charming!] No, this is not like anything, my dear Count,” she said to Ilya Andreich, who came in after her. – How to live in Moscow and not travel anywhere? No, I won't leave you alone! This evening M lle Georges is reciting and some people will gather; and if you don’t bring your beauties, who are better than M lle Georges, then I don’t want to know you. My husband is gone, he left for Tver, otherwise I would have sent him for you. Be sure to come, definitely, at nine o'clock. “She nodded her head to a milliner she knew, who sat down respectfully to her, and sat down on a chair next to the mirror, picturesquely spreading out the folds of her velvet dress. She did not stop chatting good-naturedly and cheerfully, constantly admiring Natasha’s beauty. She examined her dresses and praised them, and boasted about her new dress en gaz metallique, [made of metal-colored gas], which she received from Paris and advised Natasha to do the same.
“However, everything suits you, my lovely,” she said.
The smile of pleasure never left Natasha's face. She felt happy and blossoming under the praises of this dear Countess Bezukhova, who had previously seemed to her such an unapproachable and important lady, and who was now so kind to her. Natasha felt cheerful and felt almost in love with this so beautiful and such a good-natured woman. Helen, for her part, sincerely admired Natasha and wanted to amuse her. Anatole asked her to set him up with Natasha, and for this she came to the Rostovs. The thought of setting up her brother with Natasha amused her.
Despite the fact that she had previously been annoyed with Natasha for having taken Boris away from her in St. Petersburg, she now did not think about it, and with all her soul, in her own way, wished Natasha well. Leaving the Rostovs, she withdrew her protegee aside.
- Yesterday my brother dined with me - we were dying of laughter - he didn’t eat anything and sighed for you, my precious. Il est fou, mais fou amoureux de vous, ma chere. [He goes crazy, but he goes crazy with love for you, my dear.]
Natasha blushed crimson hearing these words.
- How she blushes, how she blushes, ma delicieuse! [my precious!] - said Helen. - Definitely come. Si vous aimez quelqu"un, ma delicieuse, ce n"est pas une raison pour se cloitrer. Si meme vous etes promise, je suis sure que votre promis aurait desire que vous alliez dans le monde en son absence plutot que de deperir d'ennui. [Just because you love someone, my lovely, you should not live like a nun. Even if you are a bride, I am sure that your groom would prefer that you go out into society in his absence than die of boredom.]
“So she knows that I’m a bride, so she and her husband, with Pierre, with this fair Pierre,” thought Natasha, talked and laughed about it. So it’s nothing.” And again, under the influence of Helen, what had previously seemed terrible seemed simple and natural. “And she is such a grande dame, [important lady,] so sweet and obviously loves me with all her heart,” Natasha thought. And why not have fun? thought Natasha, looking at Helen with surprised, wide-open eyes.
Marya Dmitrievna returned to dinner, silent and serious, obviously defeated by the old prince. She was still too excited from the collision to be able to calmly tell the story. To the count's question, she answered that everything was fine and that she would tell him tomorrow. Having learned about Countess Bezukhova’s visit and invitation to the evening, Marya Dmitrievna said:
“I don’t like hanging out with Bezukhova and wouldn’t recommend it; Well, if you promised, go, you’ll be distracted,” she added, turning to Natasha.

Count Ilya Andreich took his girls to Countess Bezukhova. There were quite a lot of people at the evening. But the whole society was almost unfamiliar to Natasha. Count Ilya Andreich noted with displeasure that this entire society consisted mainly of men and women, known for their freedom of treatment. M lle Georges, surrounded by young people, stood in the corner of the living room. There were several Frenchmen, and among them Metivier, who had been her housemate since Helene's arrival. Count Ilya Andreich decided not to sit down at cards, not to leave his daughters, and to leave as soon as Georges' performance was over.
Anatole was obviously at the door waiting for the Rostovs to enter. He immediately greeted the count, approached Natasha and followed her. As soon as Natasha saw him, just like in the theater, a feeling of vain pleasure that he liked her and fear from the absence of moral barriers between her and him overwhelmed her. Helen joyfully received Natasha and loudly admired her beauty and dress. Soon after their arrival, M lle Georges left the room to get dressed. In the living room they began to arrange chairs and sit down. Anatole pulled out a chair for Natasha and wanted to sit next to her, but the count, who had not taken his eyes off Natasha, sat down next to her. Anatole sat in the back.
M lle Georges, with bare, dimpled, thick arms, wearing a red shawl worn over one shoulder, walked out into the empty space left for her between the chairs and stopped in an unnatural pose. An enthusiastic whisper was heard. M lle Georges looked sternly and gloomily at the audience and began to speak some poems in French, which dealt with her criminal love for her son. In some places she raised her voice, in others she whispered, raising her head solemnly, in others she stopped and wheezed, rolling her eyes.
- Adorable, divin, delicieux! [Delightful, divine, wonderful!] - was heard from all sides. Natasha looked at fat Georges, but did not hear anything, did not see and did not understand anything of what was happening in front of her; she only felt again completely irrevocably in that strange, crazy world, so far from the previous one, in that world in which it was impossible to know what was good, what was bad, what was reasonable and what was crazy. Anatole was sitting behind her, and she, feeling his closeness, fearfully waited for something.
After the first monologue, the whole company stood up and surrounded m lle Georges, expressing their delight to her.
- How good she is! - Natasha said to her father, who, along with others, stood up and moved through the crowd towards the actress.
“I don’t find it, looking at you,” said Anatole, following Natasha. He said this at a time when she alone could hear him. “You are lovely... from the moment I saw you, I haven’t stopped....”
“Come on, let’s go, Natasha,” said the count, returning for his daughter. - How good!
Natasha, without saying anything, walked up to her father and looked at him with questioning, surprised eyes.
After several receptions of recitation, M lle Georges left and Countess Bezukhaya asked for company in the hall.
The Count wanted to leave, but Helen begged him not to spoil her impromptu ball. The Rostovs remained. Anatole invited Natasha to a waltz and during the waltz he, shaking her waist and hand, told her that she was ravissante [charming] and that he loved her. During the eco-session, which she again danced with Kuragin, when they were left alone, Anatole did not say anything to her and only looked at her. Natasha was in doubt whether she had seen what he said to her during the waltz in a dream. At the end of the first figure he shook her hand again. Natasha raised her frightened eyes to him, but there was such a self-confidently tender expression in his affectionate gaze and smile that she could not look at him and say what she had to say to him. She lowered her eyes.
“Don’t tell me such things, I’m engaged and love someone else,” she said quickly... “She looked at him. Anatole was not embarrassed or upset by what she said.
- Don't tell me about this. What do I care? - he said. “I’m saying that I’m madly, madly in love with you.” Is it my fault that you are amazing? Let's start.
Natasha, animated and anxious, looked around her with wide, frightened eyes and seemed more cheerful than usual. She remembered almost nothing of what happened that evening. They danced the Ecossaise and the Gros Vater, her father invited her to leave, she asked to stay. Wherever she was, no matter who she spoke to, she felt his gaze on her. Then she remembered that she asked her father for permission to go to the dressing room to straighten her dress, that Helen followed her, told her laughing about her brother’s love, and that in the small sofa room she again met Anatole, that Helen disappeared somewhere, they were left alone and Anatole, Taking her hand, he said in a gentle voice:
- I can’t go to you, but will I really never see you? I love you madly. Really never?...” and he, blocking her path, brought his face closer to hers.
His brilliant, large, masculine eyes were so close to her eyes that she saw nothing but these eyes.
- Natalie?! – his voice whispered questioningly, and someone painfully squeezed her hands.
- Natalie?!
“I don’t understand anything, I have nothing to say,” said her look.
Hot lips pressed against hers and at that very moment she felt free again, and the noise of Helen’s steps and dress was heard in the room. Natasha looked back at Helen, then, red and trembling, looked at him with frightened questioning and went to the door.
“Un mot, un seul, au nom de Dieu, [One word, only one, for God’s sake,” said Anatole.
She stopped. She really needed him to say this word, which would explain to her what had happened and to which she would answer him.
“Nathalie, un mot, un seul,” he kept repeating, apparently not knowing what to say, and he repeated it until Helen approached them.
Helen and Natasha went out into the living room again. Without staying for dinner, the Rostovs left.
Returning home, Natasha did not sleep all night: she was tormented by the insoluble question of who she loved, Anatole or Prince Andrei. She loved Prince Andrei - she remembered clearly how much she loved him. But she loved Anatole too, that was certain. “Otherwise, how could all this have happened?” she thought. “If after that, when I said goodbye to him, I could answer his smile with a smile, if I could allow this to happen, then it means that I fell in love with him from the first minute. This means that he is kind, noble and beautiful, and it was impossible not to love him. What should I do when I love him and love another? she told herself, not finding answers to these terrible questions.

The morning came with its worries and bustle. Everyone stood up, moved around, started talking, the milliners came again, Marya Dmitrievna came out again and called for tea. Natasha, with wide-open eyes, as if she wanted to intercept every glance directed at her, looked around restlessly at everyone and tried to seem the same as she had always been.
After breakfast, Marya Dmitrievna (this was her best time), sitting down in her chair, called Natasha and the old count to her.
“Well, my friends, now I’ve thought about the whole matter and here’s my advice to you,” she began. – Yesterday, as you know, I was with Prince Nikolai; Well, I talked to him... He decided to shout. You can't shout me down! I sang everything to him!
- What is he? - asked the count.
- What is he? crazy guy... doesn’t want to hear; Well, what can I say, and so we tormented the poor girl,” said Marya Dmitrievna. “And my advice to you is to finish things off and go home to Otradnoye... and wait there...
- Oh, no! – Natasha screamed.
“No, let’s go,” said Marya Dmitrievna. - And wait there. “If the groom comes here now, there won’t be a quarrel, but here he will talk everything over alone with the old man and then come to you.”
Ilya Andreich approved this proposal, immediately understanding its reasonableness. If the old man relents, then all the better it will be to come to him in Moscow or Bald Mountains, later; if not, then it will be possible to get married against his will only in Otradnoye.
“And the true truth,” he said. “I regret that I went to him and took her,” said the old count.
- No, why regret it? Having been here, it was impossible not to pay respects. Well, if he doesn’t want to, it’s his business,” said Marya Dmitrievna, looking for something in the reticule. - Yes, and the dowry is ready, what else do you have to wait for? and what’s not ready, I’ll send it to you. Although I feel sorry for you, it’s better to go with God. “Having found what she was looking for in the reticule, she handed it to Natasha. It was a letter from Princess Marya. - He writes to you. How she suffers, poor thing! She is afraid that you will think that she does not love you.
“Yes, she doesn’t love me,” said Natasha.
“Nonsense, don’t talk,” shouted Marya Dmitrievna.
- I won’t trust anyone; “I know that he doesn’t love me,” Natasha said boldly, taking the letter, and her face expressed dry and angry determination, which made Marya Dmitrievna look at her more closely and frown.
“Don’t answer like that, mother,” she said. – What I say is true. Write an answer.
Natasha did not answer and went to her room to read Princess Marya’s letter.
Princess Marya wrote that she was in despair over the misunderstanding that had occurred between them. Whatever her father’s feelings, Princess Marya wrote, she asked Natasha to believe that she could not help but love her as the one chosen by her brother, for whose happiness she was ready to sacrifice everything.
“However,” she wrote, “don’t think that my father was ill-disposed towards you. He is a sick and old man who needs to be excused; but he is kind, generous and will love the one who will make his son happy.” Princess Marya further asked that Natasha set a time when she could see her again.
After reading the letter, Natasha sat down at the desk to write a response: “Chere princesse,” [Dear princess], she wrote quickly, mechanically and stopped. “What could she write next after everything that happened yesterday? Yes, yes, all this happened, and now everything is different,” she thought, sitting over the letter she had begun. “Should I refuse him? Is it really necessary? This is terrible!”... And in order not to think these terrible thoughts, she went to Sonya and together with her began to sort out the patterns.
After dinner, Natasha went to her room and again took Princess Marya’s letter. - “Is it really all over? she thought. Did all this really happen so quickly and destroy everything that was before”! She recalled with all her former strength her love for Prince Andrei and at the same time felt that she loved Kuragin. She vividly imagined herself as Prince Andrei’s wife, imagined the picture of happiness with him repeated so many times in her imagination, and at the same time, flushed with excitement, imagined all the details of her yesterday’s meeting with Anatole.
“Why couldn’t it be together? sometimes, in complete eclipse, she thought. Then only I would be completely happy, but now I have to choose and without either of both I cannot be happy. One thing, she thought, to say what was meant to Prince Andrei or to hide it is equally impossible. And nothing is spoiled with this. But is it really possible to part forever with this happiness of Prince Andrei’s love, which I lived with for so long?”
“Young lady,” the girl said in a whisper with a mysterious look, entering the room. - One person told me to tell it. The girl handed over the letter. “Only for Christ’s sake,” the girl was still saying when Natasha, without thinking, broke the seal with a mechanical movement and read Anatole’s love letter, of which she, without understanding a word, understood only one thing - that this letter was from him, from that man, whom she loves. “Yes, she loves, otherwise how could what happened happen? Could there be a love letter from him in her hand?
With shaking hands, Natasha held this passionate, love letter, composed for Anatoly by Dolokhov, and, reading it, found in it echoes of everything that it seemed to her that she herself felt.
“Since last night, my fate has been decided: to be loved by you or to die. I have no other choice,” the letter began. Then he wrote that he knew that her relatives would not give her to him, Anatoly, that there were secret reasons for this that he alone could reveal to her, but that if she loved him, then she should say this word yes, and no human forces will not interfere with their bliss. Love will conquer everything. He will kidnap and take her to the ends of the world.
“Yes, yes, I love him!” thought Natasha, re-reading the letter for the twentieth time and looking for some special deep meaning in every word.
That evening Marya Dmitrievna went to the Arkharovs and invited the young ladies to go with her. Natasha stayed at home under the pretext of a headache.

Returning late in the evening, Sonya entered Natasha's room and, to her surprise, found her not undressed, sleeping on the sofa. On the table next to her lay an open letter from Anatole. Sonya took the letter and began to read it.
She read and looked at the sleeping Natasha, looking on her face for an explanation of what she was reading, but did not find it. The face was quiet, meek and happy. Clutching her chest so as not to suffocate, Sonya, pale and trembling with fear and excitement, sat down on a chair and burst into tears.
“How did I not see anything? How could it have gone this far? Has she really stopped loving Prince Andrei? And how could she let Kuragin do this? He is a deceiver and a villain, that much is clear. What will happen to Nicolas, sweet, noble Nicolas, when he finds out about this? So this is what her excited, determined and unnatural face meant the third day, both yesterday and today, Sonya thought; but it cannot be that she loves him! Probably, not knowing from whom, she opened this letter. She's probably offended. She can't do this!
Sonya wiped away her tears and walked up to Natasha, again peering into her face.
- Natasha! – she said barely audible.
Natasha woke up and saw Sonya.
- Oh, she’s back?
And with the determination and tenderness that happens in moments of awakening, she hugged her friend, but noticing the embarrassment on Sonya’s face, Natasha’s face expressed embarrassment and suspicion.
- Sonya, have you read the letter? - she said.
“Yes,” Sonya said quietly.
Natasha smiled enthusiastically.
- No, Sonya, I can’t do it anymore! - she said. “I can’t hide it from you anymore.” You know, we love each other!... Sonya, my dear, he writes... Sonya...
Sonya, as if not believing her ears, looked at Natasha with all her eyes.
- And Bolkonsky? - she said.
- Oh, Sonya, oh, if only you could know how happy I am! – Natasha said. -You don’t know what love is...
– But, Natasha, is it really all over?
Natasha looked at Sonya with big, open eyes, as if not understanding her question.
- Well, are you refusing Prince Andrei? - said Sonya.
“Oh, you don’t understand anything, don’t talk nonsense, just listen,” Natasha said with instant annoyance.
“No, I can’t believe it,” Sonya repeated. - I don't understand. How did you love one person for a whole year and suddenly... After all, you only saw him three times. Natasha, I don’t believe you, you’re being naughty. In three days, forget everything and so...
“Three days,” Natasha said. “It seems to me that I have loved him for a hundred years.” It seems to me that I have never loved anyone before him. You can't understand this. Sonya, wait, sit here. – Natasha hugged and kissed her.
“They told me that this happens and you heard correctly, but now I have only experienced this love.” It's not what it used to be. As soon as I saw him, I felt that he was my master, and I was his slave, and that I could not help but love him. Yes, slave! Whatever he tells me, I will do. You don't understand this. What should I do? What should I do, Sonya? - Natasha said with a happy and frightened face.
“But think about what you’re doing,” said Sonya, “I can’t leave it like that.” These secret letters... How could you let him do this? - she said with horror and disgust, which she could hardly hide.
“I told you,” Natasha answered, “that I have no will, but you don’t understand this: I love him!”
“Then I won’t let this happen, I’ll tell you,” Sonya screamed with tears breaking through.
“What are you, for God’s sake... If you tell me, you are my enemy,” Natasha spoke. - You want my misfortune, you want us to be separated...
Seeing this fear of Natasha, Sonya cried tears of shame and pity for her friend.
- But what happened between you? – she asked. -What did he tell you? Why doesn't he go to the house?
Natasha did not answer her question.
“For God’s sake, Sonya, don’t tell anyone, don’t torture me,” Natasha begged. – You remember that you cannot interfere in such matters. I opened it for you...
– But why these secrets! Why doesn't he go to the house? – Sonya asked. - Why doesn’t he directly seek your hand? After all, Prince Andrei gave you complete freedom, if that’s the case; but I don't believe it. Natasha, have you thought about what secret reasons there could be?
Natasha looked at Sonya with surprised eyes. Apparently, this was the first time she had asked this question and she didn’t know how to answer it.
– I don’t know what the reasons are. But there are reasons!
Sonya sighed and shook her head in disbelief.
“If there were reasons...” she began. But Natasha, guessing her doubt, interrupted her in fear.
- Sonya, you can’t doubt him, you can’t, you can’t, do you understand? – she shouted.
– Does he love you?
- Does he love you? – Natasha repeated with a smile of regret about her friend’s lack of understanding. – You read the letter, did you see it?
- But what if he is an ignoble person?
– Is he!... an ignoble person? If only you knew! - Natasha said.
“If he is a noble man, then he must either declare his intention or stop seeing you; and if you don’t want to do this, then I will do it, I will write to him, I will tell dad,” Sonya said decisively.
- Yes, I can’t live without him! – Natasha shouted.
- Natasha, I don’t understand you. And what are you saying! Remember your father, Nicolas.
“I don’t need anyone, I don’t love anyone but him.” How dare you say that he is ignoble? Don't you know that I love him? – Natasha shouted. “Sonya, go away, I don’t want to quarrel with you, go away, for God’s sake go away: you see how I’m suffering,” Natasha shouted angrily in a restrained, irritated and desperate voice. Sonya burst into tears and ran out of the room.
Natasha went to the table and, without thinking for a minute, wrote that answer to Princess Marya, which she could not write the whole morning. In this letter, she briefly wrote to Princess Marya that all their misunderstandings were over, that, taking advantage of the generosity of Prince Andrei, who, when leaving, gave her freedom, she asks her to forget everything and forgive her if she is guilty before her, but that she cannot be his wife . It all seemed so easy, simple and clear to her at that moment.

On Friday the Rostovs were supposed to go to the village, and on Wednesday the count went with the buyer to his village near Moscow.
On the day of the count's departure, Sonya and Natasha were invited to a big dinner with the Karagins, and Marya Dmitrievna took them. At this dinner, Natasha again met with Anatole, and Sonya noticed that Natasha was saying something to him, wanting not to be heard, and throughout the dinner she was even more excited than before. When they returned home, Natasha was the first to begin with Sonya the explanation that her friend was waiting for.
“You, Sonya, said all sorts of stupid things about him,” Natasha began in a meek voice, the voice that children use when they want to be praised. - We explained it to him today.
- Well, what, what? Well, what did he say? Natasha, how glad I am that you are not angry with me. Tell me everything, the whole truth. What did he say?
Natasha thought about it.
- Oh Sonya, if only you knew him like I do! He said... He asked me about how I promised Bolkonsky. He was glad that it was up to me to refuse him.
Sonya sighed sadly.
“But you didn’t refuse Bolkonsky,” she said.
– Or maybe I refused! Maybe it's all over with Bolkonsky. Why do you think so badly of me?
- I don’t think anything, I just don’t understand it...
- Wait, Sonya, you will understand everything. You will see what kind of person he is. Don't think bad things about me or him.
– I don’t think anything bad about anyone: I love everyone and feel sorry for everyone. But what should I do?
Sonya did not give in to the gentle tone with which Natasha addressed her. The softer and more searching the expression on Natasha’s face was, the more serious and stern Sonya’s face was.
“Natasha,” she said, “you asked me not to talk to you, I didn’t, now you started it yourself.” Natasha, I don't believe him. Why this secret?
- Again, again! – Natasha interrupted.
– Natasha, I’m afraid for you.
- What to be afraid of?
“I’m afraid that you will destroy yourself,” Sonya said decisively, herself frightened by what she said.
Natasha's face again expressed anger.
“And I will destroy, I will destroy, I will destroy myself as quickly as possible.” None of your business. It will feel bad not for you, but for me. Leave me, leave me. I hate you.
- Natasha! – Sonya cried out in fear.
- I hate it, I hate it! And you are my enemy forever!
Natasha ran out of the room.
Natasha no longer spoke to Sonya and avoided her. With the same expression of excited surprise and criminality, she walked around the rooms, taking up first this or that activity and immediately abandoning them.
No matter how hard it was for Sonya, she kept an eye on her friend.
On the eve of the day on which the count was supposed to return, Sonya noticed that Natasha had been sitting all morning at the living room window, as if expecting something, and that she made some kind of sign to a passing military man, whom Sonya mistook for Anatole.
Sonya began to observe her friend even more carefully and noticed that Natasha was in a strange and unnatural state all the time during lunch and evening (she answered questions asked to her at random, started and did not finish sentences, laughed at everything).
After tea, Sonya saw a timid girl's maid waiting for her at Natasha's door. She let her through and, listening at the door, learned that a letter had been delivered again. And suddenly it became clear to Sonya that Natasha had some terrible plan for this evening. Sonya knocked on her door. Natasha didn't let her in.
“She'll run away with him! thought Sonya. She is capable of anything. Today there was something especially pitiful and determined in her face. She cried, saying goodbye to her uncle, Sonya recalled. Yes, it’s true, she’s running with him, but what should I do?” thought Sonya, now recalling those signs that clearly proved why Natasha had some terrible intention. “There is no count. What should I do, write to Kuragin, demanding an explanation from him? But who tells him to answer? Write to Pierre, as Prince Andrei asked, in case of an accident?... But maybe, in fact, she has already refused Bolkonsky (she sent a letter to Princess Marya yesterday). There’s no uncle!” It seemed terrible to Sonya to tell Marya Dmitrievna, who believed so much in Natasha. “But one way or another,” Sonya thought, standing in the dark corridor: now or never the time has come to prove that I remember the benefits of their family and love Nicolas. No, even if I don’t sleep for three nights, I won’t leave this corridor and forcefully let her in, and I won’t let shame fall on their family,” she thought.

Anatole recently moved in with Dolokhov. The plan to kidnap Rostova had been thought out and prepared by Dolokhov for several days, and on the day when Sonya, having overheard Natasha at the door, decided to protect her, this plan had to be carried out. Natasha promised to go out to Kuragin’s back porch at ten o’clock in the evening. Kuragin had to put her in a prepared troika and take her 60 versts from Moscow to the village of Kamenka, where a disrobed priest was prepared who was supposed to marry them. In Kamenka, a setup was ready that was supposed to take them to the Warsaw road and there they were supposed to ride abroad on postal ones.
Anatole had a passport, and a travel document, and ten thousand money taken from his sister, and ten thousand borrowed through Dolokhov.
Two witnesses - Khvostikov, a former clerk, whom Dolokhov used for games, and Makarin, a retired hussar, a good-natured and weak man who had boundless love for Kuragin - were sitting in the first room having tea.

Founders of humanism (Renaissance)

The emergence of Renaissance literature in the second half of the 14th century. associated with the names of Francesco Petrarch and Giovanni Boccaccio. They affirmed humanistic ideas of personal dignity, linking it not with birth, but with the valiant deeds of a person, his freedom and the right to enjoy the joys of earthly life.

The poet and philosopher Francesca Petrarch (1304-1374) is unanimously considered the founder of humanism. Petrarch was the first great humanist, poet and citizen who was able to discern the integrity of the pre-Renaissance currents of thought and unite them in a poetic synthesis that became the program of coming European generations. With his creativity, he managed to instill in these future diverse generations of Western and Eastern Europe a consciousness - albeit not always clear - of a certain spiritual and cultural unity, the beneficial effects of which are reflected in our modern age.

His work marks the beginning of many paths along which the development of Renaissance culture took place in Italy. In the treatise “On the Ignorance of His Own and Many Others,” he decisively rejects the scholastic scholarship inherent in the Middle Ages, in relation to which he demonstratively proclaims his supposed ignorance, for he considers such scholarship to be completely useless for the day of the man of his time.

The aforementioned treatise reveals a fundamentally new approach to the assessment of ancient heritage. According to Petrarch, it is not the blind imitation of the thoughts of remarkable predecessors that will allow us to achieve a new flowering of literature, art, and science, but the desire to rise to the heights of ancient culture and at the same time rethink and in some way surpass it. This line, outlined by Petrarch, became the leading one in relation to humanism towards the ancient heritage.

The first humanist believed that the content of true philosophy should be the sciences about man, and throughout his work there is a call to reorient philosophy towards this worthy object of knowledge.

With his reasoning, Petrarch laid the foundation for the formation of personal self-awareness of the Renaissance. In different eras, a person perceives himself differently. A medieval person was perceived as more valuable as an individual, the more his behavior corresponded to the norms accepted in the corporation. He asserted himself through the most active inclusion in a social group, in a corporation, in a divinely established order - such is the social valor required of an individual. The Renaissance man gradually abandoned universal medieval concepts, turning to the specific, individual.

Humanists are developing a new approach to understanding man, in which the concept of activity plays a huge role. The value of a human person for them is determined not by origin or social affiliation, but by personal merit and the fruitfulness of its activities.

A striking embodiment of this approach can be, for example, the versatile activities of the famous humanist Leon Battista Alberta (1404-1472). He was an architect, painter, author of treatises on art, and formulated the principles of pictorial composition - balance and symmetry of color, gestures and poses of characters. According to Albert, a person is able to overcome the vicissitudes of fate only through his own activity. “He who does not want to be defeated wins easily. He who is accustomed to obey endures the yoke of fate.”

However, it would be wrong to idealize humanism and not notice its individualistic tendencies. The work of Lorenzo Valla (1407-1457) can be considered a true hymn to individualism. In his main philosophical work, “On Pleasure,” Valla proclaims the desire for pleasure to be an essential property of man. The measure of morality for him is personal good. “I cannot sufficiently understand why someone would want to die for their country. You are dying because you do not want your homeland to perish, as if with your death it will not perish either.” Such a worldview position looks asocial.

Humanistic thought of the second half of the 15th century. enriched with new ideas, the most important of which was the idea of ​​personal dignity, indicating the special properties of man in comparison with other creatures and his special position in the world. Giovanni Pico della Mirandola (1463-1494), in his powerful Oration on the Dignity of Man, places him at the center of the world:

“We do not give you, O Adam, neither your place, nor a specific image, nor a special duty, so that you have the place, and the person, and the duties of your own free will, according to your will and your decision.”

It is argued that God (contrary to church dogma) did not create man in his own image and likeness, but gave him the opportunity to create himself. The culmination of humanistic anthropocentrism is Pico's idea that the dignity of man lies in his freedom: he can become whoever he wants.

Glorifying the power of man and his greatness, admiring his amazing creations, the thinkers of the Renaissance inevitably came to bring man closer to God.

“Man tames the winds and conquers the seas, knows the count of time... In addition, with the help of a lamp, he turns night into day. Finally, the divinity of man is revealed to us by magic. She creates miracles with human hands - both those that nature can create, and those that only God can create.”

In similar arguments of Giannozzo Manetti (1396-1472), Marsilio Ficino (1433-1499), Tommaso Campanella (1568-1639), Pico (1463-1494) and others, the most important characteristic of humanistic anthropocentrism was revealed - the tendency to deify man.

However, the humanists were neither heretics nor atheists. On the contrary, the overwhelming majority of them remained believers. But if the Christian worldview argued that God should come first, and then man, then the humanists put man in the foreground, and then talked about God.

The presence of God in the philosophy of even the most radical thinkers of the Renaissance presupposed at the same time a critical attitude towards the church as a social institution. The humanistic worldview, therefore, also includes anti-clerical (from the Latin anti - against, clericalis - church) views, i.e. views directed against the claims of the church and clergy to dominate society.

The works of Lorenzo Valla, Leonardo Bruni (1374-1444), Poggio Bracciolini (1380-1459), Erasmus of Rotterdam (1469-1536) and others contain statements against the secular power of the popes, exposure of the vices of church ministers and the moral depravity of monasticism. However, this did not prevent many humanists from becoming ministers of the church, and two of them - Tommaso Parentucelli and Enea Silvio Piccolomini - were even erected in the 15th century. to the papal throne.

The Birth of the Reformation

It must be said that until the middle of the 16th century. persecution of humanists by the Catholic Church is an extremely rare occurrence. The champions of the new secular culture were not afraid of the fires of the Inquisition and were known as good Christians. And only the Reformation - (from Latin reformatio - transformation) a movement for the renewal of faith, turning against the papacy - forced the church to go on the offensive.

The relationship between the Reformation and the Renaissance is contradictory. On the one hand, the humanists of the Renaissance and representatives of the Reformation were united by a deep hostility to scholasticism, a thirst for religious renewal, and the idea of ​​a return to origins (in one case - to the ancient, in the other - to the evangelical). On the other hand, the Reformation is a protest against the Renaissance exaltation of man.

This inconsistency is fully manifested when comparing the views of the founder of the Reformation, Martin Luther, and the Dutch humanist Erasmus of Rotterdam. Erasmus's thoughts often echo those of Luther: this is a sarcastic look at the privileges of the Catholic hierarchy, and caustic remarks about the way of thinking of Roman theologians. But they differed on free will. Luther defended the idea that in the face of God man has neither will nor dignity. Only if a person realizes that he cannot be the creator of his own destiny can he be saved. And the only and sufficient condition for salvation is faith. For Erasmus, human freedom meant no less than God. For him, Holy Scripture is a call addressed by God to man, and the latter is free to respond to it or not.

One way or another, the Renaissance, which replaced the Middle Ages, “built on” Christian ethics and contributed to the further development of humanism.

The term “humanism” comes from the Latin “humanitas” (humanity), which was used back in the 1st century. BC. famous Roman orator Cicero

(106-43 BC). For him, humanitas is the upbringing and education of a person, contributing to his elevation.

The principle of humanism presupposed an attitude towards man as the highest value, respect for the dignity of each individual, his right to life, free development, the realization of his abilities and the pursuit of happiness.

Humanism presupposes the recognition of all fundamental human rights and affirms the good of the individual as the highest criterion for evaluating any social activity.

As a cultural movement, humanism arose in the 14th century in Italy and spread to Western Europe from the 15th century. The Renaissance, or Renaissance (from the French renaitre - to be reborn) became one of the most striking eras in the development of European culture, spanning almost three centuries from the middle of the 14th century. until the first decades of the 17th century. This was an era of major changes in the history of nations

Europe. In conditions of a high level of urban civilization, the process of the emergence of capitalist relations and the crisis of feudalism began, the formation of nations and the creation of large national states took place, a new form of political system appeared - the absolute monarchy, new social groups were formed - the bourgeoisie and hired workers. The spiritual world of man also changed. The Renaissance man was gripped by a thirst for self-affirmation and great achievements, actively involved in public life, rediscovered the natural world, strived for a deep understanding of it, and admired its beauty. The culture of the Renaissance is characterized by a secular perception and understanding of the world, an affirmation of the value of earthly existence, the greatness of the mind and creative abilities of man, and the dignity of the individual. Humanism became the ideological basis of Renaissance culture.

Humanists opposed the dictatorship of the Catholic Church in the spiritual life of society. They criticized the method of scholastic science, based on formal logic (dialectics), rejected its dogmatism and faith in authorities, thereby clearing the way for the free development of scientific thought.

At first it manifested itself in the form of a defense of secular values ​​against oppression by the ascetic medieval church. Some Italian universities have returned to the half-forgotten and rejected ancient cultural and scientific heritage of the Middle Ages. In improving the spiritual nature of man, the main role was given to a complex of disciplines consisting of grammar, rhetoric, poetry, history, and ethics. It was these disciplines that became the theoretical basis of Renaissance culture and were called “studia humanitatis” (humanitarian disciplines). The Latin concept of “humanitas” then meant the desire to develop human dignity in spite of the long-term devaluation of everything connected with human life.

The ideal was seen in the harmony between enlightenment and activity.

Humanists called for the study of ancient culture, which the church rejected as pagan, accepting from it only that which did not contradict Christian doctrine. The restoration of the ancient heritage was not an end in itself for them, but served as the basis for solving pressing problems of our time, for building a new culture. The emergence of Renaissance literature in the second half of the 14th century. associated with the names of Francesco Petrarch and

Giovanni Boccaccio. They affirmed humanistic ideas of personal dignity, linking it not with birth, but with the valiant deeds of a person, his freedom and the right to enjoy the joys of earthly life.

The poet and philosopher are unanimously considered the founder of humanism Francesca

Petrarch (1304-1374). Petrarch was the first great humanist, poet and citizen who was able to discern the integrity of the pre-Renaissance currents of thought and unite them in a poetic synthesis that became the program of coming European generations. With his creativity, he managed to instill in these future diverse generations of Western and Eastern Europe a consciousness - albeit not always clear - of a certain spiritual and cultural unity, the beneficial effects of which are reflected in our modern age.

His work marks the beginning of many paths along which the development of Renaissance culture took place in Italy. In the treatise “On the Ignorance of His Own and Many Others,” he decisively rejects the scholastic scholarship inherent in the Middle Ages, in relation to which he demonstratively proclaims his supposed ignorance, because he considers such scholarship to be completely useless for a man of his time.

The aforementioned treatise reveals a fundamentally new approach to the assessment of ancient heritage. According to Petrarch, it is not the blind imitation of the thoughts of remarkable predecessors that will allow us to achieve a new flowering of literature, art, and science, but the desire to rise to the heights of ancient culture and at the same time rethink and in some way surpass it. This line, outlined by Petrarch, became the leading one in relation to humanism towards the ancient heritage.

The first humanist believed that the content of true philosophy should be the sciences about man, and throughout his work there is a call to reorient philosophy towards this worthy object of knowledge.

With his reasoning, Petrarch laid the foundation for the formation of personal self-awareness of the Renaissance. In different eras, a person perceives himself differently. A medieval person was perceived as more valuable as an individual, the more his behavior corresponded to the norms accepted in the corporation. He asserted himself through the most active inclusion in a social group, in a corporation, in a divinely established order - such is the social valor required of an individual. The Renaissance man gradually abandoned universal medieval concepts, turning to the specific, individual.

Humanists are developing a new approach to understanding man, in which the concept of activity plays a huge role. The value of a human person for them is determined not by origin or social affiliation, but by personal merit and the fruitfulness of its activities.

A striking embodiment of this approach can be, for example, the versatile activities of the famous humanist Leona Battista Alberta (1404-1472). He was an architect, painter, author of treatises on art, and formulated the principles of pictorial composition - balance and symmetry of color, gestures and poses of characters. According to Albert, a person is able to overcome the vicissitudes of fate only through his own activity. “He who does not want to be defeated easily wins. He who is accustomed to obey endures the yoke of fate.”

However, it would be wrong to idealize humanism and not notice its individualistic tendencies. Creativity can be considered a true hymn to individualism Lorenzo Valla (1407-1457). In his main philosophical work, “On Pleasure,” Valla proclaims the desire for pleasure to be an essential property of man. The measure of morality for him is personal good. “I cannot sufficiently understand why someone wants to die for their homeland. You are dying because you do not want your homeland to perish, as if with your death it will not perish either.” Such a worldview position looks asocial.

Humanistic thought of the second half of the 15th century. enriched with new ideas, the most important of which was the idea of ​​personal dignity, indicating the special properties of man in comparison with other creatures and his special position in the world. Giovanni Pico della Mirandola (1463-1494) in his powerful “Speech on the Dignity of Man,” he places him at the center of the world:

“We do not give you, O Adam, neither your place, nor a specific image, nor a special duty, so that you have a place, a person, and duties of your own free will, according to your will and your decision.”

It is argued that God (contrary to church dogma) did not create man in his own image and likeness, but gave him the opportunity to create himself. The culmination of humanistic anthropocentrism is Pico's idea that the dignity of man lies in his freedom: he can become whoever he wants.

Glorifying the power of man and his greatness, admiring his amazing creations, the thinkers of the Renaissance inevitably came to bring man closer to God.

“Man tames the winds and conquers the seas, knows the count of time... In addition, with the help of a lamp, he turns night into day. Finally, the divinity of man is revealed to us by magic. She creates miracles with human hands - both those that nature can create and those that only God can create.”

In similar reasoning Giannozzo Manetti (1396-1472), Marsilio Ficino

(1433-1499), Tommaso Campanella (1568-1639), Pico (1463-1494) and others, the most important characteristic of humanistic anthropocentrism manifested itself - the tendency to deify man.

However, the humanists were neither heretics nor atheists. On the contrary, the overwhelming majority of them remained believers. But if the Christian worldview argued that God should come first, and then man, then the humanists put man in the foreground, and then talked about God.

The presence of God in the philosophy of even the most radical thinkers of the Renaissance presupposed at the same time a critical attitude towards the church as a social institution. The humanistic worldview, therefore, also includes anti-clerical (from the Latin anti - against, clericalis - church) views, i.e. views directed against the claims of the church and clergy to dominate society.

In essays Lorenzo Valla, Leonardo Bruni (1374-1444), Poggio

Bracciolini (1380-1459), Erasmus of Rotterdam (1469-1536) and others contain statements against the secular power of the popes, exposure of the vices of church ministers and the moral depravity of monasticism. However, this did not prevent many humanists from becoming ministers of the church, and two of them -

Tommaso Parentucelli and Enea Silvio Piccolomini - were even erected in the 15th century. to the papal throne.

It must be said that until the middle of the 16th century. persecution of humanists by the Catholic Church is an extremely rare occurrence. The champions of the new secular culture were not afraid of the fires of the Inquisition and were known as good Christians. And only the Reformation - (from Latin reformatio - transformation) a movement for the renewal of faith, turning against the papacy - forced the church to go on the offensive.

The relationship between the Reformation and the Renaissance is contradictory. On the one hand, the humanists of the Renaissance and representatives of the Reformation were united by a deep hostility to scholasticism, a thirst for religious renewal, and the idea of ​​a return to origins (in one case - to the ancient, in the other - to the evangelical). On the other hand, the Reformation is a protest against the Renaissance exaltation of man.

This inconsistency is fully manifested when comparing the views of the founder of the Reformation, Martin Luther, and the Dutch humanist

Erasmus of Rotterdam. Erasmus's thoughts often echo the arguments

Luther: this is both a sarcastic look at the privileges of the Catholic hierarchy and caustic remarks about the way of thinking of Roman theologians. But they differed on free will. Luther defended the idea that in the face of God man has neither will nor dignity. Only if a person realizes that he cannot be the creator of his own destiny can he be saved. And the only and sufficient condition for salvation is faith. For Erasmus, human freedom meant no less than God.

For him, Holy Scripture is a call addressed by God to man, and the latter is free to respond to it or not.

One way or another, the Renaissance, which replaced the Middle Ages, “built on” Christian ethics and contributed to the further development of humanism.