INSPIRATION CRITICISM AND SATIRE

IN RENAISSANCE
By: Eliseo Alexander Vasquez Chavez.

Univercidad Gerardo Barrios

Lic Ely Guillermo Ayala Quintanilla
 Inspiration in Renaissance.
We all know the Renaissance as the period that the Middle Ages
unfolded and clearly in Europe since much of the Renaissance
took place in that place, now the important thing about this first
theme is that the inspiration of what we know today as the
renaissance came from an interest in not only scripture or art,
but was also focused on classical learning and also knowing the
values of ancient Greece and Rome, in other words the
inspiration was in a context of political stability and prosperity
growing, the development of new technologies, including
printing, a new astronomy system and the discovery and
exploration of new continents, It was accompanied by a
flourishing of philosophy, literature, and especially art. The
style of painting, sculpture and decorative arts identified with the Renaissance emerged in Italy
in the late fourteenth century; It reached its zenith in the late fifteenth and early sixteenth
centuries, in the work of Italian masters such as Leonardo da Vinci, Michelangelo and Raphael.
In addition to its expression of classical Greco-Roman traditions, Renaissance art sought to
capture the experience of the individual and the beauty and mystery of the natural world, on the
other hand, the Renaissance has a fairly important origin which makes us understand more about
its inspiration.
Well, the origin of art is what stands out most in the Renaissance, for that reason the origins of
Renaissance art date back to Italy in the late 13th and early 14th centuries. During this period
called "proto-renaissance" (1280-1400), Italian scholars and artists saw themselves as an
awakening to the ideals and achievements of classical Roman culture. Writers like Petrarch
(1304-1374) and Giovanni Boccaccio (1313-1375) looked to ancient Greece and Rome and tried
to revive the languages, values, and intellectual traditions of those cultures after the long period
of stagnation that followed the fall. from The Roman Empire in the 6th century.
As a curious fact of this investigation, did you know? Leonardo da Vinci,
the last "man of the Renaissance", practiced all the visual arts and studied
a wide range of subjects, including anatomy, geology, botany, hydraulics,
and flight. Her formidable reputation is based on relatively few finished
paintings, including "Mona Lisa," "The Virgin of the Rocks" and "The
Last Supper."
Continuing on the theme, in the late fourteenth century the proto-
Renaissance was quelled by plague and war, and its influences did not re-
emerge until the early years of the next century. In 1401, the sculptor Lorenzo Ghiberti (c. 1378-
1455) won an important competition to design a new set of bronze doors for the Baptistery of the
Florence Cathedral, surpassing contemporaries such as the architect Filippo Brunelleschi (1377-
1446) and The young Donatello (c. 1386-1466), who would later emerge as the master of early
Renaissance sculpture.
There is another artist who during this period of work was the painter Masaccio (1401-1428),
known for his frescoes of the Trinity in the Church of Santa Maria Novella (c. 1426) and in the
Brancacci Chapel of the Church of Santa Maria del Carmine. (c. 1427), both in Florence.
Masaccio painted for less than six years, but he had a great influence on the early Renaissance
due to the intellectual nature of his work, as well as his degree of naturalism. But in addition to
painters, writers, there are other points that helped Inspiration in Renaissance take on even more
strength with the arrival of Florence in Inspiration in Renaissance.
Although the Catholic Church remained a major patron of the arts during the Renaissance, from
popes and other prelates to convents, monasteries, and other religious organizations, works of art
were increasingly commissioned by the civil government, the courts, and the wealthy. . Much of
the art produced during the early Renaissance was commissioned by the wealthy merchant
families of Florence, especially the Medici family.
From 1434 to 1492, when Lorenzo de 'Medici, known as "the Magnificent" for his strong
leadership and support of the arts, died, the powerful family presided over a golden age for the
city of Florence. Expelled from power by a republican coalition in 1494, the Medici family spent
years in exile, but returned in 1512 to preside over another flourishing of Florentine art,
including the variety of sculptures that now decorate the city's Piazza della Signoria.
After all the aforementioned, the highest point of art is reached in the Renaissance and it is here
where we can understand why it was really called Inspiration in Renaissance since this is where
art, literature, and everything related to the Renaissance bears fruit. , and well, by the end of the
15th century, Rome had displaced Florence as the main center of Renaissance art, reaching a
high point under the powerful and ambitious Pope Leo X (a son of Lorenzo de 'Medici). Three
great masters, Leonardo da Vinci, Michelangelo and Raphael, dominated the period known as
the High Renaissance, which lasted from approximately the early 1490s until the sack of Rome
by the troops of the Holy Roman Emperor Charles V of Spain in 1527. Leonardo (1452-1519)
was the last "man of the Renaissance" because of the breadth of his intellect, interest and talent
and his expression of humanistic and classical values. Leonardo's best-known works, including
the "Mona Lisa" (1503-05), "The Virgin of the Rocks" (1485) and the fresco "The Last Supper"
(1495-98), show his incomparable ability to portray the light and shadow, as well as the physical
relationship between figures, humans, animals and objects alike, and the landscape that
surrounds them.
And well, here Michelangelo Buonarroti (1475-1564) made an appeal to the
human body for inspiration and created works on a large scale. He was the
dominant sculptor of the High Renaissance, producing pieces such as Pietà in the
Cathedral of San Pedro (1499) and David in his native Florence (1501-04). He
sculpted the latter by hand from a huge block of marble; The famous statue is
five meters tall, including its base. Although Michelangelo considered himself a
sculptor in the first place, he also achieved greatness as a painter, especially with
his giant fresco covering the ceiling of the Sistine Chapel, completed over four
years (1508-12) and depicting various scenes from the Genesis.
And last but not least, Raphael Sanzio, the youngest of the three great masters of the
High Renaissance, learned from both da Vinci and Michelangelo. His paintings,
especially "The School of Athens" (1508-11), painted in the Vatican at the same time
that Michelangelo worked in the Sistine Chapel, skillfully expressed the classic ideals
of beauty, serenity and harmony. Among the other great Italian artists who worked during this
period were Sandro Botticelli, Bramante, Giorgione, Tiziano and Correggio.
And well, this is where everything is reflected in why it is called Inspiration in Renaissance.
 Criticism and Satire in
Renaissance.
Satirical poetry has existed in some form since the ancient Greek period, but the Romans were
the first to classify it as a genre in itself. The 1st-century rhetoric Quintilian claimed that satire
was a distinctively Roman achievement, originating from Lucilius's verse satires and
progressively becoming more refined by the poets Horace, Persian, and Juvenal. From the
Renaissance to the Romantic period, satirists and commentators continued to look at the classic
heritage of the genre to provide an authoritative basis for their enterprise.
Elizabethan writers on satire argued that the genre was harsh,
savage, and vituperative, originating from the misanthropic
"satyr" figure of the Greek drama. This image was adapted to
the group of angry young men who wrote verse satire in
English in the 1590s, modeling their attitudes about Juvenal
and Persius' "biting" satirical fury. During the 17th century,
French and English critics like Isaac Casaubon, Nicolas
Boileau, and John Dryden selectively rewrote the history of
satire to emphasize the Roman basis of their neoclassical
culture. In his Discourse on the Original and Progress of Satire (1693), for example, Dryden
claimed that satire in verse had emerged in England during the Restoration as a literary art in the
direct tradition of Horatius, Persian, and Juvenal. In doing so, he deliberately surrounded the rich
body of satirical texts produced in English that had little or nothing to do with classical models.
Vernacular English satire flourished during the 16th and 17th centuries
in both open and clandestine forms: as political slanders, invectives or
lampoons, and as outrageous verses or irreverent ballads or bases for
rituals of social shame. From the early eighteenth century onward, the
significant expansion of the public sphere and the commercialization
of print meant that a larger cross-section of people than ever before
could voice their complaints and hold their
superiors accountable by publishing satires.
In the hands of cultural elites such as
Alexander Pope, Samuel Johnson, and
William Gifford, satire remained
predominantly a mode of neoclassical imitation, though it was aimed
at oppositional and conservative political ends, but radical satirists like
Peter Pindar and William Hone were capable of resort to vernacular
literary models, children's songs, journalism and even commercial
advertising for their criticism of the cultural and political
establishment.
The following survey article is necessarily highly selective, but it attempts to provide a
representative overview of satirical theory and practice during the early modern period, and the
main lines of research that modern critics have traced through it.
Then we have to take into account the next point, which is that the criticism of the English
Renaissance is based on the classics interpreted by Italian scholars of the 15th and 16th centuries.
Its native elements decreased in importance as the renaissance of learning created an
international community of intellectuals with Latin as the universal language. The classic texts
on which the criticism was based were originally established and annotated by the Italians, and
the Italian influence remained strong even when the editions used were German or French.
Furthermore, the main critical problems had been explored by the Italians long before they were
considered important in England. The debate on Latin versus the vernacular began in Italy in the
14th century with Dante Alighieri On Vernacular Eloquence (De Vulgari Eloquentia, 1307), who
attempted to establish the dialect and the appropriate forms for serious poetry in Italian. The
defense of poetry began with Giovanni Boccaccio's Books XIV and XV Genealogy of the Gods
(1363-64), which constitute a formal essay that justifies poetry against its many opponents.
Conscious Neoplatonic criticism emerged in the late fifteenth century in the work of the so-
called Florentine Platonists, in particular Angelo Politian and Pico della Mirandola. The revival
of Aristotle's poetics, the question of the relative merits of epic and romance, and the rise of
neoclassical "rules" occurred in Italy long before they became important in England.
Many of the classic sources of English Renaissance criticism were works that could hardly be
considered critical today. Rhetoric can be defined as the formal study of techniques to compose
and pronounce sentences, including the development of the argument (invention), organization,
style, delivery and memory. It was a central element in the classical system of education and was
repeated again during the Renaissance. The most influential classical treatises on rhetoric were
Cicero De Inventione.
Whether or not literary criticism should be considered a separate field of inquiry from literary
theory, or vice versa of book review, is the subject of some controversy. For example, the Johns
Hopkins Guide to Literary Theory and Criticism does not distinguish between literary theory and
literary criticism, and almost always uses the terms together to describe the same concept.
Literary criticism is considered by some critics to be a practical application of literary theory,
because criticism always deals directly with particular literary works, while the theory may be
more general or abstract.