Volume 02 Issue 11-2022
43
International Journal Of Literature And Languages
(ISSN
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2771-2834)
VOLUME
02
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SSUE
11
Pages:
43-51
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I
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(2021:
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705
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(2022:
5.
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Servi
ABSTRACT
This scientific article is aimed at analyzing, identifying and establishing the socio-cultural phenomenon of the
individualism of a strong man in the era of the European Renaissance. The concept of “strong personality” in the
above context reveals, first of all, the spiritual, moral and volitional qualities of a person to oppose himself to all the
hardships and challenges of medieval society and the power of Europe, reflecting his personal experiences and
reflections in works of art, poetry, drama and other forms of highly cultured self-expression .
KEYWORDS
Renaissance, individualism, strong personality, hierarchical structures, internal tension, psychological isolation,
symbol, conscious ideal.
INTRODUCTION
The characterization of Westerners as individualists
becomes clearer when viewed as a reaction to
medieval collectivism. In the Middle Ages, in the words
of Burc
khardt, a person “consciously identified himself
as part of his tribe, people, party, family or corporation.
realized himself" [1, p. 78]. Each person was aware of
his place in the economic structure of the guild, the
psychological structure of the family, the hierarchy of
feudal relations, the moral and spiritual structure of
the church. The channels for expressing emotions
were social in nature. There were holidays for emotions
that united people, and for expressing aggressive
emotions, phenomena such as
crusades arose. “All
Research Article
STRONG PERSONALITY’S ARTISTIC AND POETIC REFLECTION IN THE
RENAISSANCE EPOCH
Submission Date:
November 05, 2022,
Accepted Date:
November 15, 2022,
Published Date:
November 24, 2022
Crossref doi:
https://doi.org/10.37547/ijll/Volume02Issue11-07
Tasheva Nafisa Zayniddinovna
Bukhara State Medical Institute, English Chair, Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ijll
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 02 Issue 11-2022
44
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
02
I
SSUE
11
Pages:
43-51
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
OCLC
–
1121105677
METADATA
IF
–
5.914
Publisher:
Oscar Publishing Services
Servi
emotions were placed within the rigid framework of
social norms,” Huizinga wrote. 45].
However, according to Huizinga, from the 14th century
to his 15th century, the hierarchical structures of
churches and societies that once served as channels for
the expression of emotions and experiences became
tools for suppressing human vitality. . The final stages
of the Middle Ages are marked by the desperate use of
symbols, which are, so to speak, ends in themselves.
They lack important content, they are divorced from
reality. The last century of the Middle Ages was
characterized by depression, melancholy, skepticism
and great anxiety. This anxiety manifests itself as a fear
of death and a general fear of demons and
sorcerers[346]. . “It is enough to see the work of Boss
and Grunwald,” wrote Mannheim. This anxiety found
symbolic expression in the all-pervading fear of
demons. The individualism of the image of the
Renaissance magnate was part of a reaction to the
degenerate collectivism of the late Middle Ages.
METHODS
A new recognition of the value of the individual and
new ideas about the relationship between man and
nature, which became the main motives of the
Renaissance, are figuratively presented in the works of
Giotto. Many scientists believe that the time period
separating Giotto from his teacher, Cimabue, is
precisely the beginning of a new historical era. Giotto
lived during what is called the "first Italian
Renaissance" that preceded the Renaissance[4]. In
contrast to the symbolic, motionless images of a
person in medieval painting that look directly at the
viewer, Giotto has figures that are somewhat turned to
the side and have independent movements. Painters of
the Middle Ages express generalized, unearthly
feelings related to certain types, Giotto begins to
depict the emotions of specific people. On his canvases
you can see the sorrow, joy, passion or surprise of
ordinary people in ordinary life - a father kissing his
daughter, or a mourning man at the grave of his friend.
The writer, the artist, who takes pleasure in depicting
simple feelings, includes animals in his paintings; the
pleasure with which Giotto paints trees and stones
anticipates the joy in front of simple forms, which is
characteristic of the artists of subsequent centuries.
Although Giotto partly remains faithful to medieval
symbolism, at the same time, new features
characteristic of the Renaissance appear in his painting
- a new humanism and a new naturalism.
The name of Shakespeare is associated with the
concept of "tragic humanism": awareness of the
tragedy of the individual, forced to fight with society.
Almost always this struggle is doomed, but necessary
and inevitable. Shakespeare fully shared the ideals of
the Renaissance, but the central conflict of his plays
was determined by the discrepancy between the
Renaissance ideal of man and reality. Society is hostile
to this ideal.
A critical attitude towards an imperfect society is
connected with its attitude towards time, a powerful
force, which, however, does not correspond to the
principles of the world order, according to the
figurative expression of the playwright: "Time has
dislocated the joint." This dooms most of
Shakespeare's characters to inevitable death, and even
in comedies with a happy ending, the characters go
through severe trials. Most of his heroes strive to
comprehend not only themselves, but also their time,
and the place of man in the world and eternity, and the
confrontation between good and evil. Reflection,
understanding by them of their destiny, fate, mistakes
Volume 02 Issue 11-2022
45
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
02
I
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11
Pages:
43-51
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
OCLC
–
1121105677
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IF
–
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Servi
leads them to enlightenment and gaining true spiritual
strength to overcome all social obstructions.
In the Middle Ages, a person was perceived as a
particle of a social organism, but in the Renaissance, a
person became an independent whole, and the social
environment turned into a background against which
an individual person stands out. Comparing Giotto with
representatives of the Renaissance, the period of its
full bloom, one can notice one significant difference:
Giotto valued a simple person (in this you can notice
the influence of St. Francis of Assisi), while in the
Renaissance a strong personality began to be valued. It
is to this feature in its historical development that we
should pay special attention, since it is the cultural
basis for the anxiety of modern man.
The radical changes that took place during the
Renaissance in almost all spheres of life - economic,
intellectual, geographical, political - are well known
and do not need explanation. All these changes are
causally related to the belief in the power of free and
autonomous individuals. On the one hand, these
fundamental changes themselves were based on new
ideas about a person, but on the other hand, social
changes are taking place, as a result of which the
emphasis is shifting to manifestations of strength,
initiative
and
courage.
knowledge
and
entrepreneurship. Social mobility frees a person from
the forces of the medieval "caste" family system.
Thanks to their strength and courage, anyone can
become a great person, no matter where they come
from. The wealth that emerged from the development
of capitalism following the expansion of trade created
new opportunities for the enterprising and was a
reward for those who were willing to take risks. The
prestige of teaching and learning grew, and it was a
sign of intellectual freedom and curiosity. The
wandering student, whose whole world is the
university, symbolizes the connection between the
new desire to learn and freedom of movement. But at
the same time, knowledge is valued as a means of
gaining power. Lorenzo Ghiberti, a Renaissance artist,
said: “Only one who has studied everything
in the
world can fearlessly downplay the vicissitudes of fate”
[5, p. . one two Three].
The political instability of the Renaissance taught the
people to use force and power as they saw fit, when
the tyrant who ruled the city was soon replaced by
another tyrant. Each person had to fend for himself
alone. A competent and courageous person can
occupy a high position in society.
“Under these conditions, the free play of ambition
acquired an unusually strong impetus. Thanks to his
abilities, a simple monk could become a pope and the
last soldier, the Duke of Milan. Arrogance, decisiveness
and disrespectful violation of the moral code were the
main means of achieving success” [7, p. 259].
Regarding
the
violence
that
accompanied
individualism at that time, Burchard said: his right with
the help of his own strength "[8.c.351].
Speaking about the results of this study, it would be
worth noting that the Renaissance is by no means
characterized by a belief in the value of the individual
in itself. Rather, as we have already mentioned, a
strong personality was valued. It was tacitly assumed
that the strong could exploit and manipulate the weak
without feeling remorse or pity. It is important to
remember that the Renaissance, which gave rise to the
principles that many people of our time unconsciously
assimilated, was not a movement of the masses, it set
the tone for a handful of strong and gifted individuals.
Volume 02 Issue 11-2022
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The idea of virtu in the Renaissance generally included
courage and other qualities necessary for success.
“Act
ions began to be judged on the basis of success; a
person who could help friends, intimidate enemies,
and pave the way to success by any means was
considered a hero. What Machiavelli called the word
"virtu" retains only those of the Roman "virtues"
(virtus) that have to do with the courage, cunning and
personal skill of a person who achieves his goal,
whatever it may be. We can see how closely linked
individualism and competitiveness are. Ideas about
success as the triumph of a strong man striving to
occupy an important place in society, with society itself
being rather a stage for his battle, all this established
an inextricable link between success and competition.
Society rewarded a person who achieved self-
realization due to his superiority over other people.
Belief in the power of a free man was a completely
conscious attitude during the Renaissance. Leon
Alberti, one of these outstanding people who excelled
others in everything from gymnastics to mathematics,
formulated, as it were, the slogan of such a strong
personality: “A person is capable of doing anything if
he wants to” [353]. But the spirit of the Renaissance
was especially accurately expressed by Pico della
Mirandola, who wrote twelve books, where he proved
that man is the master of his own destiny. In his famous
Oration on the Dignity of Man, he depicts God
addressing Adam with these words:
“We have not determined for you a permanent place
of residence and have not commanded you to wear any
particular guise ... Not bound by tight fetters, only by
your free will, to the power of which I betray you, you
must determine your nature yourself. I placed you in
the middle of this world, so that from here it would be
more convenient for you to look around the whole
world. You were not created either heavenly or earthly,
neither mortal nor immortal, so that you yourself could
become your own free creator and sculptor and give
yourself the form you want. You have been given the
power to descend lower and become like the grossest
creatures. You have been given the power to reach for
the higher, to strive for the Divine - with the help of
your mind.
Such an idea of the power of man and his freedom to
move in any chosen direction is, in the words of
Symonds, "a revelation of the spirit of the times" [9, p.
154]. There are no limits to the possibilities of a person,
if only he, as Michelangelo said, is able to "believe in
himself." The conscious ideal of that time was l'uomo
universale, the many-sided man who had fully realized
his abilities.
But do
es such a “wonderful new world” have its
negative side? Clinical experience tells us that such self-
confidence must be balanced by something opposite.
It can be seen that at a less conscious level, under the
optimism and self-confidence in people of the
Renaissance, despair and a new sense of anxiety live.
These hidden feelings, which come to the surface only
towards the end of the Renaissance, are easy to see in
Michelangelo. On a conscious level, Michelangelo
celebrates individualism and is willing to accept the
loneliness that it entails. “I don’t have any friend and I
don’t need friends,” he writes. “The one who follows
others will never be ahead, and the one who cannot
rely on his own abilities will not benefit from the works
of other people” [9, p 419]
. This is nothing like Auden's
words:
… for the Ego is but a dream,
Until someone called him by his first name.
Volume 02 Issue 11-2022
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But in Michelangelo's painting, one can see tension,
conflict, which are a counterbalance to the excessive
individualism of that time. In his frescoes in the Sistine
Chapel, there is a sense of unrest and excitement.
Michelangelo's human figures, according to Symonds,
"breathe with a strange and terrible unease".
Renaissance writers and artists sought to recapture
the spirit of classical Greece, but, as Symonds notes,
there is a huge difference between Phidias' "balanced
calm" and Michelangelo's excitement[6, p. 356].
Almost all the people depicted by Michelangelo at first
glance seem strong and triumphant, but if you look
closely, they have wide eyes, which is a sign of anxiety.
We expect to see fright in his fresco "The Condemned,
Horrified at Their Fall," but what is surprising is that a
similar frightened expression, although not so
pronounced, is also characteristic of other human
figures painted on the walls of the Sistine Chapel. One
might think that the artist wants to demonstrate that
this internal tension is inherent not only in his time, but
also in himself as a son of his era: in Michelangelo's self-
portrait, the eyes are again greatly dilated, which is a
typical sign of wariness. One can find the same latent
emerging anxiety behind conscious ideals in many
Renaissance artists (take, for example, the harmonious
people depicted by Raphael). But it was Michelangelo,
who lived a long life, outgrew the youthful dreams of
the Renaissance and saw the high point of the
development of a new era. Thanks to his genius and
depth of perception, he expressed his time better than
his predecessors. The hidden tendencies of that era
also found their clear expression in his work. The
human figures of Michelangelo can be considered a
symbol of both the conscious ideals and the
"undercurrent" of the Renaissance; they look like
strong winners, well-rounded people - and at the same
time tense, excited and anxious.
It is important to note that hidden tension and despair
is present in the work of those people who have
achieved success in competition with other people.
Therefore, their anxiety cannot be seen as a
manifestation of frustration on the way to success.
Rather, I believe it has to do with two direct
consequences of extreme individualism: psychological
isolation and the loss of collective values.
These two features of the extreme individualism of the
Renaissance are described by Fromm: “It seems that
the new freedom brought with it two things: it
increased the feeling of its power and at the same time
increased the feeling of loneliness, doubt, skepticism,
as a result of which anxiety was born.” One of the
symptoms of hidden psychological tendencies was, in
the words of Burchard, "a painful thirst for fame."
Sometimes the thirst for fame reached the point that a
person committed a murder in front of the public or
some other anti-social act that outraged public
opinion, in the hope that posterity would not forget his
name[358]. This testifies to the loneliness and
inferiority of relationships between people and the
strongest need to find recognition from others, at least
through aggressive action against them. Will a good or
bad memory remain of a person - such a question was
not the most important. This reflects one characteristic
of individualism, which can also be found in the
economic life of our time: aggression directed at
others is a way to win their recognition. Sometimes a
lonely child behaves in this way, who commits an
antisocial act in order to receive care and recognition -
at least in a perverted form.
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There is no need to describe in detail the positive
aspects of individualism that appeared during the
Renaissance, in particular, those new opportunities for
human self-realization that it opened up, since they
became the conscious and unconscious foundations
on which modern culture is built. Less obvious are the
negative aspects of individualism, and they are of
direct relevance to the subject of this book. The
negative aspects include the following features: (1) the
inextricable
link
between
individualism
and
competition, (2) the strength of an individual is in the
first place, opposed to collective values, (3) personal
success in competition is gradually becoming an
unconditional
value,
(4)
the
psychological
consequences of such changes that could be observed
during the Renaissance and which affected people in a
more severe form in the nineteenth and twentieth
centuries. Such psychological consequences include
alienation of a person from other people and anxiety.
CONCLUSION
Speaking of the anxiety caused by the emergence of
individualism in the Renaissance, I called it "nascent"
because at that time there was no obvious conscious
anxiety. During the Renaissance, one could only meet
anxiety in the form of a symptom. We could see from
the example of W. Shakespeare that he consciously
accepted his loneliness, but not anxiety. In this respect
there is a huge difference between the lonely man of
the fifteenth or sixteenth century and the man of the
nineteenth or twentieth centuries who, like
Kierkegaard, is aware of the anxiety caused by
alienation from other people. In the Renaissance, a
wide field of activity was opened before a person, so
loneliness and the anxiety associated with it remained,
as it were, an undisclosed topic. A person of that time,
if he experienced disappointment in some area, could
always switch his attention to a new field of activity.
This indicates that that time was the beginning, and
not the end of a new historical period. The name of
Shakespeare is associated with the concept of "tragic
humanism": awareness of the tragedy of the
individual, forced to fight with society. Almost always
this struggle is doomed, but necessary and inevitable.
Shakespeare fully shared the ideals of the Renaissance,
but the central conflict of his plays was determined by
the discrepancy between the Renaissance ideal of man
and reality. Society is hostile to this ideal.
A critical attitude towards an imperfect society is
connected with its attitude towards time, a powerful
force, which, however, does not correspond to the
principles of the world order, according to the
figurative expression of the playwright: "Time has
dislocated the joint." This dooms most of
Shakespeare's characters to inevitable death, and even
in comedies with a happy ending, the characters go
through severe trials. Most of his heroes strive to
comprehend not only themselves, but also their time,
and the place of man in the world and eternity, and the
confrontation between good and evil. Reflection,
understanding by them of their destiny, fate, mistakes
leads them to enlightenment and gaining true spiritual
strength to overcome all social obstructions.
Thus, during the Renaissance, Western culture was
faced with a difficult task: which way should the
development
of
interpersonal
relationships
(psychological, economic, ethical, etc.) go, how to
combine interpersonal values with the values of
individual self-realization, which
is the true
manifestation of strength personality? The resolution
of this issue could free the members of society from
the consequences of extreme individualism: from
feelings of alienation and attendant anxiety.
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Pages:
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Volume 02 Issue 11-2022
51
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
02
I
SSUE
11
Pages:
43-51
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
OCLC
–
1121105677
METADATA
IF
–
5.914
Publisher:
Oscar Publishing Services
Servi
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ГЕНДЕР
ХУСУСИЯТЛАРИ
.
МЕЖДУНАРОДНЫЙ
ЖУРНАЛ
ИСКУССТВО
СЛОВА
, 5(5).
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MALE AND FEMALE ORAL SPEECH IN MODERN
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