The women of the Renaissance : $b A study of feminismMaulde-La-Clavière, R. de (René)
History
The women of the Renaissance : $b A study of feminism
Maulde-La-Clavière, R. de (René)
Feminism -- France -- History; Feminism -- Italy -- History; Renaissance; Women -- History -- Renaissance, 1450-1600
The fleshly Venetian school, with its feeling for colour and its somewhat
pagan naturalism, much more successfully expressed man’s relations with
Nature. It opens for us not a mere garden bower, but a huge factory of
sensuous pleasure, whence ascend a thousand high-soaring aspirations and
a penetrating effluence. Giorgione and Titian have wonderfully rendered
the poetry of these love-filled horizons. From the smooth sea, or the
foaming billows, or the flowery meadows depicted by their pencils, loud
voices speak to us; and nothing but the old, imaginative mythology is
wanted to personify all the unknowable and unknown unions whence we
feel that the physical world is every day drawing its life and its
overmastering thirst for renewal. The epicureans let themselves drift
along aimlessly, resting on their oars,[220] and do no more than sing
their little part, hardly audible in this colossal orchestration. The
platonists, on the other hand, will not allow themselves to be seduced,
and combat nature even while caressing her, preferring to keep her too
much in subjection rather than to yield her too much obedience. Nature
untamed or sensual would slay man, they think. She is a slave, meant
to be subject to us, meditating revenge, and eager to suck or shed our
blood; and she is set among the slaves.
Finally, a word must be said about a life which held a place
midway between country life and city life, namely, the life of the
watering-places, both inland and by the sea. In France the fashion
was difficult to introduce, good society preferring the large and
comfortable existence of the country house; but to take the waters was
all the rage in Italy.
Except at church, there was no scene where people could better meet
together, or take one another more seriously without hypocrisy. A
public bath represented the ideal of equality. You go in, cut a figure,
and come out again, and Jack is as good as his master. It is an open
drawing-room, in which people who elsewhere are strangers to one another,
acquaintances, and bosom friends all have one idea—to distil their soul
drop by drop into the ears of kindred spirits, like the neighbouring
spring.
Public-domain text, read in full here on John Shaqi.
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