On reflective traditionalism, Virtuoso - a man of...

On Reflective Traditionalism

The principle of rhetoric can not be "common denominator", the main factor of homogeneity for epochs so different as antiquity and the Middle Ages, and with reservations - Renaissance, Baroque and Classicism. Common features remain:

The static concept of the genre as decency ("relevant") in the context of the opposition of the "sublime" and low-level (correlate of the class principle);

the indisputability of an ideal transmitted from generation to generation and codified in the normative theory of craftsmanship;

domination of so-called rationality, i.e. limited rationalism, it is precisely by observing fixed boundaries that do not believe their dialectical opposition - the protest against the "rationality" that manifested itself in sentimentalism, in the movement of "storm and onslaught" and quite clearly expressed himself in romanticism.

Based on these three characteristics, the poetics of the general place, founded by the Greeks and accepted by their heirs, is located. - poetics, which has placed itself under the sign of rhetoric.

A virtuoso is a Renaissance man

At all times there were great people of various categories - saints, heroes and titans; mystics, devotees in the world and the creators of their own worlds - demiurges, artists. From this point of view, mankind has no history. But at any given moment, people have singled out one category of those who rises above the rest of humanity, built the image of a great man according to one particular pattern that corresponds to the representation of this moment about the ideal to the person. The ideal man of antiquity is the personification of the highest idea; he rests in his perfection, he is devoid of individual traits. He is an earthly God, a harmonious combination of all possible qualities. The ideal man of the Middle Ages is the personification of one side of the highest perfection, of one virtue. In this respect, he is individualized. But he personifies this one virtue in an abstract and generalized way, and in this sense he is not so much a person as a type, that is, being the object of a cult, is conceived at the same time to be reimbursable and replaceable. The ideal man of the Renaissance is the only one, unique. Its virtu is not comparable, not commensurable with anyone else. He can not become an object of any syncretism, can not merge with anyone else in one common cult, as happened with the ancient gods and medieval saints. But his virtu, is individualized, specific, unique in its kind, fills his whole personality completely, displaces all her other definitions - and in this respect the ideal Renaissance man is just as abstract, as an ideal man of antiquity or the Middle Ages - and just as motionless: only his virtu. live in him. Only in modern times does the idea of ​​a concrete person, a being, whose uniqueness, uniqueness in the course of his entire life is constantly becoming, more fully and it.

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