Renaissance Literature: Imitation, Language, and the Rise of Vernacular
The Poet: Imitator and Illuminated
The Renaissance understanding of the poet intertwined two concepts: the poet as imitator and the poet as divinely inspired, a notion nurtured within Neoplatonic circles. This dual nature connected to the debate surrounding poetry’s relationship with truth. These ideas, gaining traction in the latter half of the 16th century, echoed Plato’s suspicion of poets as detrimental to society and Christianity’s similar wariness. However, a counter-argument emerged, suggesting that fiction could harbor truth more effectively than direct pronouncements.
Literary Imitation and Instruction
By mid-16th century, the rediscovery of Aristotle’s Poetics lent credence to literary composition. Imitation became associated with docere (to teach) and decorum (propriety). This meant that fiction should be instructive and maintain thematic and character consistency. This approach assumed fluency in classical Latin, Greek, and ideally, some Hebrew, reflecting the humanist emphasis on classical learning, particularly prevalent in Italy.
The Spread of Literary Models
Literary influence radiated from Italy throughout Europe, establishing distinct models for various genres:
- Prose: Cicero
- Moral Prose: Cicero and Seneca
- Tragic Theatre: Seneca
- Pastoral Poetry: Virgil
- Epic Poetry: Virgil
- Mythology and Fables: Ovid
- Comedy: Terence
The Rise of the Vernacular
Two factors propelled the rise of vernacular languages: the growing number of educated individuals who, while appreciating humanist culture, lacked proficiency in classical languages, and the increasing value placed on medieval vernacular literature, exemplified by Dante’s Divine Comedy and Petrarch’s works. This elevation of vernacular languages sparked debates, often polemical, advocating for their use alongside classical languages. Italy initiated this movement, but Spain, particularly the Castilian crown, quickly took the lead.
Standardizing the Vernacular
In Italy, figures like Pietro Bembo, with works such as Prose della Volgar Lingua, championed the use of 14th-century Tuscan, based on Dante, Boccaccio, and Petrarch, as the model for Italian. This process of standardizing the vernacular, mirroring developments in other countries, largely concluded by 1600.
Forms of Literary Ideas
Three forms—the epistle, the dialogue, and other prose works—embody the humanist emphasis on recreating classical models while conveying ideas accessible to educated readers. This resulted in a conversational style, addressing diverse topics from multiple perspectives, prioritizing a human rather than technical viewpoint.
The Epistle: A Semi-Dialogue
The epistle, modeled on Cicero’s letters (e.g., Ad Atticum) and Seneca’s works, revived the ancient form of distanced conversation. Petrarch’s letters, with their introspective quality, further shaped the genre, serving as stylistic exercises and models for instruction. In the Renaissance, letters became essential for communication among European intellectuals.
The Epistle’s Evolution
The renewed interest in the epistle influenced the development of letter-writing manuals, building upon medieval rhetorical treatises. This led to significant collections of letters in both Latin and vernacular languages. Notable examples include Pietro Aretino in Italy and Antonio de Guevara in Spain. Guevara’s Epistolas Familiares (Family Letters), inspired by Petrarch’s Liber Rerum Familiarum, blended real and fictional letters, foreshadowing Montaigne’s essay style.