Philosophical Europe ||| The Political Progress ||| European Witness ||| EU News
Blog ||| Special Homages: Meister Eckhart / David Copperfield
From Jacob Burckhardt's 2nd edition of the Civilization of the Renaissance in Italy; edited for this on-line publication, by ELLOPOS
Part One: The State as a Work of Art
» Full Contents of this Part
Part One: The State as a Work of Art » Introduction » Despots of the Fourteenth Century » Despots of the Fifteenth Century » The Smaller Despotisms » The Greater Dynasties » The Opponents of the Despots » The Republics: Venice and Florence » Foreign Policy » War as a Work of Art » The Papacy » Patriotism
In conclusion, let us briefly consider the effect of these political circumstances on the spirit of the nation at large.
It is evident that the general political uncertainty in Italy, during the fourteenth and fifteenth centuries, was of a kind to excite in the better spirits of the time a patriotic disgust and opposition. Dante and Petrarch, in their day, proclaimed loudly a common Italy, the object of the highest efforts of all her children. It may be objected that this was only the enthusiasm of a few highly instructed men, in which the mass of the people had no share; but it can hardly have been otherwise even in Germany, although in name at least that country was united, and recognized in the Emperor one supreme head. The first patriotic utterances of German literature, if we except some verses of the 'Minnesanger,' belong to the humanists of the time of Maximilian I and after, and read like an echo of Italian declamations. And yet, as a matter of fact, Germany had been long a nation in a truer sense than Italy ever was since the Roman days. France owes the consciousness of its national unity mainly to its conflicts with the English, and Spain has never permanently succeeded in absorbing Portugal, closely related as the two countries are. For Italy, the existence of the ecclesiastical State, and the conditions under which alone it could continue, were a permanent obstacle to national unity, an obstacle whose removal seemed hopeless. When, therefore, in the political intercourse of the fifteenth century, the common fatherland is sometimes emphatically named, it is done in most cases to annoy some other Italian State. But those deeply serious and sorrowful appeals to national sentiment were not heard again till later, when the time for unity had gone by, when the country was inundated with Frenchmen and Spaniards. The sense of local patriotism may be said in some measure to have taken the place of this feeling, though it was but a poor equivalent for it.
End of Part One - The State as a Work of Art
Cf. The Ancient Greece * The Ancient Rome
The Eastern Roman Empire (Byzantium) * The Making of Europe