A VERY British RENAISSANCE tells the story of how the Renaissance came to Britain around 1500 and completely changed the cultural landscape during the ensuring 150 years.
Presented James Fox argues that, unlike the Renaissance in mainland Europe, the British Renaissance was distinguished by its down-to- earthiness, its deliberate connection to reality devoid of spiritual and aesthetic issues.
This three-part historical series subscribes to the Great Man view of history; rather than looking at social, economic or cultural trends, Fox looks at the work of some of the artists, architects and other cultural icons who helped to spread the Renaissance throughout the country. They include familiar figures such as Shakespeare and Hans Holbein, and less well-known such as John Betts and Thomas Wyatt.
Fox has an obvious enthusiasm for his subject, but his emphasis on realism often leads him into historical inaccuracies. Sir Thomas Wyatt was rightly credited with bringing the sonnet into the English vernacular; but he was not really concerned with depicting emotions truthfully. Following Petrarch's example, he experimented with conventions of sonnet-writing, deliberately exaggerating feelings and finding new ways of expressing such feelings in the hope of pleasing his patron - King Henry VIII.
The snag here is one of perspective; while there was certainly a very British Renaissance, occurring later than in Europe, it was not necessarily a marker of independence. On the contrary, even great artists like Shakespeare drew on models, both ancient and modern, to shape their work; many of these figures originated from mainland Europe. To give one example: many of his tragedies follow Italianate models in terms of content and form (for example, TITUS ANDRONICUS).
Fox has an engaging personality, and he revels in the opportunity to travel all over Britain and elsewhere, pointing out historic sites and re-enacting famous moments of the past. But perhaps the patriotic enthusiasm of the script leads to historical inexactitude.
Presented James Fox argues that, unlike the Renaissance in mainland Europe, the British Renaissance was distinguished by its down-to- earthiness, its deliberate connection to reality devoid of spiritual and aesthetic issues.
This three-part historical series subscribes to the Great Man view of history; rather than looking at social, economic or cultural trends, Fox looks at the work of some of the artists, architects and other cultural icons who helped to spread the Renaissance throughout the country. They include familiar figures such as Shakespeare and Hans Holbein, and less well-known such as John Betts and Thomas Wyatt.
Fox has an obvious enthusiasm for his subject, but his emphasis on realism often leads him into historical inaccuracies. Sir Thomas Wyatt was rightly credited with bringing the sonnet into the English vernacular; but he was not really concerned with depicting emotions truthfully. Following Petrarch's example, he experimented with conventions of sonnet-writing, deliberately exaggerating feelings and finding new ways of expressing such feelings in the hope of pleasing his patron - King Henry VIII.
The snag here is one of perspective; while there was certainly a very British Renaissance, occurring later than in Europe, it was not necessarily a marker of independence. On the contrary, even great artists like Shakespeare drew on models, both ancient and modern, to shape their work; many of these figures originated from mainland Europe. To give one example: many of his tragedies follow Italianate models in terms of content and form (for example, TITUS ANDRONICUS).
Fox has an engaging personality, and he revels in the opportunity to travel all over Britain and elsewhere, pointing out historic sites and re-enacting famous moments of the past. But perhaps the patriotic enthusiasm of the script leads to historical inexactitude.
