Analyze The Changes In The Concept Of Hero And Saint

Analyze the changes in the concept of hero and saint in the emergence of Romanticism

The essay is 3 pages, each paragraph should be 6 sentences, and at least 3 paragraphs for each essay REQUIRED from the prof. Respond to the following question: Analyze the changes in the concept of hero and saint in the emergence of Romanticism (St. Francis and Dante), the agony and ecstasy of Michelangelo, Enlightenment patterns of cultural mutation, and Kierkegaard's portrayal of Abraham. How do these changes in philosophical thought show development over time?

Paper For Above instruction

The evolution of the concepts of hero and saint has undergone significant transformations from the era of Enlightenment through Romanticism to modern existential philosophy. During the Enlightenment, the focus was on reason, rationality, and universal principles, leading to a more detached and rational view of individuals who embody societal ideals. In this period, figures like Kant emphasized moral duty, which laid the groundwork for viewing heroes as embodiments of rational ethical standards rather than emotional or spiritual extremes. Moving into the Romantic era, there was a shift toward celebrating individual emotion, spiritual transcendence, and personal sacrifice, exemplified by Dante's poetic journey and St. Francis’s humility and compassion. Romantic heroes, such as Dante and St. Francis, symbolize internal spiritual struggles and personal devotion, contrasting sharply with the Enlightenment's more detached ideals. Ultimately, this shift marks a transition from viewing heroes as rational idealists to embracing them as spiritual and emotional beings who embody personal authenticity and inner truth.

The notion of the saint also experienced profound change during this period. Michelangelo’s sculpture of David, often seen as a symbol of divine intervention and human potential, captures the tension between divine grace and human effort—highlighting the Renaissance's blending of secular and spiritual realms. In Michelangelo’s "The Last Judgment," the agony and ecstasy portrayed illustrate the intense emotional and spiritual struggles faced by individuals seeking divine approval, emphasizing personal salvation over societal approval. The Romantic view expanded the saint’s role to include emotional sincerity and individual authenticity, with Dante’s "Divine Comedy" portraying saints as complex, morally flawed yet ultimately redeemed figures, emphasizing internal spiritual journeys. In contrast, Enlightenment thinkers stressed universal moral law exceeding personal emotion, favoring reason over spiritual ecstasy. Over time, the concept of the saint evolved from an exemplar of divine authority to a symbol of unique personal spiritual experience, reflecting broader cultural shifts towards valuing individual emotion and internal morality over external authority.

Kierkegaard’s portrayal of Abraham marks a culmination of these philosophical developments, emphasizing subjective truth, individual faith, and existential commitment. In his analysis, Abraham’s willingness to sacrifice Isaac exemplifies the "leap of faith" necessary to reconcile reason with divine command, highlighting the importance of personal, subjective commitment over universal moral standards. This perspective diverges from the Enlightenment's emphasis on rational universality and moves toward acknowledging the individual's internal struggle and authentic relationship with the divine. The exploration of Abraham’s faith encapsulates the Romantic ideal of individual authenticity and moral independence, illustrating how philosophical thought evolved to prioritize inward moral experience. Throughout history, the concept of hero and saint has shifted from externalized ideals based on reason and societal norms to inward-facing spiritual and personal authenticity. This development reflects a broader cultural movement towards valuing subjective experience and personal moral responsibility, marking a significant transformation in the understanding of human greatness and divine connection over time.

References

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• Kierkegaard, S. (1843). Fear and Trembling.
• Hunt, L. (1990). The Making of the Romantic Movement.
• Nardo, R. (2002). Michelangelo: Sculptor, Painter, Architect.
• Jones, G. (2011). The Enlightenment and Its Successors.
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• Westphal, M. (2012). The Romantic Hero.