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Romantic hero- one of artistic images literature of romanticism. Romantic - exceptional and often mysterious person, which usually resides in exceptional circumstances. Collision external events transferred to the inner world of the hero, in whose soul there is a struggle of contradictions. As a result of this reproduction of character, romanticism extremely highly raised the value of the individual, inexhaustible in its spiritual depths, revealing its unique inner world. Man in romantic works also embodied with the help of contrast, antithesis: on the one hand, he is the crown of creation, and on the other, a weak-willed toy in the hands of fate, forces unknown and beyond his control. Therefore, he often turns into a victim of his own passions. The romantic hero is lonely. Either he himself is running away from a familiar, comfortable world for others, which seems to him like a prison. Or he is an exile, a criminal. He is driven on a dangerous path by a reluctance to be like everyone else, a thirst for a storm. Freedom for the Romantic Hero more valuable than life. To achieve this, he is capable of anything if he feels inner rightness. A romantic hero is an integral personality; one can always identify a leading character trait in him.
Romanticism as a movement in literature and art began to take shape at the end of the 18th century as a result of the crisis of the ideas of rationalism that dominated the Enlightenment. Unlike the rationalists, the romantics appealed not to reason, but to feelings, giving priority to the personal over the social, the ordinary over the unusual, and often the supernatural. Romantics placed the individual, her aspirations and experiences at the center of attention. It should be noted that the romantics introduced into literature the image of a person endowed with extraordinary abilities and strong passions, misunderstood and persecuted by society. The hero of romanticism, as a rule, defiantly opposes himself to other people, the crowd, and often challenges more powerful forces, even God. Adventures romantic hero unfold against a background that is quite consistent with its originality: this is either an exotic landscape distant countries, or sinister old castle, or fantastic circumstances.
Byron's heroes are romantics, an example is Conrad from the poem "The Corsair". The name itself speaks about the occupation of the main character of the work: Conrad is a pirate, a sea robber. He is a pirate acting at his own peril and risk. the first correspondence with the canons of romanticism: the hero of the work is an outcast, an outlaw. We may have different attitudes to the poeticization of the image of a sea robber, but we should remember that it is precisely such individuals, who have broken with society, challenging it with all their behavior, that are the object of attention of a romantic writer who is absolutely not interested in the righteous life of the average man. In addition, the hero of Byron's poem is by no means some bandit ready to cut his throat for a couple of gold coins. Severe discipline reigns in Conrad's squad; he himself not only does not drink wine, but is also unshakably faithful to his only beloved. In relation to women, Conrad is generally a true knight: during a raid on the pasha's palace, he saves the wives of his enemy from a burning building. This is the image of a “noble robber”. It should be noted that such heroes are found in the legends of many nations. several Yet characteristic features romanticism: the hero of the poem is an exceptional person in his organizational, ethical and ethical qualities. In addition, a certain rapprochement with the legendary " noble robbers"is also a feature of romanticism - an appeal to folklore traditions and myths are not uncommon for romantic writers. The scene is a picturesque island. corsair fights with Muslim warriors in the background oriental nature and magnificent palaces. The poem ends suddenly: we don’t know where Byron’s hero will go, how his life will turn out. further fate, And this is also in the tradition of romanticism.
Emily Brontë - "Wuthering Heights"- not just a golden classic of world literature, but a novel that revolutionized ideas about romantic prose. the story of the stormy, passionate, tragic love of Heathcliff and Cathy is still interesting. Heathcliff is a rebel, rising against the established order, against hypocritical morality, against God and religion, against evil and injustice. Heathcliff and Catherine could be happy only until money, prejudices, and conventions came between them. However, nothing could kill their love, their passionate attraction to each other. About the heroes of Wuthering Heights, W. Pater wrote: “These figures, filled with such passions, but woven against the backdrop of the discreet beauty of the heather expanses, are typical examples of the spirit of romanticism.”
In English poetry of the Renaissance, lyrical heroes are remarkable and colorful. In Wordsworth's cycle of "Sonnets on Liberty", in particular in the sonnet "London, 1802" lyrical hero says that England needs people like Milton, the poet asks Milton to give his contemporaries strength, valor and freedom. The titanic figure of Milton is opposed to the petty, selfish people of our time.
Coleridge's romantic art is characterized by the unfinished poem "Christabel". Medieval castle, Moonlight night, the striking of the clock, an incident full of mystery - this is the background against which the contradictory feelings and experiences of the heroes are revealed - the old Baron Leolain, his daughter Christabel, Geraldine. The plot of the poem ends at the beginning of the action, but already in the very beginning the tragic loneliness of Christabel is revealed, faced with the cruel inconstancy of the people around her.
The moral pathos of the romantics was associated, first of all, with the affirmation of the value of the individual, which was embodied in the images of romantic heroes. The first, most striking type is the loner hero, the outcast hero, who is usually called the Byronic hero. The opposition of the poet to the crowd, the hero to the mob, the individual to society, which does not understand and persecutes him, is a characteristic feature romantic literature.
About such a hero E. Kozhina wrote: “A man of the romantic generation, a witness to bloodshed, cruelty, the tragic destinies of people and entire nations, striving for the bright and heroic, but paralyzed in advance by the pitiful reality, out of hatred for the bourgeoisie, elevating the knights of the Middle Ages to a pedestal and even more acutely aware in front of their monolithic figures is his own duality, inferiority and instability, a man who is proud of his “I”, because only it sets him apart from the philistines, and at the same time is burdened by him, a man who combines protest, and powerlessness, and naive illusions, and pessimism, and unspent energy, and passionate lyricism - this man is present in all the romantic paintings of the 1820s.”
The dizzying change of events inspired, gave rise to hopes for change, awakened dreams, but sometimes led to despair. The slogans of Freedom, Equality and Fraternity proclaimed by the revolution opened up scope for the human spirit. However, it soon became clear that these principles were not feasible. Having generated unprecedented hopes, the revolution did not live up to them. It was discovered early that the resulting freedom was not only good. It also manifested itself in cruel and predatory individualism. The post-revolutionary order was less like the kingdom of reason that the thinkers and writers of the Enlightenment dreamed of. The cataclysms of the era influenced the mindset of the entire romantic generation. The mood of romantics constantly fluctuates between delight and despair, inspiration and disappointment, fiery enthusiasm and truly world-wide sorrow. The feeling of absolute and boundless personal freedom is adjacent to the awareness of its tragic insecurity.
S. Frank wrote that “the 19th century opens with a feeling of “world sorrow.” In the worldview of Byron, Leopardi, Alfred Musset - here in Russia in Lermontov, Baratynsky, Tyutchev - in the pessimistic philosophy of Schopenhauer, in the tragic music of Beethoven, in the terrible fantasy of Hoffmann, in the sad irony of Heine - a new consciousness of the orphanhood of man in the world, of tragic impossibility is heard his hopes, the hopeless contradiction between the intimate needs and hopes of the human heart and the cosmic and social conditions of human existence.”
Indeed, doesn’t Schopenhauer himself speak about the pessimism of his views, whose teaching is painted in gloomy tones, and who constantly says that the world is filled with evil, meaninglessness, misfortune, that life is suffering: “If the immediate and immediate goal of our life is not there is suffering, then our existence represents the most stupid and inexpedient phenomenon. For it is absurd to admit that the endless suffering flowing from the essential needs of life, with which the world is filled, was aimless and purely accidental. Although each individual misfortune seems to be an exception, misfortune in general is the rule.”
Life human spirit among the romantics it is contrasted with the baseness of material existence. From the feeling of his ill-being, the cult of a unique individual personality was born. She was perceived as the only support and as the only point of reference for life values. Human individuality was thought of as an absolutely valuable principle, torn out from the surrounding world and in many ways opposed to it.
The hero of romantic literature becomes a person who has broken away from old ties, asserting his absolute dissimilarity from all others. For this reason alone, she is exceptional. Romantic artists, as a rule, avoided depicting ordinary and ordinary people. As the main characters in their artistic creativity lonely dreamers perform, brilliant artists, prophets, individuals endowed with deep passions and titanic power of feelings. They may be villains, but never mediocre. Most often they are endowed with a rebellious consciousness.
The gradations of disagreement with the world order among such heroes can be different: from Rene’s rebellious restlessness to novel of the same name Chateaubriand to the point of total disappointment in people, reason and the world order, characteristic of many of Byron's heroes. The romantic hero is always in a state of some kind of spiritual limit. His senses are heightened. The contours of the personality are determined by the passion of nature, the insatiable desires and aspirations. The romantic personality is exceptional due to its original nature and is therefore completely individual.
The exclusive intrinsic value of individuality did not even allow the thought of its dependence on surrounding circumstances. The starting point of a romantic conflict is the individual’s desire for complete independence, the assertion of the primacy of free will over necessity. The discovery of the intrinsic value of the individual was an artistic achievement of romanticism. But it led to the aestheticization of individuality. The very originality of the individual was already becoming a subject of aesthetic admiration. Breaking free from his surroundings, the romantic hero could sometimes manifest himself in violating prohibitions, in individualism and selfishness, or even simply in crimes (Manfred, Corsair or Cain in Byron). The ethical and aesthetic in assessing a person might not coincide. In this, the romantics differed greatly from the enlighteners, who, on the contrary, completely merged the ethical and aesthetic principles in their assessment of the hero.
The enlighteners of the 18th century created many positive heroes who were carriers of high moral values and, in their opinion, embodied reason and natural norms. Thus, D. Defoe’s Robinson Crusoe and Jonathan Swift’s Gulliver became the symbols of the new, “natural,” rational hero. Of course, the true hero of the Enlightenment is Goethe's Faust.
A romantic hero is not just positive hero, he is not even always positive; a romantic hero is a hero who reflects the poet’s longing for an ideal. After all, the question of whether Lermontov’s Demon or Conrad in Byron’s “Corsair” is positive or negative does not arise at all - they are majestic, containing in their appearance, in their deeds, indomitable strength of spirit. A romantic hero, as V. G. Belinsky wrote, is “a person who relies on himself,” a person who opposes himself to the entire world around him.
An example of a romantic hero is Julien Sorel from Stendhal's novel The Red and the Black. The personal fate of Julien Sorel was closely dependent on this change in historical weather. From the past he borrows his internal code of honor, the present condemns him to dishonor. According to his inclinations as a “man of 1993”, a fan of revolutionaries and Napoleon, he was “too late to be born”. The time has passed when positions were won through personal valor, courage, and intelligence. Nowadays, for the “hunt for happiness,” the plebeian is offered the only help that is in use among the children of timelessness: calculating and hypocritical piety. The color of luck has changed, as when turning a roulette wheel: today, in order to win, you need to bet not on red, but on black. And the young man, obsessed with the dream of fame, is faced with a choice: either to perish in obscurity, or to try to assert himself by adapting to his age, putting on the “uniform of the times” - a cassock. He turns away from his friends and serves those whom he despises in his soul; an atheist, he pretends to be a saint; a fan of the Jacobins - trying to penetrate the circle of aristocrats; being endowed with a sharp mind, he agrees with fools. Realizing that “everyone is for himself in this desert of selfishness called life,” he rushed into battle in the hope of winning with the weapons forced upon him.
And yet, Sorel, having taken the path of adaptation, did not completely become an opportunist; Having chosen the methods of winning happiness accepted by everyone around him, he did not fully share their morality. And the point here is not simply that a gifted young man is immeasurably smarter than the mediocrities in whose service he is. His very hypocrisy is not humiliated submission, but a kind of challenge to society, accompanied by a refusal to recognize the right of the “masters of life” to respect and their claims to their subordinates moral principles. The top are the enemy, vile, insidious, vindictive. Taking advantage of their favor, Sorel, however, does not know that he owes his conscience to them, since, even while treating a capable young man kindly, they see him not as a person, but as an efficient servant.
An ardent heart, energy, sincerity, courage and strength of character, a morally healthy attitude towards the world and people, a constant need for action, for work, for the fruitful work of the intellect, humane responsiveness to people, respect for ordinary workers, love for nature, beauty in life and art, all this distinguished Julien’s nature, and he had to suppress all this in himself, trying to adapt to the animal laws of the world around him. This attempt was unsuccessful: “Julien retreated before the judgment of his conscience, he could not overcome his craving for justice.”
Prometheus became one of the favorite symbols of romanticism, embodying courage, heroism, self-sacrifice, unbending will and intransigence. An example of a work based on the myth of Prometheus is the poem by P.B. Shelley's "Prometheus Unbound", which is one of the poet's most significant works. Shelley changed the outcome mythological plot, in which, as is known, Prometheus nevertheless reconciled with Zeus. The poet himself wrote: “I was against such a pitiful outcome as the reconciliation of a fighter for humanity with his oppressor.” Shelley creates Prometheus from the image ideal hero, punished by the gods for violating their will and helping people. In Shelley's poem, the torment of Prometheus is rewarded with the triumph of his liberation. The fantastic creature Demogorgon, appearing in the third part of the poem, overthrows Zeus, proclaiming: “There is no return for the tyranny of heaven, and there is no successor for you.”
Women's images Romanticism is also contradictory, but extraordinary. Many authors of the Romantic era returned to the story of Medea. The Austrian writer of the era of romanticism F. Grillparzer wrote the trilogy “The Golden Fleece”, which reflected the characteristic German romanticism"tragedy of fate" “The Golden Fleece” is often called the most complete dramatic version of the “biography” of the ancient Greek heroine. In the first part - the one-act drama "The Guest" we see Medea as a very young girl, forced to endure her tyrant father. She prevents the murder of Phrixus, their guest, who fled to Colchis on a golden ram. It was he who sacrificed the golden fleece ram to Zeus in gratitude for saving him from death and hung the golden fleece in the sacred grove of Ares. The seekers of the Golden Fleece appear before us in the four-act play “The Argonauts.” In it, Medea desperately but unsuccessfully tries to fight her feelings for Jason, against her will, becoming his accomplice. In the third part, the five-act tragedy “Medea,” the story reaches its climax. Medea, brought by Jason to Corinth, appears to others as a stranger from barbarian lands, a sorceress and sorceress. In the works of romantics, it is quite common to see the phenomenon that foreignness lies at the heart of many insoluble conflicts. Returning to his homeland in Corinth, Jason is ashamed of his girlfriend, but still refuses to fulfill Creon’s demand and drive her away. And only having fallen in love with his daughter, Jason himself began to hate Medea.
home tragic theme Grillparzer's Medea lies in her loneliness, because even her own children are ashamed and avoid her. Medea is not destined to get rid of this punishment even in Delphi, where she fled after the murder of Creusa and her sons. Grillparzer did not at all seek to justify his heroine, but it was important for him to discover the motives for her actions. Grillparzer's Medea, the daughter of a distant barbarian country, has not accepted the fate prepared for her, she rebels against someone else's way of life, and this greatly attracted romantics.
The image of Medea, striking in its inconsistency, is seen by many in a transformed form in the heroines of Stendhal and Barbet d'Aurevilly. Both writers portray the deadly Medea in different ideological contexts, but invariably endow her with a sense of alienation, which turns out to be detrimental to the integrity of the individual and, therefore, entails itself death.
Many literary scholars correlate the image of Medea with the image of the heroine of the novel “Bewitched” by Barbet d’Aurevilly, Jeanne-Madeleine de Feardan, as well as with the image of the field famous heroine Stendhal's novel "The Red and the Black" Matilda. Here we see three main components of the famous myth: the unexpected, violent emergence of passion, magical actions with either good or harmful intentions, the revenge of an abandoned witch - a rejected woman.
These are just some examples of romantic heroes and heroines.
The revolution proclaimed individual freedom, opening up “unexplored new roads” before it, but this same revolution gave birth to the bourgeois order, the spirit of acquisition and selfishness. These two sides of personality (the pathos of freedom and individualism) manifest themselves very complexly in the romantic concept of the world and man. V. G. Belinsky found a wonderful formula when speaking about Byron (and his hero): “this is a human personality, indignant against the general and, in his proud rebellion, leaning on himself.”
However, in the depths of romanticism, another type of personality is formed. This is, first of all, the personality of an artist - a poet, musician, painter, also elevated above the crowd of ordinary people, officials, property owners, and secular loafers. Here we are no longer talking about the claims of an exceptional individual, but about the rights of a true artist to judge the world and people.
Romantic image the artist (for example, among German writers) is not always adequate to Byron’s hero. Moreover, Byron's individualist hero is contrasted with a universal personality that strives for the highest harmony (as if absorbing all the diversity of the world). The universality of such a personality is the antithesis of any limitation of a person, whether associated with narrow mercantile interests, or with a thirst for profit that destroys personality, etc.
Romantics did not always correctly assess the social consequences of revolutions. But they were acutely aware of the anti-aesthetic nature of society, which threatens the very existence of art, in which “heartless purity” reigns. Romantic artist, unlike some writers of the second half of the 19th century century, did not at all seek to hide from the world in an “ivory tower.” But he felt tragically lonely, suffocating from this loneliness.
Thus, in romanticism two antagonistic concepts of personality can be distinguished: individualistic and universalistic. Their fate in the subsequent development of world culture was ambiguous. The rebellion of Byron's individualist hero was beautiful and captivated his contemporaries, but at the same time its futility was quickly revealed. History has harshly condemned the claims of an individual to create his own court. On the other hand, the idea of universality reflected the longing for the ideal of a comprehensively developed person, free from the limitations of bourgeois society.
The basis of romanticism literary direction represents the idea of the superiority of spirit over matter, the idealization of everything mental: romantic writers believed that the spiritual principle, also called truly human, must necessarily be higher and more worthy than the world around it, than the tangible. The society around the hero is usually considered to be the same “matter.”
The main conflict of the romantic hero
Thus, main conflict romanticism is the so-called conflict of “personality and society”: the romantic hero, as a rule, is lonely and misunderstood, he considers himself superior to the people around him who do not value him. From classic look romantic hero later formed two very important archetypes of world literature, superman and extra person(often the first image smoothly turns into the second).
Romantic literature does not have clear genre boundaries; in the romantic spirit one can maintain a ballad (Zhukovsky), a poem (Lermontov, Byron) and a novel (Pushkin, Lermontov). The main thing in romanticism is not the form, but the mood.
However, if we remember that romanticism is traditionally divided into two directions: “mystical” German, originating from Schiller, and freedom-loving English, the founder of which was Byron, we can trace its main genre features.
Features of the genres of romantic literature
Mystical romanticism is often characterized by a genre ballads, which allows you to fill the work with various “otherworldly” elements that seem to be on the verge of life and death. It is this genre that Zhukovsky uses: his ballads “Svetlana” and “Lyudmila” are largely dedicated to the dreams of the heroines, in which they imagine death.
Another genre used for both mystical and freedom-loving romanticism poem. The main romantic writer of poems was Byron. In Russia, his tradition was continued by Pushkin’s poem “ Prisoner of the Caucasus" and "Gypsies" are usually called Byronic, and Lermontov's poems "Mtsyri" and "Demon". There are many possible assumptions in a poem, which is why this genre is especially convenient.
Pushkin and Lermontov also offer the public a genre novel, maintained in the traditions of freedom-loving romanticism. Their main characters, Onegin and Pechorin, are ideal romantic heroes. .
Both of them are smart and talented, both consider themselves superior to the surrounding society - this is the image of a superman. The goal of such a hero’s life is not the accumulation of material wealth, but serving the high ideals of humanism and developing one’s capabilities.
However, society does not accept them either; they turn out to be unnecessary and misunderstood in a false and deceitful high society, they have nowhere to realize their abilities; thus, the tragic romantic hero gradually becomes a “superfluous person.”
“Poets of the Silver Age” - Mayakovsky entered the school of painting, sculpture and architecture. V. Ya. Bryusov (1873 – 1924). D. D. Burliuk. Nikolai Stepanovich Gumilev was born on April 15, 1886. Acmeists. O. E. Mandelstam. From 1900-1907 Mandelstam studied at the Tenishevsky Commercial School. O. E. Mandelstam (1891 – 1938). Acmeism. V. V. Mayakovsky.
“About front-line poets” - From the first days of the war, Kulchitsky was in the army. Simonov gained fame even before the war as a poet and playwright. Sergei Sergeevich Orlov (1921-1977). In 1944, Jalil was executed by Moabit executioners. Surkov's poem "beats in cramped stove fire" was written in 1941. Simonov’s poem “Wait for Me,” written during the war, became widely known.
“On Poetry” - Indian Summer has arrived - Days of farewell warmth. Your wonderful sunshine plays with our river. And at dawn the cherry glue hardens in the form of a clot. And all around were azure flowers, spreading spicy waves... A journey along a poetic path. The idea ended badly - An old rope broke... The face of a birch tree is under a wedding veil and transparent.
“Romanticism in literature” - Lesson - lecture. Lermontov Mikhail Yurievich 1814-1841. Romanticism in Russian literature, late 18th and early 19th centuries. The theme is "humiliated and insulted." Philosophical tale. The romantic personality is a passionate personality. Historical novel; "Mtsyri". Passion. Walter Scott 1771-1832. The reasons for the emergence of romanticism.
“On Romanticism” - Larra. A.S. Pushkin. The Eternal Jew. Sacrifice yourself to save others. "The Legend of the Eternal Jew." Compositional features stories. "The Legend of Moses". M. Gorky. Which of the heroes is close to Old Woman Izergil: Danko or Larra? If you do nothing, nothing will happen to you. The basis of the romanticism style is the image inner world person.
“Poets about nature” - Alexander Yesenin (father) and Tatyana Titova (mother). BLOK Alexander Alexandrovich (1880, St. Petersburg - 1921, Petrograd) - poet. A.A. Block. Russian writers of the 20th century native nature. Creative work. Landscape lyrics. Artistic and expressive means. S.A. Yesenin. The boy's grandmother knew many songs, fairy tales and ditties.
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The word ROMANTICISM.
NOVEL - love relationship between man and woman.
ROMANTIC - one who has a sublime, emotional attitude towards something.
ROMANCE - small musical composition for voice accompanied by instrument,
written on poems of lyrical content.
During the conversation, the teacher asks the question: “How are the meanings of these three words similar?” The term ROMANTICISM, the meaning of which you will learn in today's lesson, is also directly related to the concept of feeling.
Different eras - different criteria human assessments.
Society has always been important to the criterion by which a person could be assessed. Each era put forward different evaluation criteria. For example, ancient era considered a person from the point of view of his appearance, physical beauty: just remember that the sculptures of that time depict naked, physically developed people. External beauty has been replaced by spiritual beauty
The society of the 18th century was convinced that a person's strength lies in his mind. The world was created by God, and man's task is to intelligently improve this world. Thus, humanity entered the Age of Enlightenment. However, fanatical admiration for the power of reason, of course, could not exist for long: convictions are convictions, and in better side practically nothing changes. Quite the contrary: such ideas led to revolutionary upheavals and bloodshed (for example, under the slogan “In the name of reason!” there was a revolution in France), and by the end of the 18th century. There was a wave of disappointment in the power of the mind. The need for an alternative to it became obvious. This alternative has been found. What is opposed to reason in a person? Feelings.
As we have already said, it is with the concept of feeling that the term ROMANTICISM is associated. ROMANTICISM is a trend in culture that affirms the intrinsic value of the spiritual and creative personality, the cult of nature, feelings and the natural in man.
Now the artist, turning to the connoisseur of beauty, appealed, first of all, to his feelings, and not to the mind, guided not by sober mental reflections, but by the dictates of the heart.
Dual world (antithesis)
First, let's remember the concept of ANTITHESIS. Find the antithesis in the following passages:
1. I am a king, I am a slave, I am a worm, I am a god.
2. They got together. Water and stone, Poetry and prose, ice and fire are not so different from each other...
3. Bright thoughts rise in my torn heart, And bright thoughts fall, burned by dark fire.
4. Today I triumph soberly, tomorrow I cry and sing.
5. You are a prose writer - I am a poet
you are rich - I am very poor.
Antithesis (from the Greek antithesis - opposition) - a comparison of sharply contrasting or opposing concepts and images to enhance the impression.
Suggested Answers:
1. king - slave worm - god
2. water - stone poetry - prose ice - fire
3. light - dark
4. today - tomorrow I triumph - I cry and sing
5. prose writer - poet rich - poor
What antithesis determined the transition from the previous era to the era of romanticism? MIND - FEELINGS. For understanding of ROMANTICism, the key concept is FEELING, which is opposed to REASON. An antithesis arises, which is reflected in the artist’s attitude towards the world around him. Reasonable reality does not find a response in the soul of a romantic: real world unfair, cruel, terrible. Looking for best artist dreams of going beyond reality: it is there, outside of existing life, that he has the opportunity to achieve perfection, a dream, an ideal.
This is how the DUAL WORLD characteristic of romanticism arises: “here” and “there”. The despised “here” is a modern romantic reality, where evil and injustice triumph. “There” is a certain poetic reality, which the romantic contrasts with real reality.
The question arises: where to find this “there”, this ideal world? Romantics find it both in their own soul and in other world, and in the life of uncivilized peoples, and in history. The reader is given this “there” through the prism of the artist’s view. But can romance filtered through the soul be everyday, prosaic? In no case! It, emphasizing the break with the prose of life, will certainly be very unusual, sometimes even unexpected for the reader.
Key Traits of a Romantic Hero
Rejection and denial of reality determined the specifics of the romantic hero. It is fundamentally new hero, the like of him was never known before
literature. He is in a hostile relationship with the surrounding society and is opposed to it. This is an extraordinary person, restless, most often lonely and with tragic fate. The romantic hero is the embodiment of romantic rebellion against reality. The romantic hero in the flesh is the English poet George Noel Gordon Byron (1788-1824).
Answer the questions yourself:
1. How does a romantic relate to reality?
Suggested answer: A romantic does not accept reality, he runs away from it.
2. Where is the romantic heading?
Suggested answer: a romantic strives for a dream, for an ideal, for perfection.
3. How are events, landscape, people depicted?
Suggested answer: events, landscape, people are depicted unusually, unexpectedly.
4. Where can a romantic find an ideal?
Suggested answer: the romantic finds his ideal in his own soul, in the other world, in the life of uncivilized peoples.
5. What becomes a cult for a romantic? Suggested answer: the romantic strives for freedom.
6. What is the meaning of life for a romantic?
Suggested answer: The meaning of life for a romantic is in rebellion against reality, in achievement, in gaining freedom.
7. How does fate test romance?
Suggested answer: Fate offers romance exceptional, tragic circumstances.