Romantic hero. Romantic hero as a literary type. Who is a romantic hero and what is he like?

23.06.2020

Romantic hero in Russian literature

Plan

Introduction

Chapter 1. Russian romantic poet Vladimir Lensky

Chapter 2.M.Yu. Lermontov - “Russian Byron”

2.1 Lermontov's poetry

Conclusion

Describing his hero, Pushkin says that Lensky was brought up reading Schiller and Goethe (one can assume that the young poet had good taste if he chose such great teachers) and was a capable poet:

And muses of sublime art,

Lucky, he was not ashamed:

He proudly preserved in his songs

Always high feelings

Gusts of a virgin dream

And the beauty of important simplicity.

He sang love, obedient to love,

And his song was clear,

Like the thoughts of a simple-minded maiden,

Like a baby's dream, like the moon

In the deserts of the serene sky.

Let us note that the concepts of “simplicity” and “clarity” in the poetry of the romantic Lensky do not coincide with the requirement of simplicity and clarity characteristic of the realist Pushkin. For Lensky, they come from ignorance of life, from aspiration to the world of dreams; they are generated by “poetic prejudices of the soul.” Pushkin the realist speaks of simplicity and clarity in poetry, meaning such qualities realistic literature, which are determined by a sober view of life, the desire to understand its patterns and find clear forms of its embodiment in artistic images.

Pushkin points out one feature of the character of Lensky the poet: to express his feelings bookishly and artificially. Here Lensky came to the grave of Olga’s father:

Returned to his penates,

Vladimir Lensky visited

Neighbor's humble monument,

And he dedicated his sigh to the ashes;

And my heart was sad for a long time.

“Poor Yorick,” he said sadly, “

He held me in his arms.

How often did I play as a child?

His Ochakov medal!

He read Olga for me,

He said: Will I wait for the day?

And, full of sincere sadness,

Vladimir immediately drew

His funeral madrigal.

Naturalness and mannerism in the expression of feelings were surprisingly organically combined. On the one hand, Lensky devotes a sigh to the ashes instead of just sighing; and on the other hand, he behaves completely naturally: “And my heart was sad for a long time.” And this is suddenly followed by a quote from Shakespeare (“Poor Yorick...”), which is perceived as another “dedication” of the sigh to Larin. And then again a completely natural memory of the deceased.

Another example. Eve of the duel. Before the fight Olga Lensky. Her simple-minded question: “Why did you disappear so early?” - disarmed the young man and dramatically changed his state of mind.

Jealousy and annoyance disappeared

Before this clarity of sight...

Very natural behavior of a loving and jealous young man, who “was ignorant at heart.” The transition from doubts about Olga’s feelings to hope for her reciprocal feelings gives new twist Lensky’s thoughts: he convinces himself that he must protect Olga from the “corrupter” Onegin.

And again thoughtful, sad

Before my dear Olga,

Vladimir has no power

Remind her of yesterday;

He thinks: “I will be her savior.”

I will not tolerate the corrupter

Fire and sighs and praises

He tempted the young heart;

So that the despicable, poisonous worm

Sharpened a lily stalk;

To the two-morning flower

Withered still half-open.”

All this meant, friends:

I'm shooting with a friend.

The situation that led to a quarrel between two friends, as Lensky imagines it, is far from reality. In addition, being alone with his thoughts, the poet does not express them in ordinary words, but resorts to literary cliches (Onegin is a despicable, poisonous worm; Olga is a lily stalk, a two-morning flower), book words: savior, corrupter.

Pushkin also finds other techniques for depicting Lensky’s character. Here and slight irony: the contrast of the young man’s excited state and Olga’s usual behavior upon meeting (“... as before, Olenka jumped from the porch to meet the poor singer); and a comic resolution of the severity of the situation by introducing a colloquial turn of phrase: “And silently he hung his nose”; and the author’s conclusion: “All this meant, friends: I’m shooting with a friend.” Pushkin translates the content of Lensky's monologue into ordinary, natural spoken language. The author's assessment of everything that is happening as absurdity has been introduced (a duel with a friend).

Lensky anticipates the tragic outcome of the fight for him. As the fateful hour approaches, the melancholy mood intensifies (“A heart full of melancholy sank within him; Saying goodbye to the young maiden, It seemed to be torn”). The first phrase of his elegy:

Where, where have you gone,

My spring golden days?

- a typically romantic motive of complaint about the early loss of youth.

The above examples indicate that Lensky was immediately conceived as a typical image of the Russian romantic poet at the turn of the 10-20s of the 19th century.

Lensky is depicted in only a few chapters of the novel, so analysis of this image makes it easier to discern that innovative feature of Pushkin’s realism, which is expressed in the ambiguity of the assessments given by the author to his heroes. In these assessments, in relation to the image of Lensky, sympathy, irony, sadness, joke, and sorrow are expressed. Considered separately, these assessments can lead to one-sided conclusions. Taken in conjunction, they help to more correctly understand the meaning of Lensky’s image and to more fully sense its vitality. There is no specificity in the image of the young poet. Further development Lensky, if he had remained alive, did not exclude the possibility of his transformation into a romantic poet of the Decembrist orientation (he could “be hanged like Ryleev”) under appropriate circumstances.

Chapter 2. M.Yu. Lermontov - “Russian Byron”

2.1 Lermontov's poetry

Lermontov's poetry is inextricably linked with his personality; it is, in the full sense, a poetic autobiography. The main features of Lermontov’s nature are unusually developed self-awareness, efficiency and depth moral world, courageous idealism of life's aspirations.

All these features were embodied in his works, from the earliest prose and poetic outpourings to mature poems and novels.

Even in his youthful “Tale” Lermontov glorified the will as perfect, irresistible spiritual energy: “to want means to hate, love, regret, rejoice, live”...

Hence his fiery requests for strong open feelings, indignation at petty and cowardly passions; hence his demonism, which developed amid forced loneliness and contempt for the surrounding society. But demonism is by no means a negative mood: “I need to love,” the poet confessed, and Belinsky guessed this trait after the first serious conversation with Lermontov: “I was pleased to see in his rational, chilled and embittered view of life and people the seeds of deep faith in the dignity of both. That's what I told him; he smiled and said: God willing.”

Lermontov's demonism is the highest level of idealism, the same as the dreams of people of the 18th century about an all-perfect natural man, about freedom and the virtues of the golden age; this is the poetry of Rousseau and Schiller.

Such an ideal is the most daring, irreconcilable denial of reality - and young Lermontov would like to throw off the “educational chain” and be transported to the idyllic kingdom primitive humanity. Hence the fanatical adoration of nature, the passionate penetration of its beauty and power. And all these features cannot be associated with any external influence; they existed in Lermontov even before he met Byron and merged only into a more powerful and mature harmony when he recognized this truly for him kindred spirit.

In contrast to the disappointment of Chateaubriand's Rene, rooted solely in egoism and self-adoration, Lermontov's disappointment is a militant protest against “baseness and strangeness”, in the name of sincere feeling and courageous thoughts.

Before us is poetry not of disappointment, but of sadness and anger. All Lermontov's heroes - Demon, Izmail-Bey, Mtsyri, Arseny - are filled with these feelings. The most real of them - Pechorin - embodies the most apparently everyday disappointment; but this is a completely different person than the “Moscow Childe Harold” - Onegin. He has many negative traits: selfishness, pettiness, pride, often heartlessness, but next to them is a sincere attitude towards oneself. “If I am the cause of the misfortune of others, then I myself am no less unhappy” - absolutely truthful words from his mouth. More than once he yearns for a failed life; on other soil, in another air, this strong organism would undoubtedly have found a more honorable cause than persecuting the Grushnitskys.

The great and the insignificant coexist side by side in him, and if it were necessary to distinguish between the two, the great would have to be attributed to the individual, and the insignificant to society...

Lermontov's creativity gradually descended from behind the clouds and from the Caucasus mountains. It stopped at creating very real types and became public and national. In Russian XIX literature century, there is not a single noble motive in which the untimely silenced voice of Lermontov is not heard: her sadness about the pitiful phenomena of Russian life is an echo of the life of a poet who sadly looked at his generation; in her indignation at the slavery of thought and the moral insignificance of her contemporaries, Lermontov’s demonic impulses are heard; her laughter at stupidity and vulgar comedy can already be heard in Pechorin’s destructive sarcasms against Grushnitsky.

2.2 Mtsyri as a romantic hero

The poem “Mtsyri” is the fruit of the active and intense creative work of Mikhail Yuryevich Lermontov. Even in his youth, the poet’s imagination painted the image of a young man, on the threshold of death, delivering an angry, protesting speech to his listener - a senior monk. In the poem “Confession” (1830, the action takes place in Spain), the hero, imprisoned, proclaims the right to love, which is higher than monastic regulations. His fascination with the Caucasus, his desire to depict situations in which the hero’s courageous character can be revealed most fully, led Lermontov, at the height of his talent, to create the poem “Mtsyri” (1840), repeating many poems from the previous stages of work on the same image.

Before "Mtsyri" the poem "The Fugitive" was written. In it, Lermontov develops the theme of punishment for cowardice and betrayal. Brief story: a traitor to duty, forgetting about his homeland, Harun fled from the battlefield without taking revenge on his enemies for the death of his father and brothers. But neither a friend, nor a lover, nor a mother will accept the fugitive; even everyone will turn away from his corpse, and no one will take him to the cemetery. The poem called for heroism, for the fight for the freedom of the homeland. In the poem “Mtsyri” Lermontov develops the idea of courage and protest inherent in “Confession” and the poem “The Fugitive”. In "Mtsyri" the poet almost completely excluded the love motif that played such a significant role in "Confession" (the love of the hero-monk for a nun). This motive was reflected only in a brief meeting between Mtsyri and a Georgian woman near a mountain stream.

The hero, defeating the involuntary impulse of a young heart, renounces personal happiness in the name of the ideal of freedom. The patriotic idea is combined in the poem with the theme of freedom, as in the works of the Decembrist poets. Lermontov does not share these concepts: love for the fatherland and thirst for will merge into one, but “fiery passion.” The monastery becomes a prison for Mtsyri, the cells seem stuffy to him, the walls seem gloomy and deaf, the monk guards seem cowardly and pitiful, and he himself becomes a slave and a prisoner. His desire to find out whether “we were born into this world for freedom or prison” is due to a passionate impulse for freedom. Short days to escape is his will. Only outside the monastery he lived, and did not vegetate. Only these days he calls bliss.

Mtsyri’s freedom-loving patriotism is least like a dreamy love for family beautiful scenery and dear graves, although the hero yearns for them too. It is precisely because he truly loves his homeland that he wants to fight for the freedom of his homeland. But at the same time, the poet with undoubted sympathy sings of the warlike dreams of the young man. The poem does not fully reveal the hero’s aspirations, but they are palpable in hints. Mtsyri remembers his father and acquaintances first of all as warriors; It’s no coincidence that he dreams of battles in which he... wins, it is not for nothing that his dreams draw him into the “wonderful world of worries and battles.” He is convinced that he could be “in the land of his fathers, not one of the last daredevils.” Although fate did not allow Mtsyri to experience the rapture of battle, with all his feelings he is a warrior. He was distinguished by his stern restraint even from his childhood. The young man, proud of this, says: “Do you remember, in my childhood I never knew tears.” He gives vent to tears only during his escape, because no one sees them.

The tragic loneliness in the monastery strengthened Mtsyri's will. It is no coincidence that he fled from the monastery on a stormy night: what frightened the fearful monks filled his heart with a feeling of brotherhood with the thunderstorm. Mtsyri's courage and fortitude are most clearly demonstrated in the battle with the leopard. He was not afraid of the grave, because he knew; returning to the monastery is a continuation of previous suffering. Tragic ending indicates that the approach of death does not weaken the spirit of the hero and the power of his freedom-loving patriotism. The old monk's admonitions do not make him repent. Even now he would “trade paradise and eternity” for a few minutes of life among his loved ones (poems that displeased the censorship). It was not his fault if he failed to join the ranks of fighters for what he considered his sacred duty: circumstances turned out to be insurmountable, and he “argued with fate” in vain. Defeated, he is not spiritually broken and remains in a positive way our literature, and his masculinity, integrity, heroism were a reproach to the fragmented hearts of fearful and inactive contemporaries from the noble society. The Caucasian landscape is introduced into the poem mainly as a means of revealing the image of the hero.

Despising his surroundings, Mtsyri feels only a kinship with nature. Imprisoned in a monastery, he compares himself to a pale, typical leaf growing between damp slabs. Having broken free, he, along with the sleepy flowers, raises his head when the east turns rich. A child of nature, he falls to the ground and learns how fairy tale hero, the mystery of bird songs, the mysteries of their prophetic chirping. He understands the dispute between the stream and the stones, the thought of separated rocks yearning to meet. His gaze is sharpened: he notices the shine of the snake’s scales and the shimmer of silver on the fur of the leopard, he sees the jagged teeth of distant mountains and a pale strip “between the dark sky and earth”, it seems to him that his “diligent gaze” could follow the flight of angels through the transparent blue of the sky . (The verse of the poem also corresponds to the character of the hero). Lermontov's poem continues the traditions of advanced romanticism; Mtsyri, full of fiery passions, gloomy and lonely, revealing his “soul” in a confessional story, is perceived as the hero of romantic poems.

However, Lermontov, who created “Mtsyri” in those years when the realistic novel “A Hero of Our Time” was also being created, introduces features into his work that are not present in his earlier poems. If the past of the heroes of “Confession” and “Boyar Orsha” remains completely unknown, and we do not know the social conditions that shaped their characters, then the lines about Mtsyri’s unhappy childhood and fatherland help to better understand the hero’s experiences and thoughts. The very form of confession, characteristic of romantic poems, is associated with the desire to reveal deeper - to “tell the soul.” This psychologism of the work and the detailing of the hero’s experiences are natural for the poet, who at the same time was creating a socio-psychological novel. The combination of abundant metaphors of a romantic nature in the confession itself (images of fire, ardor) with the realistically accurate and poetically sparse speech of the introduction is expressive. (“Once upon a time a Russian general ... “)

Romantic poem testified to the growth of realistic tendencies in Lermontov’s work. Lermontov entered Russian literature as a successor to the traditions of Pushkin and the Decembrist poets, and at the same time as a new link in the chain of development national culture. According to Belinsky, he introduced his own “Lermontov element” into national literature. Briefly explaining what needs to be included in this definition, the critic as the first characteristic feature the poet’s creative heritage noted the “original living thought” in his poems. Belinsky repeated: “Everything breathes with original and creative thought.”

Conclusion

A romantic hero, no matter who he is - a rebel, a loner, a dreamer or a noble romantic - is always an exceptional person, with indomitable passions, he is always internally strong. This person has a pathetic, appealing speech.

We looked at two romantic heroes: Vladimir Lensky A. Pushkin and Mtsyri M. Lermontov. They are typical romantic heroes of their time.

Romantics are characterized by confusion and confusion in front of the world around them, and the tragedy of the individual’s fate. Romantic poets deny reality; the idea of two worlds was present in all works. In addition, the romantic artist never tried to accurately reproduce reality, because it was more important for him to express his attitude towards it, moreover, to create his own, fictional image of the world, often based on the principle of contrast with the surrounding life, in order to convey through this fiction, through contrast to the reader both his ideal and his rejection of the world he denies.

The Romantics sought to free the individual from superstitions and power, because for them every person is unique and unrepeatable, they opposed vulgarity and evil. They are characterized by an image strong passions, spiritual, and healing nature, which was also not realistic: the landscape in their works is either very bright, or, on the contrary, thickening the colors, it is devoid of halftones. So they tried to better convey the feelings of the characters. Here are the names of the best romantic writers in the world: Novalis, Jean Paul, Hoffmann, W. Wordsworth, W. Scott, J. Byron, V. Hugo, A. Lamartine, A. Miskevich, E. Poe, G. Melville and our Russian poets - M.Yu. Lermontov, F.I. Tyutchev, A.S. Pushkin.

In our country, romanticism appeared at the beginning of the 11th century. The development of romanticism occurred inseparably from the general movement of European romantic literature, but the work of our romantics has its own specificity, explained by the peculiarity national history. In Russia important events, which had a huge impact on the entire course artistic development of our country, appeared Patriotic War 1812 and the Decembrist uprising in December 1825.

The restless, rebellious nature of the romantic movement at that time could not have been better suited to the atmosphere of national upsurge, the thirst for renewal and transformation of life that awakened in Russian society, and in particular the romantic poets.

References

1. Belinsky V.G. Articles about Lermontov. - M., 1986. - P.85 - 126.

2. Belskaya L.L. The motive of loneliness in Russian poetry: From Lermontov to Mayakovsky. - M.: Russian speech, 2001. - 163 p. .

3. Blagoy D.D. Lermontov and Pushkin: Life and work of M.Yu. Lermontov. - M., 1941. - P.23-83

4.Russian literature of the 19th century: Large educational reference book. M.: Bustard, 2004. - 692 p.

5. Nightingale N. I am Roman A.S. Pushkin "Eugene Onegin". - M.: Education, 2000. - 111 p.

6.Khalizev V.E. Theory of literature. - M., 2006. - 492 p.

7. Shevelev E. Restless genius. - St. Petersburg, 2003. - 183 p.

Solovey N.Ya Roman A.S. Pushkin "Eugene Onegin". – M., 2000. – 45 p. Belinsky V.G. Articles about Lermontov. – M., 1986. – P. 85 – 126

Russian literature of the 19th century: Large educational reference book. M.: Bustard, 2004. – P. 325

Probably the most common way to create a romantic hero is through typing - that is, traits that any romantic hero can have. This original character manages to stand out from all the others.

Also, the character of the romantic hero differs from others in its inner strength, integrity, focus on the life idea, passion for struggle. The main thing in such a character is the boundless love of freedom, in the name of which the hero is able to challenge even the whole world.

Romantic character is built

in contrast to ordinary, philistine characters, and necessarily enters into a fight with them. The romantic hero is often very lonely. He alone enters into the struggle for freedom, love, the Motherland, and in most cases carries others along with him.

The romantic character corresponds to exceptional circumstances in which it is fully revealed. IN given character Psychologism is used as a means of deepening into the inner world of the hero.

Many writers quite often use landscape as a means of characterizing the hero. The sea is the favorite landscape of romantics. And the language of romantic works is unusual

rich and varied, it most often uses bright tropes - words with a figurative meaning.

The romantic hero is a very strong personality, who in almost all cases is a winner, a rescuer, in a word, a hero.

Glossary:

- characteristics of a romantic hero

– romantic character

– what character traits should a romantic hero have?

– characteristics of a romantic hero

- traits of a romantic hero

Signs of a Romantic Hero

An exceptional hero in exceptional circumstances
Reality is actively being recreated in accordance with the ideal
Independence
The insolubility of the conflict between the hero and society
Abstract perception of time
Two or three distinct character traits

Roles and archetypes of characters
Role	Action hero · Final girl · Byronic hero · Ingenue · Comedian · Neurosthenic · Vice · Reasoner · Soubrette · Travesty · Tragic hero
Archetypes	Mad Scientist · Noble Savage · Noble Bandit · Reluctant Hero · Damsel in Distress · Warrior Maiden · King Under the Mountain · Bad Guy · Prince Charming · Femme Fatale

Wikimedia Foundation. 2010.

See what “Romantic hero” is in other dictionaries:

romantic hero- see hero of the work + romanticism...

hero of the work- one of the main characters in a work of art (as opposed to a character); development of the hero's character and his relationships with others actors play decisive role in the development of the plot and composition of the work, in its disclosure... ... Terminological dictionary-thesaurus in literary studies

hero- 1. A person who has accomplished military or labor feats. Selfless, fearless, brilliant (obsolete), daring (obsolete poet.), valiant, glorious (obsolete), famous, famous, true, legendary, courageous, folk, real, ... ... Dictionary of epithets

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- - born on May 26, 1799 in Moscow, on Nemetskaya Street in Skvortsov’s house; died January 29, 1837 in St. Petersburg. On his father's side, Pushkin belonged to the ancient noble family, who, according to the legend of genealogies, came from a native “from ... ... Large biographical encyclopedia

Pushkin A. S. Pushkin. Pushkin in the history of Russian literature. Pushkin studies. Bibliography. PUSHKIN Alexander Sergeevich (1799 1837) the greatest Russian poet. R. June 6 (according to the old style May 26) 1799. P.’s family came from a gradually impoverished old ... ... Literary encyclopedia

1. The hero of A.P. Sumarokov’s tragedy “Dimitri the Pretender” (1771). Historical prototype False Dmitry I, also probably Yuri (Grigory) Otrepiev. In 1601, the Pretender appeared in Poland under the name of Dimitri, the son of Ivan IV the Terrible; in the summer of 1604 with... ... Literary heroes

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- (French Jean Valejean) the hero of V. Hugo’s novel “Les Miserables” (1862). One of the prototypes of the hero was the convict Pierre Morin, who in 1801 was sentenced to five years of hard labor for a stolen piece of bread. Only one person, the bishop of the city of Digne, Monsignor de... ... Literary heroes

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Books

M. Lermontov. Complete Works, M. Lermontov. Mikhail Yuryevich Lermontov is a younger contemporary of Pushkin and the second greatest figure after him in Russian poetry of the 19th century. In 2014, the 200th anniversary of the poet’s birth is celebrated. It was his destiny...

“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, azure flowers bloomed in 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.

There are a total of 13 presentations in the topic

Who is a romantic hero and what is he like?

This is an individualist. A superman who has lived through two stages: before colliding with reality, he lives in a “pink” state, he is overcome by the desire for achievement, to change the world; after colliding with reality, he continues to consider this world both vulgar and boring, but he does not become a skeptic or a pessimist. With a clear understanding that nothing can be changed, the desire for achievement degenerates into a desire for danger.

The Romantics could attach eternal lasting value to every little thing, every concrete fact, every single thing. Joseph de Maistre calls this “the paths of Providence,” Germaine de Stael calls it “the fruitful womb of the immortal universe.” Chateaubriand in The Genius of Christianity, in a book dedicated to history, directly points to God as the beginning of historical time. Society appears as an unshakable connection, “a thread of life that connects us with our ancestors and which we must extend to our descendants.” Only a person’s heart, and not his mind, can understand and hear the voice of the Creator, through the beauty of nature, through deep feelings. Nature is divine, a source of harmony and creativity, and its metaphors are often carried into the political lexicon by romantics. For romantics, a tree becomes a symbol of gender, spontaneous development, and the perception of juices native land, a symbol of national unity. The more innocent and sensitive a person’s nature, the easier he hears the voice of God. A child, a woman, a noble youth more often than others perceives the immortality of the soul and the value of eternal life. The thirst for bliss among the romantics is not limited to the idealistic desire for the Kingdom of God after death.

In addition to mystical love for God, a person needs real, earthly love. Unable to possess the object of his passion, the romantic hero became an eternal martyr, doomed to wait for a meeting with his beloved in the afterlife, “for she is worthy of immortality great love when it cost a man his life."

The problem of personality development and education occupies a special place in the work of romantics. Childhood is devoid of laws; its instantaneous impulses violate public morality, obeying its own rules of children's play. In an adult, similar reactions lead to death, to the condemnation of the soul. In search of the heavenly kingdom, a person must comprehend the laws of duty and morality, only then can he hope for eternal life. Since duty is dictated to romantics by their desire to gain eternal life, the fulfillment of duty gives personal happiness in its deepest and most powerful manifestation. To the moral duty is added the duty of deep feelings and sublime interests. Without mixing the merits of different sexes, romantics advocate the equality of spiritual development of men and women. In the same way, civic duty is dictated by love for God and his institutions. Personal aspiration finds its completion in a common cause, in the aspiration of the whole nation, all humanity, the whole world.

Every culture has had its own romantic hero, but Byron gave the typical representation of the romantic hero in his work "Charold Harold". He put on the mask of his hero (suggests that there is no distance between the hero and the author) and managed to correspond to the romantic canon.

All romantic works are distinguished by characteristic features:

Firstly, in every romantic work there is no distance between the hero and the author.

Secondly, the author does not judge the hero, but even if something bad is said about him, the plot is structured in such a way that the hero is not to blame. The plot in a romantic work is usually romantic. Romantics also build a special relationship with nature; they like storms, thunderstorms, and disasters.

Romantic hero. Romantic hero as a literary type. Who is a romantic hero and what is he like?

Chapter 2. M.Yu. Lermontov - “Russian Byron”

2.1 Lermontov's poetry

2.2 Mtsyri as a romantic hero

Conclusion

References

Glossary:

Other works on this topic:

Signs of a Romantic Hero

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