The great French bourgeois revolution and the half-century agitation of the Enlightenment that underlay it gave rise to unprecedented enthusiasm in the intellectual environment of Europe, the desire to remake and recreate everything, to lead humanity to the “golden age” of history, to achieve the abolition of all class boundaries and privileges - that is, “Freedom, equality and fraternity." It is no coincidence that almost all romantics are fanatics of freedom, but each of them understood freedom in his own way: it could be civil, social freedoms, which were demanded, for example, by Constant, Byron and Shelley, but most often it is creative, spiritual freedom, personal freedom, individual freedom.
Romantic poets proclaimed personality, individuality as the basis of history. In their aesthetics, man is not alone from(a representative of a collective, society, class, not an abstract person, as was customary among the enlighteners up to Fichte); he is unique, strange, alone - he is both the creator and the goal of history.
Following the classicists, the romantics turn to the main conflict of history: society - man (the famous classicist opposition “duty - feeling”). But the romantics reverse positions, turning them in favor of the individual, at least from the point of view of today's liberal way of thinking on its head:
man - society
therefore, “I” – “they”.
Romantic individualism gives rise to the main motives of romantic plotting: rebellion, escape from reality into nature (literally, escape from civilization), into creativity (into a poetic imaginary world or into religion, mysticism), into melancholy (themes of sleep, dreams, the motif of a lost lover, themes of death and afterlife unity), into the historical past and national folklore. Hence the favorite genres romantic literature: civic and journalistic lyrics; descriptive poetry, poems of wanderings (East and South-East Europe), pictures of harsh and lush nature as a reason for philosophizing about the universe and the place of man in it; confessional lyrics and confessional novel; “black” or gothic novel; drama of fate; fantastic novella with elements of horror; ballad and historical novel.
The magnificent romantic historiography of Guizot, Thierry, Michelet rises on the crest of this overwhelming interest in the individual and his role in the historical process. The creator of history here becomes a specific person - a king, an emperor, a conspirator, a leader of an uprising, a politician, and at the same time, as Walter Scott's novel shows, the people. The historicism of thinking characteristic of romantic consciousness is also a product of the Great French Bourgeois Revolution, as a global revolution in all spheres of life of Europeans. During the revolutionary period, history, which had previously changed almost imperceptibly, like stalagmites and stalactites growing in the depths of caves, rushed at a gallop, drawing millions of people into the sphere of its action, clearly demonstrating the connection of man with the movement of time, with the environment, with the national environment.
Romantics exalt the individual and put him on a pedestal. A romantic hero is always an exceptional person, unlike the people around him; he is proud of his exclusivity, although it becomes the cause of his misfortunes, his strangeness. The romantic hero challenges the world around him; he is in conflict not with individual people, not with socio-historical circumstances, but with the world as a whole, with the entire universe. Romantics therefore focus on depicting the spiritual, psychological life heroes, and the inner world romantic hero everything consists of contradictions. Romantic consciousness, in rebellion against everyday life, rushes to extremes: some heroes of romantic works strive for spiritual heights, becoming like the creator himself in their search for perfection, others in despair indulge in evil, not knowing the extent of the depth of moral decline. Some romantics look for an ideal in the past, especially in the Middle Ages, when direct religious feeling was still alive, others - in the utopias of the future. One way or another, the starting point of romantic consciousness is the rejection of dull bourgeois modernity, the affirmation of the place of art not just as entertainment, relaxation after working day dedicated to making money, but as an urgent spiritual need of man and society. The protest of the romantics against the self-interest of the “Iron Age”. That is why the favorite hero of romantic literature is the artist in the broad sense of the word - writer, poet, painter and especially musician, because music, which directly affects the soul, was considered by the romantics to be the highest of the arts. Romanticism gave rise to new ideas about the tasks and forms of existence of literature, which we generally adhere to to this day. In terms of content, art henceforth becomes a rebellion against alienation and the transformation of a person, great in his calling, into a private individual. For the romantics, art became the prototype of creative work and pleasure, and the artist and the image of the romantic hero became the prototype of that integral, harmonious person who has no limit either on earth or in space. Romantic “escape from reality”, escape into the world of dreams, the world of the ideal is the return to man of the consciousness of that true fullness of being, that calling that was taken from him by bourgeois society.
Romanticism used, seriously transforming it, a sentimentalist image of personality. But it is not sentimental sensitivity, but passion that is the basis of the romantic personality: the soul of a romantic does not vibrate in response to all the calls of reality, but only responds with a few strong sounds. Passion can be combined with icy indifference; a romantic’s mind is often “chilled.” Goethe emphasized passion as a defining feature of the new man: “A will that surpasses the strength of the individual is a product of the new time.” All-consuming passions that lead to obsession need freedom to manifest themselves.
The romantic hero chooses freedom in a wide range of meanings: from socio-political freedom to artistic freedom. Civil freedom was sung by revolutionary writers, liberals, and participants in liberation movements in Europe and America. And among writers who adhered to conservative public views, had their own apology for freedom, or rather an apology for their freedom: they developed the idea of this freedom in the metaphysical plane (later these thoughts were picked up by existential philosophy) and in the social plane (in the future these constructions led to the development of the doctrine of the so-called Christian democracy).
Among the different faces of romantic freedom there is also freedom from mechanical determination and immutability social role(Hoffmann’s favorite theme), and, finally, liberation from man’s mortal predestination, the struggle against which turns into a cosmic, God-fighting rebellion (this theme is embodied by Byron and Espronceda). Boundless freedom is the secret of the alienated, Byronic hero: it is never known exactly what extricated him from among people, what restrictions of freedom he could not bear.
But the most important, truly constitutive feature of a romantic personality, its most painful passion is imagination. Living in imagination is more familiar to her than living in reality; and the one who cannot do this, in whom the imagination sleeps, will never escape from the empirical kingdom of vulgarity. This belief is not limited to popular literary motive, it is one of the cardinal features of the spiritual culture of the era. Alexander Humboldt, whose activities and writings undoubtedly influenced the worldview of his contemporaries and who himself was in the full sense of the word “a man of the era,” commented on Columbus’s letter: “It is of extraordinary psychological interest and shows with renewed vigor that the poet’s creative imagination was characteristic of the brave navigator who discovered New World, as, indeed, to all major human personalities.”
Imagination in the spiritual structure of a romantic personality is not equivalent to a dream. The epithet “creative,” which echoes Fichte’s doctrine of the “productive imagination,” does not necessarily refer only to art (this is obvious from Humboldt’s statement). The word “creative” gives the imagination an active, goal-setting, volitional character. The romantic personality is characterized by imagination, mixed with will, and therefore a crisis of imagination, “rage at the sight of the discrepancy between his capabilities and plans,” according to Byron’s definition, painfully experienced by a series of romantic characters, starting with Senancourt’s Oberman. This is a crisis in the life-building program of romanticism.
There remains a lot of evidence of such a life-building program - confessionals, memoirs, pamphlets, even legal ones (see L. Megron). Attempts to implement it were varied - from decisive and sometimes heroic actions in life to eccentric everyday and literary behavior, the creation of a stylized spiritual self-portrait in letters and other documents. Several generations of young people who grew up in an atmosphere of romanticism “were engaged in modeling their historical character in the most extreme form, in the form of romantic life-creativity - the deliberate construction of artistic images and aesthetically organized plots in life” (L. Ginzburg). The very idea of life-building was suggested historical process: after all, it seemed that history was made by the energy and human greatness of people like Napoleon or Bolivar - two archetypes of a romantic character. A lot others real personalities eras (Riego, Ypsilanti, Byron) also served as models of romantic life-building.
The concept of "romanticism" is often used as a synonym for the concept of "romance". This refers to the tendency to view the world through pink glasses and active life position. Or they associate this concept with love and any actions for the sake of their own loved one. But romanticism has several meanings. The article will discuss the narrower understanding that is used for the literary term, and the main character traits of the romantic hero.
Characteristic features of the style
Romanticism is a movement in literature that arose in Russia at the end of the 18th - first half of the 19th century. This style proclaims the cult of nature and natural human feelings. New characteristic features freedom of self-expression, the value of individualism and the original character traits of the main character become romantic literature. Representatives of the movement abandoned rationalism and the primacy of the mind, which were characteristic of the Enlightenment, and put the emotional and spiritual aspects of man at the forefront.
In their works, the authors depict not the real world, which was too vulgar and base for them, but the inner universe of the character. And through the prism of his feelings and emotions, the outlines of real world, whose laws and thoughts he refuses to obey.
Main conflict
The central conflict of all works written in the era of romanticism is the conflict between the individual and society as a whole. Here the main character goes against the established rules in his environment. Moreover, the motives for such behavior can be different - actions can either be for the benefit of society or have a selfish plan. In this case, as a rule, the hero loses this fight, and the work ends with his death.
A romantic is special and in most cases very mysterious person trying to resist the power of nature or society. At the same time, the conflict develops into an internal struggle of contradictions that occurs in the soul of the main character. In other words, the central character is built on antitheses.
At least in this literary genre and the individuality of the protagonist is valued, but still literary scholars have identified which features of romantic heroes are the main ones. But, even despite the similarities, each character is unique in its own way, since they are only general criteria for identifying a style.
Ideals of society
The main feature the romantic hero is that he does not accept the generally known ideals of society. The main character has his own ideas about the values of life, which he tries to defend. He seems to challenge the entire world around him, and not an individual person or group of people. Here we are talking about the ideological confrontation of one person against the whole world.
Moreover, in his rebellion, the main character chooses one of two extremes. Or these are unattainable, highly spiritual goals, and the character is trying to become equal to the Creator himself. In another case, the hero indulges in all sorts of sins, without feeling the extent of his moral fall into the abyss.
Bright personality
If one person is able to withstand the whole world, then it is as large-scale and complex as the whole world. The main character of romantic literature always stands out in society both externally and internally. In the soul of the character there is a constant conflict between the stereotypes already laid down by society and his own views and ideas.
Loneliness
One of the saddest traits of a romantic hero is his tragic loneliness. Since the character is opposed to the whole world, he remains completely alone. There is no person who would understand him. Therefore, he either himself flees from the society he hates, or he himself becomes an exile. Otherwise, the romantic hero would no longer be like that. Therefore, romantic writers focus all their attention on the psychological portrait central character.
Either the past or the future
The traits of a romantic hero do not allow him to live in the present. The character is trying to find his ideals in the past, when religious feeling was strong in the hearts of people. Or he consoles himself with happy utopias that supposedly await him in the future. But in any case, the main character is not satisfied with the era of dull bourgeois reality.
Individualism
As already mentioned, the hallmark of the romantic hero is his individualism. But it’s not easy to be “different from others.” This is a fundamental difference from all the people who surround the main character. Moreover, if a character chooses a sinful path, then he realizes that he is different from others. And this difference is taken to the extreme - the cult of personality of the protagonist, where all actions have an exclusively selfish motive.
The era of romanticism in Russia
The founder of Russian romanticism is considered to be the poet Vasily Andreevich Zhukovsky. He creates several ballads and poems (“Ondine”, “The Sleeping Princess” and so on), in which there is a deep philosophical meaning and the desire for moral ideals. His works are imbued with his own experiences and reflections.
Then Zhukovsky was replaced by Nikolai Vasilyevich Gogol and Mikhail Yuryevich Lermontov. They leave the imprint of an ideological crisis on the public consciousness, which is impressed by the failure of the Decembrist uprising. For this reason, the creativity of these people is described as disappointment in real life and an attempt to escape into your fictional world, filled with beauty and harmony. The main characters of their works lose interest in earthly life and come into conflict with the outside world.
One of the features of romanticism is its appeal to the history of the people and their folklore. This can be seen most clearly in the work “Song about Tsar Ivan Vasilyevich, a young guardsman and swashbuckling merchant Kalashnikov" and a cycle of poems dedicated to the Caucasus. Lermontov perceived it as the homeland of free and proud people. They opposed a slave country that was under the rule of Nicholas I.
Early works Alexander Sergeevich Pushkin’s works are also imbued with the idea of romanticism. An example would be “Eugene Onegin” or “The Queen of Spades”.
Who is a romantic hero and what is he like?
This is an individualist. A superman who lived through two stages: before colliding with reality; he lives in a “pink” state, he is possessed by the desire for achievement, to change the world. After a collision with reality; he continues to consider this world both vulgar and boring, but he becomes a skeptic, a pessimist. With a clear understanding that nothing can be changed, the desire for heroism degenerates into a desire for danger.
Every culture had its own romantic hero, but Byron gave the typical representation of the romantic hero in his work Childe 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. The characteristic features are:
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.
In Russia, romanticism arose seven years later than in Europe, since in the 19th century Russia was in some cultural isolation. We can talk about Russian imitation European romanticism. This was a special manifestation of romanticism; in Russian culture there was no opposition of man to the world and God. The version of Byron's romanticism was lived and felt in his work first by Pushkin, then by Lermontov. Pushkin had the gift of attention to people; the most romantic of his romantic poems is “The Bakhchisarai Fountain”. Pushkin felt and identified the most vulnerable place of a person’s romantic position: he wants everything only for himself.
Lermontov's poem "Mtsyri" also does not fully reflect the characteristic features of romanticism.
There are two romantic heroes in this poem, so if this and romantic poem, then it is very unique: firstly, the second hero is conveyed by the author through an epigraph; secondly, the author does not connect with Mtsyri, the hero solves the problem of self-will in his own way, and Lermontov throughout the entire poem only thinks about solving this problem. He does not judge his hero, but he does not justify him either, but he takes a certain position - understanding. It turns out that romanticism in Russian culture is transformed into reflection. It turns out romanticism from the point of view of realism.
We can say that Pushkin and Lermontov failed to become romantics (however, Lermontov once managed to comply with romantic laws - in the drama “Masquerade”). With their experiments, the poets showed that in England the position of an individualist could be fruitful, but in Russia it was not. Although Pushkin and Lermontov failed to become romantics, they opened the way for the development of realism. In 1825, the first realistic work was published: “Boris Godunov”, then “. Captain's daughter", "Eugene Onegin", "Hero of Our Time" and many others.
Despite the complexity of the ideological content of romanticism, its aesthetics as a whole opposed the aesthetics of classicism of the 17th and 18th centuries. The Romantics broke the centuries-old literary canons of classicism with its spirit of discipline and frozen greatness. In the struggle for the liberation of art from petty regulation, the romantics defended the unlimited freedom of the artist’s creative imagination.
Rejecting the restrictive rules of classicism, they insisted on mixing genres, justifying their demand by the fact that it corresponds true life nature, where beauty and ugliness, tragic and comic are mixed. Glorifying the natural movements of the human heart, the romantics, in contrast to the rationalistic demands of classicism, put forward a cult of feeling; the logically generalized characters of classicism were opposed by their extreme individualization.
The hero of romantic literature, with his exclusivity, with his heightened emotionality, was generated by the desire of the romantics to contrast prosaic reality with a bright, free personality. But if progressive romantics created images strong people with unbridled energy, with violent passions, people rebelling against the dilapidated laws of an unjust society, then conservative romantics cultivated the image of “ extra person", coldly withdrawn into his loneliness, completely immersed in his experiences.
The desire to reveal the inner world of man, interest in the life of peoples, in their historical and national identity - all these strengths Romanticism foreshadowed the transition to realism. However, the achievements of the Romantics are inseparable from the limitations inherent in their method.
The laws of bourgeois society, misunderstood by the romantics, appeared in their minds in the form of irresistible forces playing with man, surrounding him with an atmosphere of mystery and fate. For many romantics, human psychology was shrouded in mysticism; it was dominated by moments of the irrational, unclear, and mysterious. The subjective idealistic idea of the world, of a lonely, self-contained personality opposed to this world, was the basis for a one-sided, non-specific image of a person.
Along with the actual ability to convey the complex life of feelings and souls, we often find among romantics the desire to transform the diversity of human characters into abstract schemes of good and evil. Pathetic elation of intonation, a tendency toward exaggeration and dramatic effects sometimes led to stiltedness, which also made the art of the romantics conventional and abstract. These weaknesses were, to one degree or another, common to everyone, even the most major representatives romanticism.
The painful discord between the ideal and social reality is the basis of the romantic worldview and art. The affirmation of the intrinsic value of the spiritual and creative life of the individual, the image of strong passions, spiritualized and healing nature among many romantics - the heroics of protest or national liberation, including revolutionary struggle, coexists with the motives of “world sorrow”, “world evil”, the night side of the soul, clothed in the forms of irony, grotesque, poetics of dual worlds.
Interest in the national past (often its idealization), traditions of folklore and culture of one’s own and other peoples, the desire to create a universal picture of the world (primarily history and literature), the idea of art synthesis found expression in the ideology and practice of romanticism.
Romanticism in music developed in the 20s of the 19th century under the influence of the literature of romanticism and developed in close connection with it, with literature in general (appeal to synthetic genres, primarily opera, song, instrumental miniatures and musical programming). The appeal to the inner world of man, characteristic of romanticism, was expressed in the cult of the subjective, the craving for emotional intensity, which determined the primacy of music and lyrics in romanticism.
Musical romanticism manifested itself in many different branches associated with different national cultures and with different social movements. So, for example, there is a significant difference between the intimate, lyrical style of the German romantics and the “oratorical” civic pathos characteristic of creativity French composers. In turn, representatives of new national schools that emerged on the basis of a broad national liberation movement (Chopin, Moniuszko, Dvorak, Smetana, Grieg), as well as representatives of the Italian opera school, closely associated with the Risorgimento movement (Verdi, Bellini), in many ways differ from their contemporaries in Germany, Austria or France, in particular, in their tendency to preserve classical traditions.
And yet they are all marked by some common artistic principles, which allow us to talk about a single romantic system of thought.
By the beginning of the 19th century there appeared basic research folklore, history, ancient literature, forgotten medieval legends, Gothic art, and Renaissance culture are resurrected. It was at this time that many national schools of a special type emerged in the compositional work of Europe, which were destined to significantly expand the boundaries of pan-European culture. Russian, which soon took, if not the first, then one of the first places in world cultural creativity (Glinka, Dargomyzhsky, the “Kuchkists”, Tchaikovsky), Polish (Chopin, Moniuszko), Czech (Smetana, Dvorak), Hungarian (Liszt), then Norwegian (Grieg), Spanish (Pedrel), Finnish (Sibelius), English (Elgar) - all of them, joining the general mainstream of European compositional creativity, in no way opposed themselves to the established ancient traditions. Arose new circle images expressing unique national traits that national culture, to which the composer belonged. The intonation structure of a work allows you to instantly recognize by ear whether you belong to a particular national school.
Beginning with Schubert and Weber, composers have involved into the pan-European musical language the intonation patterns of the ancient, predominantly peasant folklore of their countries. Schubert, as it were, cleared the German folk song of the varnish of the Austro-German opera, Weber introduced into the cosmopolitan intonation structure of the Singspiel of the 18th century the song turns of folk genres, in particular, the famous chorus of hunters in The Magic Shooter. Chopin's music, for all its salon elegance and strict adherence to the traditions of professional instrumental writing, including sonata-symphonic writing, is based on the unique modal coloring and rhythmic structure of Polish folklore. Mendelssohn widely relies on everyday German song, Grieg - on the original forms of Norwegian music-making, Mussorgsky - on the ancient modality of ancient Russian peasant modes.
The most striking phenomenon in the music of romanticism, especially clearly perceived when compared with the figurative sphere of classicism, is the dominance of the lyrical-psychological principle. Of course distinctive feature musical art in general - the refraction of any phenomenon through the sphere of feelings. Music of all eras is subject to this pattern. But the romantics surpassed all their predecessors in the importance of the lyrical principle in their music, in the strength and perfection in conveying the depths of a person’s inner world, the subtlest shades of mood.
The theme of love occupies a dominant place in it, because it is this state of mind that most comprehensively and fully reflects all the depths and nuances of the human psyche. But in highest degree It is characteristic that this theme is not limited to the motives of love in the literal sense of the word, but is identified with a wide range of phenomena. The purely lyrical experiences of the characters are revealed against the backdrop of a broad historical panorama (for example, in Musset). A person’s love for his home, for his fatherland, for his people runs like a through thread through the work of all romantic composers.
Huge space is allocated to musical works small and large forms to the image of nature, closely and inextricably intertwined with the theme of lyrical confession. Like images of love, the image of nature personifies the hero’s state of mind, so often colored by a feeling of disharmony with reality.
The theme of fantasy often competes with images of nature, which is probably generated by the desire to escape from the captivity of real life. Typical of the romantics was the search for a wonderful world sparkling with a wealth of colors, opposed to gray everyday life. It was during these years that literature was enriched with the fairy tales of the Brothers Grimm, the fairy tales of Andersen, and the ballads of Schiller and Mickiewicz. Composers romantic school fairy-tale, fantastic images acquire a unique national coloring. Chopin's ballads are inspired by Mickiewicz's ballads, Schumann, Mendelssohn, Berlioz create works of a fantastic grotesque plan, symbolizing, as it were, the reverse side of faith, striving to reverse the ideas of fear of the forces of evil.
IN fine arts Romanticism manifested itself most clearly in painting and graphics, less expressively in sculpture and architecture. Prominent representatives of romanticism in the fine arts were E. Delacroix, T. Gericault, K. Friedrich. Eugene Delacroix is considered the head of the French romantic painters. In his paintings, he expressed the spirit of love of freedom, active action (“Freedom Leading the People”), and passionately and temperamentally called for the manifestation of humanism. Gericault's everyday paintings are distinguished by their relevance, psychologism, and unprecedented expression. Friedrich's spiritual, melancholic landscapes (“Two Contemplating the Moon”) are again the same attempt of the romantics to penetrate into the human world, to show how a person lives and dreams in the sublunary world.
In Russia, romanticism began to appear first in portrait painting. In the first third of the 19th century, it largely lost contact with the dignitary aristocracy. Significant place Portraits of poets, artists, art patrons, and images of ordinary peasants began to occupy the space. This tendency was especially pronounced in the works of O.A. Kiprensky (1782 - 1836) and V.A. Tropinin (1776 - 1857).
Vasily Andreevich Tropinin strove for a lively, relaxed characterization of a person, expressed through his portrait. Portrait of a Son (1818), “A.S. Pushkin” (1827), “Self-Portrait” (1846) amaze not with their portrait resemblance to the originals, but with their unusually subtle insight into the inner world of a person. It was Tropinin who was the founder of the genre, somewhat idealized portrait of a man from the people (“The Lacemaker”, 1823).
At the beginning of the 19th century, Tver was a significant cultural center of Russia. All prominent people of Moscow attended literary evenings here. Here young Orest Kiprensky met A.S. Pushkin, whose portrait, painted later, became the pearl of world portrait art, and A.S. Pushkin dedicated poems to him, calling him “the favorite of light-winged fashion.” The portrait of Pushkin by O. Kiprensky is a living personification of the poetic genius. In the decisive turn of the head, in the energetically crossed arms on the chest, in the poet’s entire appearance, a feeling of independence and freedom is reflected. It was about him that Pushkin said: “I see myself as in a mirror, but this mirror flatters me.” Distinctive feature Kiprensky's portraits are that they show the spiritual charm and inner nobility of a person. The portrait of Davydov (1809) is also full of romantic mood.
Many portraits were painted by Kiprensky in Tver. Moreover, when he painted Ivan Petrovich Wulf, the Tver landowner, he looked with emotion at the girl standing in front of him, his granddaughter, the future Anna Petrovna Kern, to whom one of the most captivating lyrical works- poem by A.S. Pushkin “I remember a wonderful moment...”. Such associations of poets, artists, musicians became a manifestation of a new direction in art - romanticism.
The luminaries of Russian painting of this era were K.P. Bryullov (1799 -1852) and A.A. Ivanov (1806 - 1858).
Russian painter and draftsman K.P. Bryullov, while still a student at the Academy of Arts, mastered the incomparable skill of drawing. Sent to Italy, where his brother lived, to improve his art, Bryullov soon amazed St. Petersburg patrons and philanthropists with his paintings. The large canvas “The Last Day of Pompeii” was a huge success in Italy and then in Russia. The artist created in it an allegorical picture of the death of the ancient world and the onset of new era. The birth of a new life on the ruins of an old world crumbling into dust is the main idea of Bryullov’s painting. The artist depicted a mass scene, the heroes of which are not individual people, but the people themselves.
Bryullov's best portraits constitute one of the most remarkable pages in the history of Russian and world art. His “Self-Portrait”, as well as portraits of A.N. Strugovshchikova, N.I. Kukolnik, I.A. Krylova, Ya.F. Yanenko, M Lanci are distinguished by their variety and richness of characteristics, the plastic power of the design, the variety and brilliance of the technique.
K.P. Bryullov introduced a stream of romanticism and vitality into the painting of Russian classicism. His "Bathsheba" (1832) is illuminated inner beauty, sensuality. Even Bryullov’s ceremonial portrait (“Horsewoman”) breathes with living human feelings, subtle psychologism and realistic tendencies, which is what distinguishes the movement in art called romanticism.
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Romantic hero- one of the artistic images of romanticism literature. A romantic is an exceptional and often mysterious person who usually lives in exceptional circumstances. The collision of external events is 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. The adventures of the romantic hero unfold against a background that is quite consistent with his originality: this or an exotic landscape distant countries, or an ominous ancient 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 towards 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. Strict 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. a story of stormy, passionate, tragic love Heathcliff and Catty are 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 Dedicated to Freedom,” in particular in the sonnet “London, 1802,” the 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 Leoline, 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.
“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 “fire beats in a cramped stove” 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 depiction of the inner world of man.
“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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