Romantic hero - one of the artistic images of the literature of romanticism. The 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 personality, inexhaustible in its spiritual depths, opening its unique inner world. A person in romantic works is also embodied with the help of contrast, antithesis: on the one hand, he is understood as the crown of creation, and on the other, as a weak-willed toy in the hands of fate, forces unknown and beyond his control, playing with his feelings. Therefore, he often turns into a victim of his own passions. Also usually the hero of a small lyric-epic work. The romantic hero is lonely. He or he himself is fleeing the familiar, convenient world for others, which seems to him a prison. Or he is an exile, a criminal. On a dangerous path he is driven by the unwillingness to be like everyone else, the thirst for a storm, the desire to measure strength. For the Romantic hero, freedom is more precious than life. To do this, he is capable of anything if he feels inner righteousness.
The romantic hero is an integral personality, it is always possible to single out a leading character trait in him.
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Excerpt from the Romantic Hero
- Please, you are welcome, brother of the deceased, - the kingdom of heaven! “Makar Alekseevich stayed, yes, as you please, they are in weakness,” said the old servant.Makar Alekseevich was, as Pierre knew, a half-mad, drunken brother of Joseph Alekseevich.
- Yes, yes, I know. Let's go, let's go ... - said Pierre and entered the house. A tall, bald old man in a dressing gown, with a red nose, in galoshes on bare feet, stood in the hall; seeing Pierre, he muttered something angrily and went into the corridor.
“We had a great mind, and now, as you will see, we have grown weaker,” said Gerasim. - Would you like to go to the office? - Pierre nodded his head. - The cabinet was sealed and remained. Sofya Danilovna ordered, if they come from you, then release the books.
Pierre entered the very gloomy study into which he had entered with such trepidation during the life of the benefactor. This office, now dusty and untouched since the death of Iosif Alekseevich, was even gloomier.
Gerasim opened one shutter and tiptoed out of the room. Pierre walked around the office, went to the closet in which the manuscripts were lying, and took out one of the most important relics of the order. These were genuine Scottish acts, with notes and explanations from the benefactor. He sat down at a dusty writing table and laid the manuscripts in front of him, opened them, closed them and, finally, pushing them away from him, leaning his head on his hands, he thought.
Who is the romantic hero and what is he like?
This is an individualist. A superman who has lived in two stages: before colliding with reality, he lives in a ‘pink’ state, he is possessed by the desire for achievement, for changing the world; after facing reality, he continues to consider this world both vulgar and boring, but he does not become a skeptic, a pessimist. With a clear understanding that nothing can be changed, the desire for heroism is reborn into a desire for dangers.
Romantics could give an eternal enduring value to every little thing, to every concrete fact, to everything that is singular. Joseph de Maistre calls it "the ways of Providence", Germain de Stael - "the fruitful womb of the immortal universe." Chateaubriand in "The Genius of Christianity", in a book devoted to history, directly points to God as the beginning of historical time. Society appears as an unshakable bond, "a thread of life that connects us with our ancestors and which we must extend to descendants." Only the heart of a person, and not his mind, can understand and hear the voice of the Creator, through the beauty of nature, through deep feelings. Nature is divine, it is the source of harmony and creative power, its metaphors are often transferred by romantics into the political lexicon. For romantics, the tree becomes a symbol of the family, spontaneous development, the perception of the juices of the native land, a symbol of national unity. The more innocent and sensitive a person's nature is, the easier he hears the voice of God. A child, a woman, a noble youth more often than others perceive the immortality of the soul and the value of eternal life. Romantics' thirst for bliss is not limited to the idealistic pursuit of 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 great love is worthy of immortality when it cost a man his life."
A special place in the work of romantics is occupied by the problem of the development and education of the individual. Childhood is devoid of laws, its instant impulses violate public morality, obeying its own rules of children's play. In an adult, similar reactions lead to death, to 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, fulfilling duty gives personal happiness in its deepest and most powerful manifestation. To the moral duty is added the duty of deep feelings and lofty interests. Without mixing the merits of different sexes, romantics advocate the equality of the spiritual development of men and women. In the same way, a civic duty is dictated by love for God and his institutions. Personal striving finds its completion in a common cause, in the striving of the entire nation, of all mankind, of the whole world.
Every culture has its own romantic hero, but Byron's Charles Harold has given a typical representation of the romantic hero. He put on the mask of his hero (says that there is no distance between the hero and the author) and managed to comply with the romantic canon.
All romantic works have characteristic features:
First, in every romantic work there is no distance between the hero and the author.
Secondly, the author of the hero does not judge, but even if something bad is said about him, the plot is so built that the hero is not guilty. The plot in a romantic work is usually romantic. Romantics also build a special relationship with nature, they like storms, thunderstorms, cataclysms.
Who is a romantic hero and what is he like?
This is an individualist. Superman who lived in two stages: before colliding with reality; he lives in a "rosy" state, he is possessed by the desire for achievement, for changing the world. after a collision with reality; he continues to consider this world both vulgar and boring, but he becomes a skeptic, a pessimist. feat is reborn into a desire for dangers.
Every culture has had its own romantic hero, but Byron's Childe Harold has given a typical representation of the romantic hero. He put on the mask of his hero (says that there is no distance between the hero and the author) and managed to comply with the romantic canon.
All romantic pieces. Distinguished by characteristic features:
First, in every romantic work there is no distance between the hero and the author.
Secondly, the author of the hero does not judge, but even if something bad is said about him, the plot is so built that the hero is not guilty. The plot in a romantic work is usually romantic. Romantics also build a special relationship with nature, they like storms, thunderstorms, cataclysms.
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 of European romanticism. This was a special manifestation of romanticism, there was no opposition in the Russian culture of man to the world and God. A variant of Byron's romanticism lived and felt in his work first in Russian culture Pushkin, then Lermontov. Pushkin had the gift of attention to people, the most romantic of his romantic poems is "The Fountain of Bakhchisarai". Pushkin groped and outlined the most vulnerable point 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, therefore, if it is also a romantic poem, then it is very peculiar: first, the second hero is transmitted by the author through the epigraph; secondly, the author does not unite with Mtsyri, the hero solves the problem of willfulness 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 either, but he takes a certain position - understanding. It turns out that romanticism in Russian culture is transformed into thinking. It turns out romanticism from the point of view of realism.
We can say that Pushkin and Lermontov did not succeed in becoming romantics (although Lermontov once managed to comply with romantic laws - in the drama Masquerade). By their experiments, the poets showed that in England the position of an individualist could be fruitful, but in Russia it could not. Pushkin and Lermontov did not succeed in becoming romantics, they opened the way for the development of realism.In 1825, the first realistic work was published: "Boris Godunov", then "The Captain's Daughter", "Eugene Onegin", "Hero of Our Time" and many others.
For all the complexity of the ideological content of romanticism, its aesthetics as a whole opposed the aesthetics of classicism of the 17th - 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 shy rules of classicism, they insisted on mixing genres, justifying their demand by the fact that it corresponds to the true life of nature, where beauty and ugliness, tragic and comic are mixed. Glorifying the natural movements of the human heart, the romantics, in opposition to the rationalistic requirements of classicism, put forward the cult of feeling, the romantics opposed the logically generalized characters of classicism with their extreme individualization.
The hero of romantic literature with his exclusivity, with his heightened emotionality was generated by the desire of romantics to oppose prosaic reality with a bright, free personality. But if progressive romantics created images of 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 a “superfluous person”, coldly withdrawn in 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 originality - all these strengths of romanticism foreshadowed the transition to realism. However, the achievements of romantics are inseparable from the limitations inherent in their method.
The laws of bourgeois society, incomprehensible to 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, moments of the irrational, obscure, mysterious prevailed in it. The subjective-idealistic idea of \u200b\u200bthe 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 real ability to convey the complex life of feelings and souls, we often meet among romantics the desire to turn the diversity of human characters into abstract schemes of good and evil. The pathetic elevation of intonation, the tendency to exaggeration, to dramatic effects sometimes led to stilt, which also made the art of romantics conventional and abstract. These weaknesses, to one degree or another, were common to everyone, even the largest representatives of romanticism.
A painful discord between the ideal and social reality is the basis of the romantic worldview and art. The assertion of the intrinsic value of the spiritual and creative life of a person, the image of strong passions, a spiritualized and healing nature among many romantics - heroics of protest or national liberation, including revolutionary struggle, is adjacent to the motives of "world sorrow", "world evil", the night side of the soul, clothed in the forms of irony, grotesque, poetics of the double world.
Interest in the national past (often its idealization), the 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 \u200b\u200bthe synthesis of art found expression in the ideology and practice of romanticism.
Romanticism in music took shape 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 (an appeal to synthetic genres, first of all to opera, song, instrumental miniature and musical programming). The appeal to the inner world of a person, characteristic of romanticism, was expressed in the cult of the subjective, emotionally intense craving, which determined the supremacy 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, the intimate, lyrical style of German romantics and the "oratorical" civic pathos characteristic of the work of French composers differ significantly. In turn, representatives of the new national schools, which sank 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, the tendency to preserve classical traditions.
And yet they are all marked by some common artistic principles that allow us to speak of a single romantic structure of thought.
By the beginning of the 19th century, fundamental studies of folklore, history, ancient literature appeared, medieval legends, gothic art, and the culture of the Renaissance were being revived. It was at this time that many national schools of a special type were formed in the composing work of Europe, which were destined to significantly expand the boundaries of common European culture. Russian, which soon took, if not the first, then one of the first places in world cultural creativity (Glinka, Dargomyzhsky, "Kuchkists", Tchaikovsky), Polish (Chopin, Moniuszko), Czech (Smetana, Dvorak), Hungarian (Liszt), then Norwegian (Grieg), Spanish (Pedrell), Finnish (Sibelius), English (Elgar) - all of them, merging into the general channel of European composer's creativity, in no way opposed themselves to the established ancient traditions. A new circle of images emerged, expressing the unique national features of the national culture to which the composer belonged. The intonation structure of the work allows you to instantly recognize by ear the belonging to one or another national school.
Beginning with Schubert and Weber, composers involve the intonation turns of the old, predominantly peasant folklore of their countries into the common European musical language. Schubert, as it were, cleared the German folk song of the varnish of the Austro-German opera, Weber introduced into the cosmopolitan intonation system of the 18th century Singspiel song turns of folk genres, in particular, the famous hunter's chorus in The Magic Arrow. Chopin's music, with all its salon elegance and strict adherence to the traditions of professional instrumental, including sonata-symphonic writing, is based on the unique modal color and rhythmic structure of Polish folklore. Mendelssohn relies heavily on everyday German song, Grieg - on the original forms of Norwegians playing music, Mussorgsky - on the ancient modality of Old 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 lyric and psychological principle. Of course, a distinctive feature of musical art in general is 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 value of the lyrical principle in their music, in 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 it is highly characteristic that this topic is not limited to the motives of love in the literal sense of the word, but is identified with the widest range of phenomena. The purely lyrical experiences of the heroes are revealed against the background of a wide historical panorama (for example, in Musset). A person's love for his home, for his fatherland, for his people - a continuous thread runs through the work of all composers - romantics.
A huge place is given in musical works of small and large forms to the image of nature, closely and inextricably intertwined with the theme of lyrical confession. Like the images of love, the image of nature personifies the state of mind of the hero, 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 for romantics are the search for a wonderful world, sparkling with the richness of colors, opposing the gray everyday life. It was during these years that literature was enriched with the tales of the Brothers Grimm, the tales of Andersen, the ballads of Schiller and Mickiewicz. For composers of the Romantic school, fabulous, fantastic images acquire a unique national color. Chopin's ballads are inspired by Mickiewicz's Ballads, Schumann, Mendelssohn, Berlioz create works of a fantastic grotesque plan, symbolizing, as it were, the seamy side of faith, seeking to reverse the ideas of fear of the forces of evil.
In the visual arts, romanticism manifested itself most vividly in painting and graphics, less expressively in sculpture and architecture. E. Delacroix, T. Gericault, K. Friedrich were the outstanding representatives of romanticism in the visual arts. Eugene Delacroix is \u200b\u200bconsidered the head of the French romantic painters. In his canvases, he expressed the spirit of love of freedom, active action ("Freedom leading the people"), passionately and passionately appealed to the manifestation of humanism. Household paintings by Gericault are distinguished by their relevance and psychologism, an unprecedented expression. Friedrich's soulful, melancholic landscapes (“Two Contemplating the Moon”) are again the same attempt by romantics to penetrate the human world, to show how a person lives and dreams in the sublunary world.
In Russia, romanticism began to manifest itself first in portraiture. In the first third of the 19th century, it for the most part lost its connection with the dignitary aristocracy. Portraits of poets, artists, art patrons, depictions of ordinary peasants began to occupy a significant place. This tendency was especially clearly manifested in the work of O.A. Kiprensky (1782 - 1836) and V.A. Tropinin (1776 - 1857).
Vasily Andreevich Tropinin strove for a lively, easy characterization of a person, expressed through his portrait. The portrait of his son (1818), "A.S. Pushkin" (1827), "Self-portrait" (1846) are striking not by their portrayal resemblance to the originals, but by their unusually subtle penetration into the inner world of man. It was Tropinin who was the founder of the genre, somewhat idealized portrait of a man of 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 have been here for literary evenings. Here young Orest Kiprensky met A.S. Pushkin, whose portrait, painted later, became the pearl of world portrait art, and A.S. Pushkin will devote poems to him, where he will call him "the darling of light-winged fashion." Portrait of Pushkin by O. Kiprensky is a living personification of the poetic genius. In the decisive turn of the head, in the arms crossed vigorously on the chest, a feeling of independence and freedom is reflected in the poet's entire appearance. It was about him that Pushkin said: "I see myself as in a mirror, but this mirror flatters me." A distinctive feature of Kiprensky's portraits is 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, a 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 was dedicated - the poem by A.S. Pushkin “I remember wonderful moment .. ". Such associations of poets, artists, musicians became the manifestation of a new direction in art - romanticism.
The leading figures 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 of the Academy of Arts, mastered the incomparable skill of drawing. Sent to Italy, where his brother lived, to improve his art, Bryullov soon impressed the Petersburg patrons and patrons of the arts 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 a new era. The birth of a new life on the ruins of an old world crumbling into dust is the main idea of \u200b\u200bBryullov's painting. The artist depicted a mass scene, the heroes of which are not individuals, but the people themselves.
The best portraits of Bryullov 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, J.F. Yanenko, M. Lanchi are distinguished by the variety and richness of characteristics, the plastic power of the drawing, the variety and brilliance of technique.
K.P. Bryullov introduced a stream of romanticism and vitality into the painting of Russian classicism. His Bathsheba (1832) is illuminated by inner beauty and sensuality. Even the ceremonial portrait by Bryullov (“The Horsewoman”) breathes with lively human feelings, subtle psychologism and realistic tendencies, which distinguishes the direction in art called romanticism.
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ROMANCE IN RUSSIAN LITERATURE. Three types of romantic hero.
Romanticism is a direction in literature, an artistic type of creativity, a characteristic feature of which is the display and reproduction of life outside the real-concrete connections of a person with the surrounding reality.
The emergence of romanticism. Romanticism emerged in the late 18th century. The birthplace of romanticism is Germany, the emerging aesthetics gave the world a number of philosophers: F. Schelling, Fichte, Kant. German romanticism had a decisive influence on all types of art: ballet, painting, literature, gardening art. Many romantics were linguists, they were interested in language as an expression of the spirit of a nation, an expression of thoughts and feelings. Romanticism describes a vivid, exceptional plot, sublime passions, feelings, love affair.
Romanticism has its own way of typing. These are exceptional characters in exceptional circumstances. Romantics depict human qualities on departure from the ordinary. With the inception of romanticism, the resurrection of telepathy, parapsychology occurs. The birth of romanticism is a crisis of rational aesthetics. A new typology of the hero appears. These types have become eternal. ...
The first type of hero. 1 . The hero is a wanderer, a fugitive, a wanderer (he was created by Byron, he was with Pushkin (Aleko), .. Wandering is not geographical, but spiritual, internal migration, the search for the unknown. The search for the highest truth. Wandering is a metaphor for striving into the unknown, eternal search, longing for the endless, this yearning leads to alienation from society, opposing oneself to those around, the world, God.
This type of hero gave birth to eternal images. The image of the sea ... (restlessness, throwing ...)
The image of the road ...
Don Quixote is a wanderer who always searches and cannot find.
The image of the disappearing horizon.
The second type of hero A strange eccentric, a dreamer, not of this world. He is characterized by childish naivety, everyday inability, on earth he is not at home, but at a party. (Odoevsky "Town in a Snuffbox", Pogorelsky, Dostoevsky).
The third type of hero The hero is an artist, a poet with a capital letter. An artist is not only a profession, but a state of mind. Creativity among romantics, who is the main creator? - God. Romantics call him a space artist, for them poetry is a revelation. They decided that the creation of the world was not complete, and the poet should continue the work of the Creator. They raised the poet to such a height ... And gave rise to symbolism.
Visions, hallucinations, dreams gave rise to creativity. Romantics created a biography of Raphael. Zhukovsky's article about how he painted the picture of Madonna. “He languished in this image for a long time, but it did not work out on canvas. Raphael fell asleep and there was a vision. He saw this image, woke up and wrote. The poet is a spiritual ascetic.
On the subject: methodological developments, presentations and notes
“Heroes of Gorky's early romantic stories. Romantic pathos and the harsh truth of life in M. Gorky's story "The Old Woman Izergil"
The purpose of the lesson: to reveal the features of M. Gorky's early prose using the example of the story "The Old Woman Izergil". Lesson objectives: Educational: - to consider the problem of the hero in Gorky's early stories; - to note especially ...
The lesson of the MHC in grade 11 on the topic "Painting of Romanticism" introduces students to the aesthetic principles of romanticism, to the outstanding artists of Western Europe E. Delacroix, T. Gericault, F. Goya ...
The romantic hero of M.Yu. Lermontov in the poems "The Demon" and "Mtsyri". Comparative analysis of heroes.
The purpose of the lesson: deepening knowledge about the "romantic hero" M.Yu. Lermontov; comparative analysis of the ideological-figurative system of the poems "The Demon" and "Mtsyri"; find out how the personality was reflected in the images of the Demon and Mtsyri ...
ROMANTICISM
In the modern science of literature, romanticism is viewed mainly from two points of view: as a certain artistic methodbased on the creative transformation of reality in art, and how literary direction, historically natural and limited in time. More general is the concept romantic method... We will stop there.
As we have already said, the artistic method presupposes a certain way of comprehending the world in art, that is, the basic principles of selection, depiction and evaluation of the phenomena of reality. The peculiarity of the romantic method as a whole can be defined as artistic maximalism, which, being the basis of the romantic understanding of the world, is found at all levels of the work - from the problematic and the system of images to the style.
In the romantic picture of the world, the material is always subordinated to the spiritual.The struggle of these opposites can take on various guises: divine and devilish, sublime and base, true and false, free and dependent, natural and random, etc.
Romantic ideal, in contrast to the ideal of the classicists, concrete and accessible for embodiment, is absolute and therefore is already in eternal contradiction in transitory reality. The artistic worldview of a romantic, thus, is based on contrast, collision and fusion of mutually exclusive concepts. The world is perfect as a design - the world is imperfect as an embodiment. Can the irreconcilable be reconciled?
This is how dual world, a conventional model of a romantic world in which reality is far from ideal, and the dream seems unrealizable. Often, the connecting link between these worlds is the inner world of the romantic, in which lives the desire from the dull "HERE" to the beautiful "THERE". When their conflict is insoluble, the motive of flight sounds: the departure from imperfect reality to otherness is thought of as salvation. This is exactly what happens, for example, in the finale of K. Aksakov's novel "Walter Eisenberg": the hero, by the miraculous power of his art, finds himself in the dream world created by his brush; thus, the death of the artist is perceived not as a departure, but as a transition to another reality. When it is possible to connect reality with the ideal, the idea of \u200b\u200btransformation appears.: spiritualization of the material world with the help of imagination, creativity or struggle. The belief in the possibility of a miracle lives on in the 20th century: in A. Green's story "Scarlet Sails", in A. de Saint-Exupéry's philosophical tale "The Little Prince".
Romantic duality as a principle operates not only at the level of the macrocosm, but also at the level of the microcosm - the human personality as an integral part of the Universe and as the intersection of the ideal and the everyday. Motives of duality, tragic disruption of consciousness, images of doublesvery common in romantic literature: "The Amazing Story of Peter Schlemil" by A. Shamisso, "Elixir of Satan" by Hoffmann, "Double" by Dostoevsky.
In connection with the dual world, science fiction occupies a special position as a worldview and aesthetic category, and its understanding should not always be reduced to the modern understanding of science fiction as “incredible” or “impossible”. In fact, romantic fiction often means not violating the laws of the universe, but their discovery and, ultimately, execution. It's just that these laws are of a spiritual nature, and reality in the romantic world is not limited by materiality. It is fiction that in many works becomes a universal way of comprehending reality in art by transforming its external forms with the help of images and situations that have no analogues in the material world and endowed with symbolic meaning.
Science fiction, or miracle, in romantic works (and not only) can fulfill various functions. In addition to the knowledge of the spiritual foundations of life, the so-called philosophical fiction, with the help of a miracle, the inner world of the hero is revealed (psychological fiction), the people's perception of the world (folk fiction) is recreated, the future is predicted (utopia and dystopia), this is a game with the reader (entertaining fiction). Separately, one should dwell on the satirical exposure of the vicious sides of reality - exposure, in which fantasy often plays an important role, presenting in an allegorical light real social and human shortcomings.
Romantic satire is born out of rejection of spirituality... Reality is assessed by a romantic person from the standpoint of an ideal, and the stronger the contrast between what is and what should be, the more active is the opposition between man and the world, which has lost its connection with the higher principle. The objects of romantic satire are varied: from social injustice and the bourgeois system of values \u200b\u200bto specific human vices: love and friendship turn out to be corrupt, faith - lost, compassion - superfluous.
In particular, secular society is a parody of normal human relations; hypocrisy, envy and malice reign in him. In the romantic mind, the concept of "light" (aristocratic society) often turns into its opposite - darkness, rabble, secular - hence, spiritless. Romantics are generally not characterized by the use of Aesop's language; he does not seek to hide or muffle his stinging laughter. Satire in romantic works often appears as an invective (the object of satire turns out to be so dangerous for the existence of the ideal, and its activity is so dramatic and even tragic in its consequences that its comprehension no longer causes laughter; at the same time, the connection between satire and the comic is broken, therefore a denying pathos arises, not associated with ridicule), directly expressing the author's position: “This is a nest of depravity of the heart, ignorance, dementia, baseness! Arrogance kneels there before an insolent case, kissing the dusty floor of his clothes, and crushes the fifth with his modest dignity ... Petty ambition is the subject of morning care and night vigil, shameless flattery rules over words, vile self-interest in actions. Not a single lofty thought will sparkle in this suffocating darkness, not a single warm feeling will warm this icy mountain "(Pogodin." Adele ").
Romantic irony as well as satire, directly associated with duality... Romantic consciousness strives for a beautiful world, and being is determined by the laws of the real world. Life without belief in a dream is meaningless for a romantic hero, but a dream is unrealizable in the conditions of earthly reality, and therefore belief in a dream is also meaningless. Awareness of this tragic contradiction turns into a bitter smile of the romantic not only over the imperfection of the world, but also over himself. This grin is heard in the works of the German romanticist Hoffmann, where the sublime hero often finds himself in comic situations, and the happy ending - the victory over evil and the attainment of the ideal - can turn into quite earthly philistine prosperity. For example, in the fairy tale "Little Tsakhes", after a happy reunion, romantic lovers receive a wonderful estate as a gift, where "excellent cabbage" grows, where food in pots never burns and porcelain dishes do not break. And in the fairy tale "The Golden Pot" (by Hoffmann), the very name ironically grounds the famous romantic symbol of an unattainable dream - the "blue flower" from the novel by Novalis.
Events that make up romantic plotusually bright and unusual; they are a kind of peaks on which the narrative is built (amusement in the era of romanticism becomes one of the most important artistic criteria). At the event level, the author's absolute freedom in plotting is clearly traced, and this construction can evoke in the reader a feeling of incompleteness, fragmentation, an invitation to independently fill in the "blank spots". An external motivation for the extraordinary nature of what is happening in romantic works can be special places and times of action (exotic countries, distant past or future), folk superstitions and legends. The portrayal of "exceptional circumstances" is aimed primarily at revealing the "exceptional personality" acting in these circumstances. The character as the engine of the plot and the plot as a way of realizing the character are closely related, therefore, each eventual moment is a kind of external expression of the struggle between good and evil that takes place in the soul of a romantic hero.
One of the achievements of romanticism is the discovery of the value and inexhaustible complexity of the human person. Romantics perceive man in a tragic contradiction - as the crown of creation, "the proud lord of fate" and as a weak-willed toy in the hands of forces unknown to him, and sometimes his own passions. Freedom of the individual implies its responsibility: having made the wrong choice, you need to be prepared for the inevitable consequences.
The image of the hero is often inseparable from the lyrical element of the author's "I", turning out to be either in tune with him, or alien. Anyway author-narrator takes an active position in a romantic work; the narrative tends to be subjective, which can also be manifested at the compositional level - in the use of the “story within a story” technique. The oneness of a romantic hero is assessed from a moral standpoint. And this exclusivity can be both a testament to his greatness and a sign of his inferiority.
"Weird" character emphasized by the author, first of all, with the help portrait: spiritualized beauty, morbid pallor, expressive look - these signs have become stable long ago. Very often, when describing the appearance of the hero, the author uses comparisons and reminiscences, as if citing already known samples. Here is a typical example of such an associative portrait (N. Polevoy “The Bliss of Madness”): “I don’t know how to describe Adelheid: she was likened to the wild symphony of Beethoven and the Valkyrie maidens about whom the Scandinavian skalds sang ... the face ... was thoughtfully charming, resembled a face Madonnas of Albrecht Durer ... Adelheide seemed like the spirit of the poetry that inspired Schiller when he described his Tecla, and Goethe when he portrayed his Minion.
Romantic hero behavior also evidence of his exclusivity (and sometimes - exclusion from society); often it does not fit into generally accepted norms and violates the conventional rules of the game by which all other characters live.
Antithesis - a favorite structural technique of romanticism, which is especially evident in the confrontation between the hero and the crowd (and more broadly, the hero and the world). This external conflict can take many forms, depending on the type of romantic personality created by the author.
TYPES OF ROMANTIC HEROES
The hero is a naive eccentric believing in the possibility of the realization of ideals, is often comical and absurd in the eyes of sane. However, he differs from them in his moral integrity, childish striving for truth, ability to love and inability to adapt, that is, to lie. Such, for example, is the student Anselm from Hoffmann's fairy tale "The Golden Pot" - it was he, childishly funny and awkward, who was given not only to discover the existence of an ideal world, but also to live in it and be happy. The heroine of A. Green's story "Scarlet Sails" Assol, who knew how to believe in a miracle and wait for its appearance, despite the mockery and ridicule, was also awarded with the happiness of a dream come true.
The hero is a tragic loner and dreamer, rejected by society and realizing his alienation from the world, is capable of open conflict with others. They seem to him limited and vulgar, living exclusively by material interests and therefore personifying some kind of world evil, powerful and destructive for the spiritual aspirations of the romantic. Often this type of hero is combined with the theme of "high madness" associated with the motive of being chosen (Rybarenko from A. Tolstoy's Ghoul, Dreamer from Dostoevsky's White Nights). The opposition "personality - society" acquires the most acute character in the romantic image of a vagrant or a robber who takes revenge on the world for his desecrated ideals (Hugo's Les Miserables, Byron's Le Corsaire).
The hero is a disappointed, "superfluous" person, who did not have the opportunity and no longer wants to realize his talents for the good of society, has lost his old dreams and faith in people. He turned into an observer and analyst, passing judgment on imperfect reality, but not trying to change it or change himself (Lermontovsky Pechorin). The fine line between pride and egoism, the awareness of one's own exclusiveness and disdain for people can explain why so often in romanticism the cult of a lonely hero merges with his debunking: Aleko in Pushkin's poem "Gypsies", Lara in Gorky's story "Old Woman Izergil" are punished by loneliness precisely for his inhuman pride.
The hero is a demonic personality, which challenges not only society, but also the Creator, is doomed to a tragic discord with reality and with oneself. His protest and despair are organically linked, since the Beauty, Goodness and Truth that he rejects have power over his soul. The hero, inclined to choose demonism as a moral position, thereby abandons the idea of \u200b\u200bgood, since evil does not give rise to good, but only evil. But this is a "high evil", since it is dictated by the desire for good. The rebellion and cruelty of such a hero's nature become a source of suffering for those around him and do not bring joy to him. Acting as the "deputy" of the devil, tempter and punisher, he himself is sometimes humanly vulnerable, because he is passionate. It is not by chance that in the romantic literature was widespread the motive of the "devil in love". Echoes of this motive sound in Lermontov's "The Demon".
The hero is a patriot and a citizenready to give his life for the good of the Fatherland, most often does not meet with the understanding and approval of his contemporaries. In this image, pride, traditional for romantics, is paradoxically combined with the ideal of selflessness - the voluntary atonement of a collective sin by a lonely hero. The theme of sacrifice as a feat is especially characteristic of the "civil romanticism" of the Decembrists (the character of Ryleev's poem "Nalivaiko" deliberately chooses his own suffering path):
I know - death awaits
The one who rises first
On the oppressors of the people.
Fate has already doomed me
But where, tell me, when was
Is freedom redeemed without sacrifices?
We meet the similar in the thought of Ryleev "Ivan Susanin", and so is Gorky's Danko. This type is also common in Lermontov's work.
Another common type of hero can be called autobiographical, as he represents comprehending the tragic fate of a man of art, who is forced to live as if on the border of two worlds: the sublime world of creativity and the everyday world. The German romanticist Hoffmann built his novel “The Worldly Views of the Cat Moore, coupled with fragments of the biography of Kapellmeister Johannes Kreisler, which accidentally survived in the scrapbooks,” based on the principle of combining opposites. The portrayal of the philistine consciousness in this novel is intended to highlight the greatness of the inner world of the romantic composer Johann Kreisler. In the novel by E. Po "The Oval Portrait", the painter, by the miraculous power of his art, takes away the life of the woman whose portrait he is painting — takes away in order to give in return the eternal.
In other words, art for romantics is not imitation and reflection, but an approximation to the true reality that lies beyond the visible. In this sense, it opposes the rational way of knowing the world.
In romantic works, the landscape plays a big semantic load. Storm and thunderstorm set in motion romantic landscape,emphasizing the inner conflict nature of the universe. This fits with the passionate nature of the romantic hero:
... Oh, I'm like a brother
Would be glad to hug with the storm!
With the eyes of the clouds I followed
I caught with the lightning hand ... ("Mtsyri")
Romanticism opposes the classicistic cult of reason, believing that "there is much in the world, friend Horatio, that our sages never dreamed of." Feeling (sentimentalism) is replaced by passion - not so much human as superhuman, uncontrollable and spontaneous. It raises the hero above the ordinary and connects him with the universe; it reveals to the reader the motives of his actions, and often becomes an excuse for his crimes:
No one is made entirely of evil
And in Konrad, a good passion lived ...
However, if Byron's Corsair is capable of a deep feeling despite the criminality of his nature, then Claude Frollo from Notre Dame Cathedral by V. Hugo becomes a criminal because of insane passion that destroys the hero. Such an ambivalent understanding of passion - in a secular (strong feeling) and spiritual (suffering, torment) context is characteristic of romanticism, and if the first meaning presupposes the cult of love as a discovery of the Divine in man, the second is directly related to the devil's temptation and spiritual fall. For example, the protagonist of Bestuzhev-Marlinsky's story "A Terrible Fortune-Telling" with the help of a wonderful dream-warning is given the opportunity to realize the criminality and fatality of his passion for a married woman: “This fortune-telling opened my eyes, blinded by passion; a deceived husband, a deceived wife, a torn apart, disgraced marriage and, who knows, maybe bloody revenge on me or from me - these are the consequences of my crazy love !!! "
Romantic psychologism based on the desire to show the internal pattern of the words and deeds of the hero, at first glance, inexplicable and strange. Their conditioning is revealed not so much through the social conditions of character formation (as it will be in realism), but through the clash of the forces of good and evil, the battlefield of which is the human heart. Romantics see in the human soul a combination of two poles - "angel" and "beast".
Thus, in the romantic concept of the world, a person is included in the “vertical context” of being as the most important and integral part. His position in this world depends on his personal choice. Hence - the greatest responsibility of the individual not only for actions, but also for words and thoughts. The theme of crime and punishment in the romantic version has acquired a special acuteness: “Nothing in the world is forgotten and does not disappear”; descendants will pay for the sins of their ancestors, and unredeemed guilt will become a family curse for them, which will determine the tragic fate of the heroes (Gogol's Terrible Vengeance, Tolstoy's Ghoul).
Thus, we have identified some of the essential typological features of romanticism as an artistic method.