Who is such a romantic hero in the literature. The main features of the romantic hero: concept, value and characteristics

Which of the epochs in the history of art is close modern man? Middle Ages, Revival - For the narrow circle of the elect, Baroque - also far away, classicism is perfect - but somehow perfect, there is no such clear division into "three hundred" ... about the modern time and modernity, it is better to scare this art (Maybe it is truthfully to the limit - but the "harsh truth of life" we are sick on the throat in reality). And if you choose an era, art with which, on the one hand, close and clearly, finds a lively response in our soul, on the other - gives us asylum from everyday adversity, although it speaks about suffering - this is perhaps the XIX century, which has entered the story As the era of romanticism. The art of this time gave rise to a special type of hero called romantic.

The term "romantic hero" can immediately cause an idea of \u200b\u200bin love, errors with such sustainable combinations as "romantic relationship", " romantic story"- But this representation is not quite true. Romantic hero may be in love, but not necessarily (there are characters that meet this definition that were not in love - for example, Lermontov MTSERS arises only a fleeting feeling for a graceful girl passing by, which does not become decisive in the fate of the hero) - and this is not the main thing in Him ... And what is the main thing?

To understand this, remember that it was generally romanticism. It gave rise to disappointment in the results of the Great french revolution: The new world, which arose on the ruins of the old, was far to the predicted enlighteners "the kingdom of mind" - instead the "Money Bag Power" was established in the world, the world where everything is sold. Creative personalitywho preserved the ability to live human feeling, not a place in such a world, therefore a romantic hero is always a person who has not adopted by the Company, who has entered the conflict with him. Such, for example, Johannes Creisler - a hero of several works of E.T.A.Hofman (not by chance at the very beginning of the presentation of the "biography" of the hero, the author mentions that the Creisler was set aside from the position of the Kapelmeister, refusing to write a opera to the poems of the court poet). "Johannes rushed there, then here, as if on the eternally stormy sea, fascinated by his visions and Gresses, and, apparently, in vain sought the pier where peace could finally find peace and clarity."

However, it's not destined to "find calm and clarity" - he is still someone else, he is overtime... Remember, what about it says? That's right, Evgeny Onegin also belongs to the type of the romantic hero, more precisely, to one of his options - "disappointed". Such a hero is also called "bayronic", since one of its first samples is Bayronovsky Child Harold. Other examples of a disappointed Hero - "Melnotce Melnotce" Ch.Metyurin, partly - Edmond Dantes ("Count Monte Cristo"), as well as the Vampire J. Polidori (dear fans of "Twilight", "Dracula" and other similar creations, know that all this kind of topics goes back to the romantic story of J. Polidori!). Such a character is always dissatisfied with its surroundings, as it rises above it, differing greater education and mind. For his loneliness, he will twist the world of philistines (near future) contempt for public institutions and conventions - sometimes bringing this contempt to demonstrativity (so, the Lord Rottals in the mentioned story J. Polidori never gives alms to people brought to poverty with misfortunes, but never refuses In the request of material assistance to those who are needed to meet vicious desires).

Another type of romantic hero - rebar. He also opposes himself to the world, but he comes into an open conflict with him, he expressed by the words M.Lermontov - "asks Sturi." A wonderful example of such a hero is the Lermontov demon.

The tragedy of the romantic hero is not so much in rejection by society (in essence, he even strives for this), how much is that his efforts are always directed "to nowhere." Existing world Does not satisfy him - but there is no other world, and nothing to create anything fundamentally new to create anything fundamentally new new conventions. Therefore, the romantic hero is doomed to either die in a collision with a cruel world (Hofman Nathaniel), or to remain "empty-flower", who did not make a happy or even destroying the lives of others (Onegin, Pechorin).

That is why over time Inevitable was the disappointment in the romantic hero - in essence, we see it in Evgenia Onegin A.S. Pushkin, where the poet openly raises the romanticism. Actually, you can consider the romantic hero not only Onegin, but also Lensky, who is also looking for the ideal and dies in a collision with the cruelty of the world, very far from romantic ideals ... But Lensky already reminds a parody of the romantic hero: his "ideal" is not far and frivolous The county lady, an externally resembling a stereotypical image from the novels, and the reader, in essence, is inclined to agree with the author, the future breaks for the hero, I will stay alive ... no less merciless M.Lermonts to His Zorahima - the hero of the poem "Angel of Death" :

"He searched in people perfection,

And he himself was no better than them. "

Perhaps the finally degraded type of romantic hero we find in the opera of the English composer B. Britten (1913-1976) "Peter Greims": the main character Here, too, is opposed to the world of ordinary people, in which he lives, is also in eternal conflict with the inhabitants of the native town and eventually dies - but he does not differ from his non-evil neighbors, his dream limit is to earn more moneyTo open a bench ... Such is a harsh sentence made by the romantic hero of the 20th century! Like neither the Bunthuy against society, everyone will remain part of it, you will still wear it "blind" in yourself, and you will not run away from myself. Probably, this is true, but ...

Once I spent a survey on one site for women and girls: "For whom from the opera characters would you marry?" Lensky's leaders came out with a huge margin - this, perhaps the closest romantic hero, is so close that we are ready to not notice the irony of the author in relation to it. Apparently, to this day, the image of a romantic hero is forever lonely and rejected, incomprehensible "the world of filled me" and forever striving for an unattainable ideal - retains its attractiveness.

Who is a romantic hero and what is he?

This is an individualist. Superman, who lived two stages: before a collision with reality, he lives in the 'pink' state, they master the desire of the feat, changes in the world; After a collision with reality, he continues to consider this world and vulgar, and boring, but he does not become a skepticist, pessimist. With a clear understanding, it is impossible to change anything, the desire for a feat is reborn into the desire for hazards.

Romantics could give the eternal incredit value of each little things, each particular fact, the whole unit. Joseph de Mester calls it the "ways of providence", Germen de Steel is a "fruitful Lone of the Immortal Universe." Shatubrean in the "Genius of Christianity", in a book dedicated to history, directly indicates God, as the beginning of historical time. The Company appears as an unshakable connection, "the life of life that communicates with the ancestors and which we must stretch to descendants." Only a man's heart, not his mind, can understand and hear the voice of the Creator, through the beauty of nature, through deep feelings. The nature of the Divine, it is a source of harmony and creative forces, its metaphors are often transferred to romantics into political lexicon. A tree for romantics becomes a symbol of kind, spontaneous development, juice perception native land, symbol of national unity. The more innocent and sensitive nature of man, the easier it hears the voice of God. A child, a woman, a noble young man more often than others, see the immortality of the soul and the value of eternal life. The thirst for bliss of romantics is not limited to an idealistic desire to the kingdom of God after death.

In addition to mystical love for God, a person needs real, earth Love. Unable to possess the subject of his passion a romantic hero became an eternal martyr, doomed to wait for the meeting with his beloved in the afterlife, "for the immortality is worthy great loveWhen she cost a person's life. "

A special place in the work of romantics is occupied by the problem of the development and education of the person. Childhood is deprived of laws, his instant gusts violate the public morality, obeying its own rules of the children's game. In an adult man, similar reactions lead to death, to the condemnation of the soul. In search of the heavenly kingdom, a person must comprehend the laws of debt and morality, only then he can hope for eternal life. Since the debt is dictated by the romance to their desire to find eternal life, the execution of debt gives personal happiness in his deepest and strong manifestation. Demand of deep feelings and sublime interests are added to moral debt. Without mixing the advantages of different floors, romantics advocate the equality of spiritual development of men and women. In the same way, love for God and its establishments, dictates civic duty. Personal desire is completed in general, in the desire of the whole nation, of all mankind, the whole world.

In every culture was his romantic hero, but Byron in his work "Charld Harold" gave a typical representation of the romantic hero. He put on the mask of his hero (suggests that there is no distance between the hero and the author) and managed to match the romantic canon.

All romantic works are characteristic of characteristic features:

First, in each romantic product there is no distance between the hero and the author.

Secondly, the author of the hero does not judge, but even if something is spoken by something bad, the plot is so built that the hero is not guilty. The plot in the romantic work is usually romantic. Also romantics build a special relationship with nature, they like storms, thunderstorms, cataclysms.

ROMANTICISM

IN modern science about lit-re romanticism is considered mainly from two points of view: as a certain artistic method based on the creative transformation of reality in art and how literary direction , historically natural and limited time. More general is the concept romantic method. We will stop on it.

As we said, the art method involves a certain way to comprehend the world in art, that is, the basic principles of selection, images and evaluation of reality phenomena. The originality of the romantic method as a whole can be defined as artistic maximalism, Which, being the basis of romantic world-upsion, is found at all levels of the work - from the problems and systems of images up to style.

In the romantic picture of the world, material is always subordinate to the spiritual.The struggle of these opposites can take various appeals: divine and devilish, elevated and lowland, true and false, free and dependent, natural and accidental, etc.

Romantic ideal , unlike the ideal of classicists, concrete and affordable for the embodiment, absolute and is therefore in the eternal contradiction in transient reality. The artistic worldview of romance is thus being built on the contrast, collision and merger of mutually exclusive concepts. The world is perfect as a plan - the world is imperfect as an embodiment. Is it possible to reconcile irreconcilable?

So arises dvueli.The conventional model of the romantic world, in which reality is far from the ideal, and the dream seems impracticable. Often the binding link between these worlds becomes the inner world of Romance, in which the desire from a sad "here" to the beautiful "there". When their conflict is intractable, the motive of flight sounds: Care from imperfect validity in the invention is conceived as salvation. This is what happens, for example, in the final of the story of K. Asksakova "Walter Eisenberg": the hero of the wonderful power of his art is in the world of dreams created by his brush; Thus, the death of the artist is not perceived as care, but as a transition to another reality. When it is possible to connect a reality with the ideal, the idea of \u200b\u200btransformation appears: The spiritualization of the material world with the help of imagination, creativity or struggle. Belief in the possibility of making a miracle lives in the 20th century: in the story of A.Grina "Scarlet Sails", in philosophical fairy tale A.De Saint Exupery "Little Prince".

Romantic Dwymiria as a principle acts not only at the level of the macrocosmos, but also at the level of the microcosm - the human person as an integral part of the universe and as the intersection points of the ideal and domestic. Motifs of splitness, tragic torn consciousness, images of twinsvery common in romantic lithua: " Amazing story Peter Schlemil "A. Shamisso," Elixir Satan "Hoffmann, Dosteoevsky Dostoevsky.

In connection with the dowemistry, fiction as an ideological and aesthetic category, and its understanding should not always be reduced to a modern understanding of fiction as an "incredible" or "impossible". Actually, romantic fiction often means not violation of the laws of the universe, but their detection and ultimately - execution. Simply these laws have a spiritual nature, and the reality in the romantic world is not limited to materiality. It is fantasy in many works that becomes a universal way to comprehend reality in art by the transformation of its external forms with the help of images and situations that do not have analogues in the material world and endowed with a symbolic value.

Fiction, or miracle, in romantic works (And not only) can perform various functions. In addition to the knowledge of the spiritual foundations of being, the so-called philosophical fantasy, with the help of a miracle reveals the inner world of the hero (psychological fiction), the people's worldview (folk fiction) is recreated, there is a future prediction (utopia and anti-nightopia), this is a game with the reader (entertainment fiction). Separately, it should be highlighted on a satirical exposure of the vicious sides of reality - the exposure, in which fantasy often plays an important role, representing real public and human flaws in the allegorical light.

Romantic satire is born from revenge. Reality is assessed by a romantic personality from the standpoint of the ideal, and the stronger the contrast between existing and due, the more active the opposition of the person and the world, which has lost its connection with the highest start. The objects of romantic satire are diverse: from social injustice and bourgeois system of values \u200b\u200bto specific human defects: love and friendship turn out to be sold, faith - lost, compassion - superfluous.

In particular, social Society is a parody of normal human relations; Him reigns hypocrisy, envy, malice. In the romantic consciousness, the concept of "light" (aristocratic society) often turns into its opposite - darkness, black, secular - it means there is a poor. For romantics, the use of the Ezopov language is not typical at all, he does not seek to hide or muffle his ulcer laughter. Satire in romantic works often appears as an invoice (the object of satire turns out to be so dangerous for the existence of the ideal, and its activities are so dramatic and even tragic in its consequences that his understanding no longer causes it; at the same time, the connection of satire with comic is disturbed, therefore the denying pathos, not associated with raising), is distinguished right expressing copyright: "This is a nest of debauchery cardiac, ignorance, dementia, lowness! The surge becomes knees there before the arrogant case, kissing the semi of his clothes, and presses the faint of modest dignity ... The petty ambition is the subject of morning care and night vigil, the flattery is unscrupulous manages words, vigilanious acting actions. No high thought flashes in this suffocating Mol, no warm feeling will dispel this ice mountain "(Pogodin." Adel ").

Romantic irony as well as satire, directly related to dvoemirism. Romantic consciousness seeks to beautiful world, and being is determined by the laws of the real world. Life without faith in a dream for a romantic hero is meaningless, but the dream is neoplotim in the conditions of earthly reality, and therefore faith in the dream is meaningless too. The awareness of this tragic contradiction is poured into a bitter smile Romance not only over the imperfection of the world, but also over themselves. This smile hears in the works of the German romance of Hoffman, where hanging hero It often falls into comic situations, and the Happy Final - the victory over evil and the acquisition of the ideal - can turn into a completely earthly blessing well-being. For example, in the fairy tale "Litter Tsakhs" romantic lovers after a happy reunion receive a wonderful estate, where the "canceled cabbage" is growing, where food in pots never burns and porcelain dishes are not beating. And in the fairy tale "Golden Pot" (Hoffmann), the name itself is already ironically lays a known romantic symbol of a unattainable dream - "Blue Flower" from the novel Novis.

Events that make up romantic plot , as a rule, bright and unusual; They are peculiar vertices on which the story is built (the enraged in the era of romanticism becomes one of the most important art criteria). At the event level, the author's absolute freedom in building a plot is traced, and this construction can cause readers a sense of incompleteness, fragmentation, invitation to independently filling "white spots". The external motivation of the extraordination of what is happening in romantic works can serve as special places and time of action (exotic countries, a distant past or future), folk superstition and legends. The image of "exceptional circumstances" is directed, first of all, on the disclosure of an "exceptional personality" acting under these circumstances. Character as the engine of the plot and the plot as a way to implement a character is closely connected, so every event is a kind of external expression of the struggle of good and evil taking place in the soul of the romantic hero.

One of the achievements of romanticism is the opening of value and inexhaustible complexity of the human person. A person is aware of romantics in the tragic contradiction - as a crown of creation, "Proud Lord of Fate" and as a hazelnaya toy in the hands of unknown forces to him, and sometimes his own passions. Freedom of personality involves its responsibility: having committed incorrect choice, you need to be ready for inevitable consequences.

The image of the hero is often inseparable from the lyrical elements of the author's "I", turning out or consonant with him, or alien. Anyway the narrator In the romantic work occupies an active position; The narrative is subject to subjectivity, which can manifest itself in the compositional level - in the use of a "story in the story". The exclusiveness of the romantic hero is estimated from moral positions. And this exclusivity can be both evidence of its grandeur and the sign of his inferiority.

"Strangeness" character emphasized by the author, first of all, with portrait: spiritualized beauty, painful pallor, an expressive look - these signs have long been resistant. Very often, when describing the appearance of the hero, the author uses comparisons and reminiscence, as if quoting already known samples. Here is a characteristic example of such an associative portrait (N.Polevoe "Bliss of Madness"): "I don't know how to describe Adelhet: she was likened to be a wild symphony of Beethoven and Valkiriy's devans, about whom the Scandinavian scalds were peeling ... The face ... it was thoughtfully, loved to face Madonna Albrecht Dürer ... Adelheada seemed to be a spirit of that poetry, who inspired Schiller when he described his flower, and Goethe, when he portrayed his minion. "

The behavior of the romantic hero also evidence of its exclusivity (and sometimes - excluded from society); Often it does not fit into generally accepted norms and violates the conventional rules of the game, according to which all other characters live.

Antithesis - A favorite structural reception of romanticism, which is especially evident in the confrontation of the hero and the crowd (and wider - the hero and the world). it external conflict Maybe various forms, depending on the type of romantic personality created by the author.

Types of romantic heroes

Hero - naive eccentric, Believing ideals, often comic and ridiculous in the eyes of sane. However, it differs from them with its moral integrity, the children's desire for the truth, the ability to love and inability to adapt, that is, to lie. This, for example, a student Anselm from the fairy tale of the Gofman "Golden Pot" - it was him, childish funny and awkward, not only to open the existence of the perfect world, but also to live in it, and be happy. The happiness of the embodied dream was awarded and the heroine of the story of A.Grina "Scarlet Sails" Assol, who was able to believe in a miracle and wait for his appearance, despite bullying and ridicule.

Hero - Tragic Single and Dreamer, rejected by society and aware of his alien to the world, is capable of an open conflict with others. They seem to him limited and vulgar, living exclusively material interests and therefore personifying a certain world evil, powerful and destructive for the spiritual aspirations of Romance. Often this type of heroes is connected to the theme of "high madness" associated with the motive of the elect (Rybarenko from "Hyry" A. Tolstoy, a dreamer from the "White Nights" of Dostoevsky). The most acute nature of the opposition "Personality - Society" acquires romantic Image Hero tramps or a robber, an imaging world for their own blasting ideals ("rejected" Hugo, Corsair Byrona).

The hero is disappointed, "extra" manwho had no opportunity and no longer wishing to realize his tranquility for the benefit of society, lost the former dreams and faith in people. He turned into an observer and analyst, making a sentence of imperfect vality, but not trying to change it or change it (Lermontov Pechorin). The thin line between pride and egoism, the awareness of its own exclusivity and disregard for people can explain why so often in romanticism the cult of a lonely hero is closed with his debate: Aleko in Pushkin's poem "Gypsy", Lara in the story of Gorky "Old Man Izergil" was punished with loneliness precisely His inhuman pride.

Hero - demonic personality, challenging not only society, but also the Creator, is doomed to the tragic disorder with reality and himself. Its protest and despair are organically connected, since the beauty rejected by them, good and truths have power over his soul. Hero, prone to elect demonism as moral positionThereby refuses the idea of \u200b\u200bgood, because evil gives rise not to good, but only evil. But this is "high evil", as it is dictated by the thirst for good. The rebel and the cruelty of nature of such a hero become the source of the suffering of others and do not bring joy himself. Speaking as the "governor" of the devil, the temptist and punisher, he himself sometimes humanly vulnerable, for passionens. It is not by chance in the romantic lithuance received distribution motive "in love Besa". Echoes of this motive sound in the Lermontov "Demon".

Hero - Patriot and Citizen,ready to give life for the benefit of fraud, most often does not meet the understanding and approval of contemporaries. In this image, the traditional pride for romantics is paradoxically connected with the ideal of dedication - voluntary redemption of collective sin is a single hero. The topic of sacrifice as a feat is especially characteristic of the "civil romanticism" of the Decembrists (the character of the poem Ryleev "Nalyvayko" deliberately chooses its sufferer path):

I know - the death is waiting

Who is the first to rise

On the oppressants of the people.

Fate I really observed

But where, tell me when it was

Without victims atone, freedom?

Similar we meet in the Duma Ryleev "Ivan Susanin", such and Gorky Danko. In the work of Lermontov also distributed this type.

Another of the common types of hero can be called autobiographical as it represents understanding the tragic fate of a man of art which is forced to live as it were on the border of two worlds: the sublime world of creativity and everyday world. German romantic Gofman just on the principle of combining opposites built his novel " Easy view Cat Moore Together with fragments of the biography of Kappelmister Ioghanes Craisler, chaserr survived in the waste paper sheets. " The image of the philistine consciousness in this novel is designed to pay the greatness inner world romantic composer Johann Craisler. In the novel e.po " Oval portrait»The painter wonderful power of his art takes life away from a woman whose portrait he writes - takes away to give an eternal instead.

In other words, art for romantics is not imitation and reflection, but approaching the true reality, lying outside the visible. In this sense, it opposes the rational way to know the world.

In romantic works big semantic load Performs a landscape. Storm and thunderstorm lead in motion romantic landscapestressing the internal conflict of the universe. It corresponds passionate nature Romance hero:

... oh, I'm like a brother

Hang with a storm would be happy!

I watched clouds

Hand Lightning Catching ... ("MTSI")

Romanticism is opposed to the classic cult of the mind, believing that "there is a lot in the world, a friend of Horatio, which has not dreamed of our wise men." There is a passion to change the feeling (sentimentalism) - there is not so much human as superhuman, uncontrollable and spontaneous. She elevates the hero on the routine and connects it with the universe; She opens the reader the motives of his actions, and often becomes an excuse of his crimes:

No one was created entirely of evil,

And in Conrad, the wrong passion lived ...

However, if Bayronovsky Corsair is capable of a deep sense of contrary to the crime of his nature, then Claude Frollo from "Cathedral Parisian Mother of God"Vgugu becomes a criminal because of the insane passion, the destructive 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 involves the cult of love as the discovery of the Divine in man, the second is directly connected with the devilish temptation and spiritual fall. For example, the main character of the story of Bestumeva Marlinsky " Scary divination"With the help of a wonderful sleep-warning, it is possible to realize the crime and the fraught with their passion to married woman: "This divination opened my eyes blinded by passion; Deceived husband, seduced spouse, torn, disgraced marriage and why, how to know, maybe bloody revenge me or from me - here is the consequence of the insane love of my !!! "

Romantic psychologist It is based on the desire to show the inner pattern of words and acts of the hero, at first glance inexplicable and strange. Their conditionality opens not so much through the social conditions of the formation of character (as it will be in realism), but through the collision of the forces of good and evil, whose battlefield is a man's heart. Romantics see in the soul of a person the connection of two poles - "Angel" and "Beast".

Thus, a person in the romantic concept of the world is included in the "vertical context" of being as the most important and integral part. His situation in this world depends on personal choice. Hence the greatest responsibility of the person not only for action, but also for words, and for the thought. The topic of crime and punishment in the romantic version acquired a special acute: "Nothing in the world is forgotten and does not disappear"; For the sins of the ancestors will pay the descendants, and the non-square wines will become for them generic cursewhich will determine the tragic fate of heroes ("terrible revenge" of Gogol, "Gryar" Tolstoy).

Thus, we identified some essential typological features of romanticism as an artistic method.

Word romanticism.

Roman - love relationship between man and woman.

Romantic is the one who exalted emotionally applies to anything.

Romance - small musical essay for voice accompanied by tool

written on verses of lyrical content.

During the conversation, the teacher asks the question: "What are the meanings of these three words?" The term romanticism, whose value you will learn today at the lesson, is also directly related to the concept of feeling.

Different epochs - Different criteria for human evaluation.

A society has always been important to the criterion for which a person could be appreciated. Each era put forward different evaluation criteria. For example, antique epoch considered a person from the point of view of his appearance, physical beauty: it is enough to remember that the sculptures of that time are depicting nude, physically developed people. The beauty of the beauty has shifted the beauty of the spiritual

Society XVIII. The century was convinced that the power of a person - in his mind. The world was created by God, and the human task is to improve this world wisely. So humanity has entered the Epoch of Enlightenment. However, the fanatic admiration for the power of the mind, of course, could not exist long: beliefs by convictions, and in best side Almost nothing changes. Even on the contrary: such ideas led to revolutionary shocks and bloodshed (for example, under the slogan "in the name of the mind!" A revolution in France took place), and end of XVIII explosive Raced wave frustration in the power of mind. It became obvious the need for an alternative to him. This alternative was found. What is opposed to mind in man? Feelings.

As we said, it is with the concept of feeling and is associated with the term romanticism. Romanticism is a direction in culture that approves the intrinsicness of the spiritual and creative person, the cult of nature, feelings and natural in man.

Now the artist, referring to the connoisseur of the beautiful, appealed, first of all, to his feelings, and not to the mind, guided by non-sober mental reflections, but by the bearer of the heart.

Dwellemic (antithesis)

First, let's remember the concept of antithesis. Find antithesis in the following passages:

1. I am the king, I am a slave, I am a worm, I am God.

2. They agreed. Water and stone, poems and prose, ice and flame are not so different among themselves ...

3. The bright thoughts in the confused heart are rushed, and light thoughts are falling, burned with dark fire.

4. Today - soberly celebration, tomorrow - we cry and sing.

5. You are a prose - I am a poet

you are rich - I am very poor.

Antithesis (from Greek. Antithesis is opposite) - comparison of sharply contrast or opposite concepts and images to enhance the impression.

Estimated Answers:

1. King - slave worm - God

2. Water - Stone Poems - Prose Lot-Bloss

3. Light - Dark

4. Today - tomorrow the celebration - I sing and sing

5. Prose - the poet is rich - poor

What antitrium led to the transition from the previous era to the era of romanticism? Mind - feelings. For Understanding romanticism Keyful becomes the concept of feeling that is opposed to reason. There is an antithex, which is reflected in relation to the artist to the world around. Reasonable reality does not find a response in the soul of Romance: the real world of unfair, cruel, terrible. In search best artist Dreams to go beyond reality: it is there, outside existing lifeHe seems to be the possibility of finding perfection, dreams, ideal.

So there is a characteristic romanticism of Duloyemic: "here" and "there." The despised "here" is a modern romance reality, where evil and injustice triumphs. "There" - some poetic reality that a romantic opposes real reality.

The question arises: where to find it "there", this perfect world? Romantics find him in their own soul, and in the otherworldly world, and in the life of uncivilized peoples, and in history. This "there" is given through the prism of the artist's glance. And the romance missing through the soul can be everybody, prosaic? In no case! It, emphasizing the break with the prose of life, will definitely be very unusual, sometimes even unexpected for the reader.

The main features of the romantic hero

Rejection, the denial of reality determined the specifics of the romantic hero. It is fundamentally new herolike him did not know the old

literature. It is in hostile relationship with the surrounding society, is opposed to him. This is an extraordinary person, restless, most often lonely and with tragic fate. Romantic hero - the embodiment of the romantic riot against reality. Romantic hero in the flesh - English poet George Noel Gordon Byron (1788-1824).

Self answer questions:

1. How does a romantic refer to real reality?

Estimated answer:romantic does not take real reality, he runs it.

2. Where directed a romantic?

Estimated answer:romantic is fixed to a dream, to the ideal, to perfection.

3. How are events, landscape, people are depicted?

Estimated answer:events, landscape, people are unusual, unexpectedly.

4. Where can the romantic find an ideal?

Estimated answer:romantic finds his ideal in his own soul, in the otherworldly world, in the life of uncivilized peoples.

5. What becomes a cult for romance? Estimated answer:romantic seeks freedom.

6. What is the meaning of life romance?

Estimated answer:the meaning of life romance in the rebellion against reality, in a feat, in finding freedom.

7. How does fate check romance?

Estimated answer:fate offers the romance exclusive, tragic circumstances.

The main features of the romantic hero: -Niprition of the Company's ideals; -nontrase splitness; - Model in the real world; -Book ideal and dreams; - Life in the field of emotions and feelings; - Heroy - Always bright, exceptional personality -From is always in an insoluble conflict with his surroundings, society, epoch. -Hell, exceptional circumstances of life.

MHC Grade 9.

"Wooden architecture of Russia" - houses with a complicated volume configuration. "Suggest the hut". "Konk on the roof." The best of the monuments since 1958 were transported to Kostroma. The man sought to create his home. "Tree feeling." Forests covered most Land. For its time, wooden fortresses were formidable structures. Houses with a single row link. Churches. Competitions for the project. "The country of architects" called Russia the artist Igor Grabar.

"Theater - Open Art" - "The theater has the most beautiful expensive to the mind and the heart of man." Alphabet Theater. Theater V. Wespir "Globus". School modern play. It is one of the most ancient types of art. big theater. Dramaturgy is the basis of the theater. V.G. Belinsky. Odessa opera theatre. Greek amphitheater. Inside the Globus Theater. In the theatre. Should be likely to theater. Theatre.

"Houses in different countries" - men and women in rich Greek houses lived every life. In Japanese baths and baths it is not customary. In the harsh Sparta even forbidden to use the planer. Beds on which the Greeks slept, cut out of maple and beech. In the Japanese house will have to forget about stereotypes. In the Japanese house there is no furniture. The Greeks finally have a planer in everyday life. Light is another Japanese cult.

"Cinema" - cinema. Painting. First experiments on projecting images. Literature. Optical theater. The topic of the lesson "Cinema". Cinema does not duplicate and does not replace. Russian cinema. Brothers Lumiere. Theatre. Game cinema. Soviet cinema. New cinema schools. Music in movies. Cinema's birth. Brothers Auguste and Louis Lumiera. Cinematographic schools. Short movie. Types of cinema.

"Temples" - what is a temple. Temple color. What can you say about these temples. What does the color of the domes mean. Objectives lesson. What does the number of domes on the temples mean. Originality architectural traditions. What we know about the temples. Number of domes. Epiphany temple R.P. Old lane. The temple is the house of God on Earth. Color dome. Practical work. Appearance Temple. Determine the form of the dome. Dome shape.

"Styles and types of architecture" - XVIII - Kon. The architecture of classicism as a whole is inherent in the regularity of the planning and clarity of the bulk form. Baroque architecture. Revival. Eclecticism. XVIII-XIX century. Dynamic architecture. Classicism. Modern. XVII century Postmodernism. XVIII century Author's judgments about the essence of architecture. Eclecticism. The basis of the architectural language of classicism was the order, in proportions and forms close to antiquity. 21th century.