Mystical romanticism in literature. The main features of romanticism in literature

The very etymology of the concept of "romanticism" refers to the field of fiction. Initially, the word romance in Spain meant a lyrical and heroic song - a romance; then great epic poems about knights; later it was transferred to prose chivalric romances. In the 17th century the epithet "romantic" (fr. romantique) serves to characterize adventurous and heroic works written in Romance languages, as opposed to those written in classical languages. In Europe, romanticism began its spread in two countries. The two "homelands" of romanticism were England and Germany.

In the 18th century this word begins to be used in England in relation to the literature of the Middle Ages and the Renaissance. At the same time, the concept of "romance" began to be used to refer to a literary genre that implies a narrative in the spirit of chivalric novels. And in general, in the second half of the same century in England, the adjective "romantic" describes everything unusual, fantastic, mysterious (adventure, feelings, atmosphere). Along with the concepts of "picturesque" (picturesque) and "Gothic" (gothic), it denotes new aesthetic values, different from the "universal" and "reasonable" ideal of beauty in classicism.

Although the adjective "romantic" has been used in European languages ​​since at least the 17th century, the noun "romanticism" was first coined by Novalis at the end of the 18th century. At the end of the 18th century in Germany and at the beginning of the 19th century. in France and a number of other countries, romanticism becomes the name of an artistic movement that opposed itself to classicism. As a designation of a certain literary style as a whole, it was conceptualized and popularized by A. Schlegel in lectures that he read in the late 18th and early 19th centuries. in Jena, Berlin and Vienna ("Lectures on Fine Literature and Art", 1801-1804). During the first two decades of the 19th century. Schlegel's ideas are spreading in France, Italy and England, in particular, thanks to the popularization activities of J. de Stael. The work of I. Goethe "The Romantic School" (1836) contributed to the consolidation of this concept. Romanticism arose in Germany, in literary and philosophical circles "Jena school" (brothers Schlegel and others). Outstanding representatives of the direction - F. Schelling, brothers Grimm, Hoffmann, G. Heine.

IN England new ideas accepted W. Scott, J. Keats, Shelley, W. Blake. The most prominent representative of romanticism was J. Byron. His work had a great influence on the spread of the direction, including in Russia. The popularity of his "Childe Harold's Travels" led to the phenomenon Byronism"(Pechorin in M. Lermontov's "A Hero of Our Time").

French romance - Chateaubriand, V. Hugo, P. Merimee,George Sand, Polish - A. Mickiewicz, American - F. Cooper, G. Longfellow and others.

The term "romanticism" acquired at that time a broader philosophical interpretation and cognitive meaning. Romanticism in its heyday created its own trend in philosophy, theology, art and aesthetics. Especially clearly manifested in these areas, romanticism also did not bypass history, law, and even political economy.

Romanticism is an artistic movement that originates in early XIX in Europe and continued until the 40s of the XIX century. Romanticism is seen in literature, fine arts, architecture, behavior, clothing, human psychology. REASONS FOR THE ORIGIN OF ROMANTICISM. The immediate cause that caused the emergence of romanticism was the Great French bourgeois revolution. How did this become possible? Before the revolution, the world was ordered, there was a clear hierarchy in it, each person took his place. The revolution overturned the “pyramid” of society, a new one has not yet been created, so the individual has a feeling of loneliness. Life is a flow, life is a game in which someone is lucky and someone is not. In this era, gambling arises and gains immense popularity, gambling houses appear all over the world and in particular in Russia, guides on playing cards are published. In literature, images of players appear - people who play with fate. One can recall such works by European writers as Hoffmann's "The Gambler", Stendhal's "Red and Black" (and red and black are the colors of roulette!), and in Russian literature these are Pushkin's "Queen of Spades", Gogol's "Gamblers", "Masquerade" Lermontov. A ROMANTIC HERO is a player, he plays with life and fate, because only in the game can a person feel the power of rock. The main features of romanticism: Singularity in the depiction of events, people, nature. Striving for perfection and perfection. Proximity to oral folk art in terms of plot, fairy-tale images. Depiction of the protagonist in exceptional circumstances. Very bright, colorful language, the use of a variety of expressive and visual means of the language.

The main ideas of Romanism: One of the main ideas is the idea of ​​movement. Heroes of works come and go again. In literature, images of a mail coach, travel, wanderings appear. Suffice it to recall, for example, the journey of Chichikov in a stagecoach or Chatsky, who at the beginning arrives from somewhere “He was treated, they say, on acidic waters.”), And then leaves again somewhere (“Carriage for me, carriage!”). This idea reflects the existence of man in an ever-changing world. THE MAIN CONFLICT OF ROMANTISM. The main one is the conflict of man with the world. The psychology of the rebellious personality arises, which Lord Byron most deeply reflected in Childe Harold's Journey. The popularity of this work was so great that a whole phenomenon arose - “Byronism”, and whole generations of young people tried to imitate him (such, for example, Pechorin in Lermontov’s “A Hero of Our Time”). Romantic heroes are united by a sense of their own exclusivity. “I” is perceived as the highest value, hence the egocentrism of the romantic hero. But focusing on oneself, a person comes into conflict with reality. REALITY - this is a strange, fantastic, extraordinary world, as in Hoffmann's fairy tale "The Nutcracker", or ugly, as in his fairy tale "Little Tsakhes". Strange events take place in these tales, objects come to life and enter into lengthy conversations, the main theme of which is a deep gap between ideals and reality. And this gap becomes the main THEME of the lyrics of romanticism. THE DIFFERENCE OF RUSSIAN AND EUROPEAN ROMANTISM. Fairy tales, legends, and fantastic stories became the main literary form of European romanticism. In the romantic works of Russian writers fairy world arises from the description of everyday life, everyday situations. This everyday situation is refracted and rethought as fantastic. This feature of the works of Russian romantic writers can be seen most clearly in Nikolai Vasilyevich Gogol's The Night Before Christmas. But the main work of Russian romanticism is considered to be the “Queen of Spades” by A.S. Pushkin. The plot of this work differs significantly from the plot of Tchaikovsky's famous opera of the same name. SUMMARY OF THE STORY: A hussar feast - a story about the secret of three cards discovered by Mr. Saint-Germain to a Russian countess in Paris - a Russified German German engineer - dreams of finding out the secret - finds an old countess - her pupil Lisa - writes letters to her that she writes off from romance novels- breaks into the house when the countess is at the ball - hides behind the curtain - the countess returns - waits for the moment when she will be alone in the room - tries to get the secret of the three cards - the countess dies - Genmann is horrified by what has happened - Lisa takes him out through the back door - the countess Hermann appears in a dream and they will reveal the secret of three cards “three, seven, ace” - Hermann collects all his savings and goes to the gambling house, where the owner of the gambling house, Mr. Chekalinsky, sits down to play with him - Hermann bets on a three and wins, on a seven and wins, for an ace, and at that moment he takes out the queen of spades from the deck - she goes crazy and ends up in the Obukhov hospital, and Lisa receives an inheritance, marries and takes on a pupil. “ Queen of Spades”- a deeply romantic and even mystical work that embodies the best features of Russian romanticism. To this day, this work is notorious among theater artists and directors and is surrounded by many mystical stories that happen to those who stage or play in this work. Features of romanticism are manifested in creativity V. Zhukovsky and are developed by Baratynsky, Ryleev, Kuchelbeker, Pushkin ("Eugene Onegin"), Tyutchev. And the works Lermontov, the "Russian Byron", is considered the pinnacle of Russian romanticism.

Features of Russian romanticism. The subjective romantic image contained an objective content, expressed in the reflection of the public mood of the Russian people in the first third of the 19th century - disappointment, anticipation of change, rejection of both the Western European bourgeoisie and Russian despotically autocratic, feudal foundations.

Striving for the nation. It seemed to the Russian romantics that, by comprehending the spirit of the people, they were joining the ideal principles of life. At the same time, understanding folk soul”and the content of the very principle of nationality among representatives of various trends in Russian romanticism was different. So, for Zhukovsky, nationality meant a humane attitude towards the peasantry and, in general, towards poor people; he found it in the poetry of folk rituals, lyrical songs, folk signs, superstitions, legends. In the works of the Romantic Decembrists, the folk character is not just positive, but heroic, nationally distinctive, which is rooted in the historical traditions of the people. They found such a character in historical, robber songs, epics, heroic tales.

The idea was put forward national types of romanticism. The "classical" type includes the romantic art of England, Germany, France. Romanticism in Italy and Spain is singled out as a special type: here the slow bourgeois development of the countries is combined with the richest literary tradition. A special type is represented by the romanticism of countries waging a national liberation struggle, where romanticism acquires a revolutionary-democratic sound (Poland, Hungary). In a number of countries with a slow bourgeois development, romanticism solved educational problems (for example, in Finland, where Lenrot's epic poem Kalevala appeared). The question of the types of romanticism remains insufficiently studied.

Romanticism in European Literature European romanticism of the 19th century is remarkable in that, for the most part, its works have a fantastic basis. These are numerous fairy-tale legends, short stories and stories. The main countries in which romanticism as a literary movement manifested itself most expressively are France, England and Germany. This artistic phenomenon has several stages: 1801-1815. The beginning of the formation of romantic aesthetics. 1815-1830 years. The formation and flourishing of the current, the definition of the main postulates this direction. 1830-1848 years. Romanticism takes on more social forms. examples of romanticism Each of the above countries has made its own, special contribution to the development of the aforementioned cultural phenomenon. In France, romantic literary works had a more political tinge, and writers were hostile to the new bourgeoisie. This society, according to French leaders, ruined the integrity of the individual, her beauty and freedom of spirit. In English legends, romanticism has existed for a long time, but until the end of the 18th century it did not stand out as a separate literary movement. English works, unlike French ones, are filled with Gothic, religion, national folklore, the culture of peasant and working societies (including spiritual ones). Besides, English prose and the lyrics are filled with travels to distant lands and exploration of foreign lands. In Germany, romanticism as a literary movement was formed under the influence of idealistic philosophy. The basis was the individuality and freedom of man, oppressed by feudalism, as well as the perception of the universe as a single living system. Almost every German work is permeated with reflections on the existence of man and the life of his spirit. The development of romanticism in different national literatures followed different paths. It depended on the cultural situation in specific countries, and not always those writers who were preferred by readers in their homeland turned out to be significant on a pan-European scale. Yes, in history English Literature Romanticism is embodied primarily by the Lake School poets William Wordsworth and Samuel Taylor Coleridge, but for European Romanticism Byron was the most important figure among the English Romantics.

English romanticism

The first stage of English romanticism (90s of the 18th century) is most fully represented by the so-called Lake School. The term itself originated in 1800, when in one of the English literary magazines Wordsworth was declared the head of the Lake School, and in 1802 Coleridge and Southey were named members of it. The life and work of these three poets are connected with the Lake District, the northern counties of England, where there are many lakes. The Leikist poets sang splendidly this land in their poems. Born in the Lake District, Wordsworth's work captures forever some of the scenic views of Cumberland - the Derwent River, Red Lake on Helwelyn, the yellow daffodils on the shores of Ullswater Lake, winter evening on Lake Esthwaite. The founder of English romanticism was J. G. Byron with his poems about Childe Harold. Such romanticism was subsequently called freedom-loving, since its main theme is the life of a non-standard talented person in difficult conditions, in a society that does not want to understand and accept such a person.

The hero strives for freedom, not so much actual as spiritual, however, he cannot always achieve it. As a rule, such a hero becomes an “extra person”, since he does not have a single way out and an opportunity for self-realization.

The followers of the Byronic tradition in Russia were Pushkin and Lermontov, whose main characters are typical "superfluous people". Byron's poems combine both grief, and melancholy, and skepticism, and lyrics in such a way that his work became a role model for many romantic poets in the future. In Russia, Pushkin and especially Lermontov continued his ideas.

German (Germanic) Romanticism

In Germany, however, the first recognized work of romanticism was Klinger's drama Sturm und Drang, published at the end of the eighteenth century. This work glorified freedom, hatred for tyrants, cultivated an independent personality.

However, the real symbol German romanticism became the name of Schiller, with his romantic poems and ballads. German romanticism is called mystical, because. its main themes are the struggle between spirit and matter, the empirical and the tangible.

According to the principles of romanticism, spirit is a priori higher than matter: in Schiller's poems, life and death, reality and dreams often collide. Much in romanticism is the line between the otherworldly and the real; in Schiller's poems, elements like the living dead and prophetic dreams appear.

His ideas in Russia were continued by Zhukovsky in his ballads "Svetlana" and "Lyudmila", which are filled with folklore elements of the "other world". Schiller also strives for freedom, however, in his opinion, for an immature person it can only be evil.

Therefore it romantic creativity, unlike Byron, emphasizes that the ideal world is not freedom from society, but a world on the verge of sleep and reality. Unlike Byron, Schiller believed that a person can exist in harmony with the outside world without compromising his personal freedom, since the main thing for him is the freedom of spirit and thoughts.

Output: Romanticism, as a literary trend, had a rather strong influence on musical, theatrical art and painting - it is enough to recall the numerous productions and paintings of those times. This happened mainly due to such qualities of the direction as high aesthetics and emotionality, heroism and pathos, chivalry, idealization and humanism. Despite the fact that the age of romanticism was rather short-lived, this did not in the least affect the popularity of books written in the 19th century in the following decades - the works of literary art of that period are loved and revered by the public to this day.

Romanticism - (from French romanticism) - ideological and aesthetic and the artistic trend that took shape in European art at the turn of the 18th-19th centuries and dominated music and literature for seven to eight decades *. The interpretation of the word "romanticism" itself is ambiguous, and the very appearance of the term "romanticism" in different sources interpreted differently.

So originally the word romance in Spain meant lyrical and heroic songs-romances. Subsequently, the word was transferred to epic poems about knights - novels. A little later, prose stories about the same knights began to be called novels. In the 17th century, the epithet served to characterize adventurous and heroic plots and works written in Romance languages, as opposed to the languages ​​of classical antiquity.

For the first time romanticism literary term appears at Novalis.

In the 18th century in England, the term "romanticism" came into wide use after it was put forward by the Schlegel brothers and appeared in the Atoneum magazine published by them. Romanticism came to denote the literature of the Middle Ages and the Renaissance.

In the second half of the 18th century, the writer Germaine de Stael brought the term to France, and then it spread to other countries.

The German philosopher Friedrich Schlegel derived the name of a new direction in literature from the term "novel", believing that this particular genre, in contrast to English and classic tragedy, is an expression of the spirit modern era. And, indeed, the novel flourished in the 19th century, which gave the world many masterpieces of this genre.

Already in late XVIII century, it was customary to call romantic everything fantastic or generally unusual (what happens, “like in novels”). Therefore, the new poetry, which rarely differs from the classical and enlightenment poetry that preceded it, was also called romantic, and the novel was recognized as its main genre.

At the end of the 18th century, the word "romanticism" began to denote an artistic movement that opposed itself to classicism. Having inherited many of its progressive features from the Enlightenment, romanticism was at the same time associated with deep disappointment both in enlightenment itself and in the successes of the entire new civilization as a whole *.

Romantics, unlike the classicists (who made the culture of antiquity their mainstay), relied on the culture of the Middle Ages and modern times.

In search of a spiritual renewal of romance, they often came to idealize the past, they considered it as romantic, Christian literature and religious myths.

It is the focus on the inner world of the individual in Christian literature became the basis of Romantic art.

The master of minds at that time was the English poet George Gordon Byron. He creates a "hero of the 19th century" - the image of a lonely person, a brilliant thinker who does not go to his place in life.

Deep disappointment in life, in history, pessimism is felt in many sensations of that time. An agitated, excited tone, a gloomy, condensed atmosphere - these are the characteristic signs of romantic art.

Romanticism was born under the sign of the denial of the cult of the all-powerful reason. That is why the true knowledge of life, according to the romantics, is given not by science, not by philosophy, but by art. Only an artist, with the help of his ingenious intuition, can understand reality.

Romantics put the artist on a pedestal, almost deifying him, for he is endowed with a special sensitivity, a special intuition that allows him to penetrate into the essence of things. Society cannot forgive the artist for his genius, it cannot understand his insights, and therefore he is in sharp contradiction with society, rebels against him, hence one of the main themes of romanticism is the theme of the artist’s deep misunderstanding, his rebellion and defeat, his loneliness and death.

Romantics dreamed not of a partial improvement of life, but of a holistic resolution of all its contradictions. Romantics were characterized by a thirst for perfection - one of important features romantic outlook.

In this regard, V. G. Belinsky’s term “romanticism” extends to the entire historical and spiritual life: “Romanticism belongs not only to one art, not only to poetry: its sources, in what are the sources of both art and poetry - in life. » *

Despite the penetration of romanticism into all aspects of life, music was given the most honorable place in the hierarchy of the arts of romanticism, since feeling reigns in it and therefore creativity finds the highest goal in it. romantic artist. For music, from the point of view of romantics, does not comprehend the world in abstract terms, but reveals its emotional essence. Schlegel, Hoffmann - the largest representatives of romanticism - argued that thinking in sounds is higher than thinking in concepts. For music embodies feelings so deep and elemental that they cannot be expressed in words.

In an effort to assert their ideals, romantics turn not only to religion and the past, but are also interested in various arts and the natural world, exotic countries and folklore. They oppose spiritual values ​​to material values, it is in the life of the spirit of romance that they see the highest value.

The inner world of a person becomes the main one - his microcosm, craving for the unconscious, the cult of the individual gives rise to a genius who does not obey generally accepted rules.

Except the lyrics in the world musical romanticism great value devoted to fantastic images. fantastic images gave a sharp contrast to reality, while at the same time intertwining with it. Thanks to this, fantasy itself revealed different facets to the listener. Fantasy acted as freedom of the imagination, a game of thought and feeling. The hero fell into a fairy tale, not real world where good and evil, beauty and ugliness clashed.

Romantic artists sought salvation in flight from cruel reality.

Another sign of romanticism is an interest in nature. For romantics, nature is an island of salvation from the troubles of civilization. Nature comforts and heals the restless soul of a romantic hero.

In an effort to show the most diverse people, to display all the diversity of life, romantic composers chose the art of musical portraiture, which often led to parody and grotesque.

In music, the direct outpouring of feeling becomes philosophical, and the landscape and portrait are imbued with lyricism and lead to generalizations.

The interest of romantics in life in all its manifestations is inextricably linked with the desire to recreate the lost harmony and wholeness. Hence - the interest in history, folklore, interpreted as the most integral, undistorted by civilization.

It is the interest in folklore in the era of romanticism that contributes to the emergence of several national composer schools reflecting local musical traditions. In the conditions of national schools, romanticism retained much in common and, at the same time, showed a noticeable originality in style, plots, ideas, and favorite genres.

Since romanticism saw in all the arts a single meaning and a single main goal - merging with the mysterious essence of life, the idea of ​​\u200b\u200bthe synthesis of arts acquired a new meaning.

Thus, the idea arises of bringing together all types of art, so that music can draw and tell the content of the novel and tragedy about sounds, poetry would approach the art of sound in its musicality, and painting would convey the images of literature.

Compound various kinds art made it possible to increase the impact of the impression, strengthened the greater integrity of perception. In the fusion of music, theatre, painting, poetry, color effects, new possibilities opened up for all kinds of arts.

Literature is undergoing renewal of artistic form, new genres are being created, such as historical novels, fantastic stories, lyrical - epic poems. Lyrics become the main character of what is being created. Opportunities poetic word were expanded due to ambiguity, condensed metaphor and discoveries in the field of versification and rhythm.

Not only the synthesis of arts becomes possible, but also the penetration of one genre into another, a mixture of tragic and comic, high and low appears, a vivid demonstration of the conventionality of forms begins.

Thus, the main aesthetic principle in romantic literature becomes an image of beauty. The criterion of the romantically beautiful is the new, the unknown. The mixture of unfamiliar and unknown romanticism is considered a particularly valuable, especially expressive means.

In addition to new criteria of beauty, special theories of romantic humor or irony also appeared. They are often found in Byron, Hoffmann, they draw a limited outlook on life. It is from this irony that the sarcasm of the romantics will then grow. A grotesque portrait of Hoffmann will appear, Byron's impetuous passion, and Hugo's antithesis of passion.

CHAPTER I. ROMANTICISM AND UNIQUENESS

ROMANTIC HERO IN THE WORKS OF A. S. PUSHKIN.

Romanticism in Russia arose somewhat later than in the West. The ground for the emergence of Russian romanticism was not only the French bourgeois revolution, the war of 1812, but also Russian reality itself of the late 18th and early 19th centuries.

As noted, the founder of Russian romanticism was V. A. Zhukovsky. His poetry struck with its novelty and unusualness.

But, undoubtedly, the true birth of romanticism in Russia is associated with the work of A. S. Pushkin.

“Prisoner of the Caucasus” by Pushkin is perhaps the first work of the romantic school, where a portrait of a romantic hero is given*. Despite the fact that the details of the portrait of the Prisoner are sparing, they are given very specifically in order to emphasize the special position of this character as best as possible: “high forehead”, “stinging grin”, “burning look”, and so on. The parallel between the emotional state of the Captive and the storm that broke out is also interesting:

And the prisoner, from the mountain height,

Alone, behind a thundercloud,

Waiting for the return of the sun

Unreachable by the storm

And storms to the weak howl,

He listened with some joy. *

At the same time, the Prisoner, like many other romantic heroes, is shown as a lonely person, misunderstood by others and standing above others. His inner strength, his genius and fearlessness are shown through the opinions of other people - in particular his enemies:

His careless courage

Terrible Circassians marveled,

Spared his young age

And whisper among themselves

They were proud of their booty.

Besides, Pushkin does not stop there. The story about the life of a romantic hero is given as if by a hint. Through the lines, we guess that the Prisoner was fond of literature, led a stormy social life, did not appreciate her, constantly participating in duels.

All this colorful life of the Prisoner led him not only to displeasure, but also resulted in a break with those around him, in flight to foreign lands. Precisely being a wanderer:

Renegade of light, friend of nature,

He left his native land

And flew to a distant land

With a cheerful ghost of freedom.

It was the thirst for freedom and the experience of love that made the Prisoner leave motherland, and he goes for the "ghost of freedom" to foreign lands.

Another important impetus for flight was the former love, which, like many other romantic heroes, was not reciprocal:

No, I did not know mutual love,

Loved alone, suffered alone;

And I go out like a smoky flame,

Forgotten among the empty valleys.

In many romantic works, a distant exotic land and the people inhabiting it were the goal of the romantic hero's flight. It was in foreign countries that the romantic hero wanted to find the long-awaited freedom, harmony between man and nature*. This new world, which attracted a romantic hero from afar, becomes alien to the Captive, in this world the Captive becomes a slave *

And again, the romantic hero strives for freedom, now freedom for him is personified by the Cossacks, with the help of whom he wants to get it. He needs freedom from captivity in order to obtain the highest freedom, to which he aspired both in his homeland and in captivity.

The return of the Captive to his homeland is not shown in the poem. The author gives readers the opportunity to determine for themselves whether the Prisoner will achieve freedom, or become a "traveler", "exile".

As in many romantic works, the poem depicts a foreign people - the Circassians *. Pushkin introduces into the poem authentic information about the people, taken by him from the publication "Northern Bee".

This ambiguity of mountain freedom fully corresponded to the nature of romantic thought. Such a development of the concept of freedom was associated not with the morally low, but with the cruel. Despite this, the captive's curiosity, like any other romantic hero, makes him sympathize with some aspects of Circassian life and be indifferent to others.

The Fountain of Bakhchisarai is one of the few works by A. S. Pushkin that begins not with a descriptive headline, but with a portrait of a romantic hero. In this portrait, all the typical features of a romantic hero are found: “Giray sat with downcast eyes”, “the old brow expresses the excitement of the heart”, “what drives a proud soul?”, And he spends the cold hours of the night gloomy, lonely. ".

As in " Caucasian prisoner”, in the “Bakhchisarai Fountain” there is a force that pushed the Prisoner to embark on a long journey. What burdens Khan Giray? Only after asking questions three times, the author replies that the death of Mary took away the last hope from the khan.

The bitterness of the loss of a beloved woman is experienced by the khan with the over-emotional intensity of a romantic hero:

He is often in slashing fatal

Raises a saber, and with a swing

Suddenly remains immovable

Looks around with madness

Pale, as if full of fear,

And something whispers and sometimes

Burning tears flow like a river.

The image of Giray is given against the background of two female images, which are no less interesting in terms of romantic ideas. Two female destinies reveal two types of love: one is sublime, “above the world and passions”, and the other is earthly, passionate.

Mary is depicted as a favorite image of romantics - an image of purity and spirituality. At the same time, love is not alien to Mary, she just has not yet woken up in her. Mary is distinguished by strictness, harmony of the soul.

Mary, like many romantic heroines faced with a choice between emancipation and slavery. She finds a way out of this situation in humility, which only emphasizes her spiritual beginning, faith in higher power. Starting confession, Zarema opens before Maria a world of passions that are inaccessible to her. Maria understands that all ties with life are cut off, and like many romantic heroes she is disappointed in life, not finding a way out of the situation.

Zarema's backstory takes place against the backdrop of an exotic country that is her homeland. The description of distant countries, characteristic of romantics, merges in the "Fountain of Bakhchisaray" with the fate of the heroine. Life in a harem for her is not a prison, but a dream that has become a reality. Harem is the world that Zarema runs into to hide from everything that happened before.

In addition to internal psychological states, the romantic nature of Zarema is also drawn purely outwardly. For the first time in the poem, Zarema appears in the Girey pose. She is portrayed as indifferent to everything. Both Zarema and Giray lost their love, which was the meaning of their lives. Like many romantic heroes, they received only disappointment from love.

Thus, all three main characters of the poem are depicted at critical moments in their lives. The current situation seems to be the worst thing that could only happen in the life of each of them. Death for them becomes inevitable or desirable. In all three cases main reason suffering is a loving feeling that has been rejected or not reciprocated.

Despite the fact that all three main characters can be called romantics, only Khan Girey is shown in the most psychological way, it is with him that the conflict of the entire poem is connected. His character is shown in development from a barbarian with passions to a medieval knight with subtle feelings. The feeling that flared up in Giray for Maria turned his soul and mind upside down. Without understanding why, he guards Mary and bows before her.

In A. S. Pushkin's poem "Gypsies" in comparison with previous poems central character- the romantic hero Alekodan is not only descriptive, but also effective. (Aleko thinks, he freely expresses his thoughts and feelings, he is against generally accepted rules, against the power of money, he is against cities with their civilization. Aleko stands for freedom, for a return to nature, its harmony.)

Aleko not only argues, but also confirms his theory in practice. The hero goes to live to the free nomadic people- to the gypsies. For Aleko, life with gypsies is the same departure from civilization as the flight of other romantic heroes to distant lands or fabulous, mystical worlds.

The craving for the mystical (especially among Western romantics) finds an outlet for Pushkin in Aleko's dreams. Dreams predict and prophesy future events in Aleko's life.

Aleko himself not only "takes" from the gypsies the freedom they want, but also brings social harmony into their lives. For him, love is not only a strong feeling, but also something on which his whole spiritual world, his whole life, stands. The loss of a beloved for him is the collapse of the whole world around him.

Aleko's conflict is built not only on disappointment in love, but goes deeper. On the one hand, the society in which he lived before cannot give him freedom and will, on the other hand, gypsy freedom cannot give harmony, constancy and happiness in love. Aleko does not need freedom in love, which does not impose any obligations to each other.

The conflict gives rise to a murder committed by Aleko. His act is not limited to jealousy, his act is a protest against a life that cannot give him the existence he desires.

Thus, the romantic hero in Pushkin is disappointed in his dream, a free gypsy life, he rejects what he aspired to until recently.

Aleko's fate looks tragic not only because of his disappointment in the love of freedom, but also because Pushkin provides a possible way out for Aleko, which sounds in the old gypsy's story.

There was a similar case in the old man's life, but he did not become a "disappointed romantic hero", he reconciled with fate. The old man, unlike Aleko, considers freedom a right for everyone, he does not forget his beloved, but resigns himself to her will, refraining from revenge and resentment.

CHAPTER II. THE ORIGINALITY OF A ROMANTIC HERO IN POEMS

M. Yu. LERMONTOV “MTSYRI” AND “DEMON”.

The life and fate of M. Yu. Lermontov are like a bright comet that for a moment illuminated the sky of Russian spiritual life in the thirties. Wherever this one has appeared amazing person, exclamations of admiration and curses were heard. The jewelery perfection of his poems struck both with the grandiosity of the idea and invincible skepticism, the power of denial.

One of the most romantic poems in all Russian literature is the poem "Mtsyri" (1839). This poem harmoniously combines the patriotic idea with the theme of freedom. Lermontov does not share these concepts: in one, but " fiery passion merges the love of the motherland and the thirst for will. The monastery becomes a prison for Mtsyri, he himself seems to be a slave and a prisoner. His desire "to find out - for the will or prison we were born into this world" is due to a passionate impulse to freedom. short days escapes become for him a temporarily acquired will: only outside the monastery did he live, and not vegetate.

Already at the beginning of the poem "Mtsyri" we feel the romantic mood that the central character of the poem brings. Perhaps, the appearance, the portrait of the hero does not betray a romantic hero in him, but his exclusivity, chosenness, mystery are emphasized by the dynamics of his actions.

As is usually the case in other romantic works, the decisive turning point occurs against the backdrop of the elements. The departure from the monastery, performed by Mtsyri, takes place in a storm: *

At the hour of the night, a terrible hour,

When the storm scared you

When, bowing at the altar,

You lay prostrate on the ground

I ran. Oh I'm like a brother

I would be happy to hug the storm. *

The romantic nature of the hero is also emphasized by the parallelism between the storm and the feelings of the romantic hero. Against the backdrop of the elements, the loneliness of the protagonist stands out even more sharply. The storm, as it were, protects Mtsyri from all other people, but he is not afraid and does not suffer from this. Nature and, as part of it, the storm penetrate Mtsyri, they merge with him; the romantic hero seeks in the ensuing elements the will and freedom that was lacking in the monastery walls. And as Yu. V. Mann wrote: “In the illumination of lightning, the feeble figure of a boy grows almost to the gigantic size of Galiath. * Regarding this scene, V. G. Belinsky also writes: “You see what a fiery soul, what a mighty spirit, what a gigantic nature this Mtsyri has. »*

The very content, the actions of the hero - flight to a distant land, alluring with happiness and freedom, can only occur in romantic work with a romantic hero. But at the same time, the hero from Mtsyra is somewhat unusual, since the author does not give a clue, the impetus that served as the reason for the escape. The hero himself does not want to go to an unknown, mysterious, fairy-tale world, but only tries to return to where he was recently pulled out. Rather, this can be regarded not as an escape to an exotic country, but as a return to nature, to its harmonious life. Therefore, in the poem there are frequent references to the birds, trees, clouds of his homeland.

The hero of "Mtsyri" is going to return to his native land, as he sees his homeland in an idealized form: "a wonderful land of worries and battles." The natural environment for the hero takes place in violence and cruelty: "the brilliance of the poisoned scabbards of long daggers." This environment seems to him beautiful, free. Despite the friendly disposition of the monks who warmed the orphan, the image of evil is personified in the monastery, which will then affect the actions of Mtsyri. Will attracts Mtsyri more than what is pleasing to God; instead of a vow, he runs away from the monastery. He does not condemn monastic laws, he does not place his orders above those of the monasteries. So Mtsyri, despite all this, is ready to exchange "paradise and eternity" for a moment of life in his homeland.

Although the romantic hero of the poem did no harm to anyone, unlike other romantic heroes*, he still remains alone. Loneliness is even more emphasized because of Mtsyri's desire to be with people, to share joys and troubles with them.

The forest, as part of nature, becomes for Mtsyri either a friend or an enemy. The forest at the same time gives the hero strength, freedom and harmony, and at the same time takes away his strength, tramples on his desire to find happiness in his homeland.

But not only the forest and wild animals become an obstacle on his way and achieve his goal. His irritation and annoyance with people and nature develops into himself. Mtsyri understands that not only external obstacles interfere with him, but he cannot overcome the feeling of his own hunger, physical fatigue. Irritation and pain increase in his soul, not because there is no specific person responsible for his misfortune, but because he cannot find harmony in life only because of some circumstances and the state of his soul.

B. Eheibaum concluded that last words young men - "I will not curse anyone" - do not express the idea of ​​"reconciliation" at all, but serve as an expression of a sublime, albeit tragic state of consciousness. “He curses no one, because no one is individually to blame for his tragic outcome in his struggle with fate. »*

Like many romantic heroes, Mtsyra's fate does not turn out happily. The romantic hero does not achieve his dream, he perishes. Death comes as a deliverance from suffering and crosses out his dream. Already from the first lines of the poem, the finale of the poem "Mtsyri" becomes clear. We perceive the entire subsequent confession as a description of Mtsyri's failures. And according to Yu.V. Mannn: “Three days” by Mtsyri is a dramatic analogue of his whole life, if it had flowed in the wild, sad and sad in its distance from it. and the inevitability of defeat. »*

In Lermontov's poem "The Demon", the romantic hero is none other than an evil spirit personifying evil. What can be common between the demon and other romantic heroes?

The demon, like other romantic heroes, was expelled, he is an "exile of paradise", like other heroes are exiles or fugitives. The demon introduces new features into the portrait of the heroes of romanticism. So the Demon, unlike other romantic heroes, begins to take revenge, he is not free from evil feelings. Instead of seeking to banish, he cannot feel or see.

Like other romantic heroes, the Demon tends to his native element (“I want to reconcile with the sky”), from where he was expelled *. His moral rebirth is full of hope, but he wishes to return unrepentant. He does not admit his guilt before God. And he accuses the people created by God of lies and betrayal.

And as Yu. V. Mann writes: “But it has never happened before that, giving a “vow” of reconciliation, the hero in the same speech, at the same time, continued his rebellion and, returning to his god, at the same the very moment called for a new flight. »*

The eccentricity of the Demon as a romantic hero is associated with the Demon's ambiguous attitude towards good and evil. Because of this, in the fate of the Demon, these two opposite concepts are closely intertwined. So, the death of Tamara's fiancé stems from goodness - feelings love for Tamara. The very death of Tamara also grows from the love of the Demon:

Alas! Evil spirit triumphed!

The deadly poison of his kiss

Instantly penetrated into her chest.

Anguished, terrible scream

Night revolted the silence.

Also the best feeling is love disturbs the calm coldness of the Demon's soul. Evil, the personification of which he himself is, melts from a feeling of love. It is love that makes the Demon suffer and feel, like other romantic heroes.

All this gives the right to classify the Demon not as a creature of hell, but to put him in an intermediate position between good and evil. The demon himself personifies the close connection between good and evil, their mutual transition from one state to another.

Perhaps this is where the double-digit ending of the poem comes from. The defeat of the Demon can be considered both conciliatory and irreconcilable, since the conflict of the poem itself remained unresolved.

CONCLUSION.

Romanticism is one of the most unexplored creative methods, a lot was said and argued about romanticism. At the same time, many pointed to the lack of clarity of the very concept of “romanticism”.

Romanticism was discussed at its inception and even when the method reached its peak. Discussions about romanticism flared up even when the method was declining, and to this day they argue about its origin and development. this work set itself the goal of tracing the main features romantic style characteristic of music and literature.

In this work, we took the most famous poets Russian era of romanticism.

Who was the representative of romanticism in literature, you will learn by reading this article.

Representatives of romanticism in literature

Romanticism is ideological and artistic direction, which arose in American and European culture of the late 18th century - early 19th century, as a reaction to the aesthetics of classicism. Initially, romanticism took shape in the 1790s in German poetry and philosophy, and later spread to France, England and other countries.

Basic ideas of romanticism– recognition of the values ​​of spiritual and creative life, the right to freedom and independence. In literature, the heroes have a rebellious strong disposition, and the plots were distinguished by the intensity of passions.

The main representatives of romanticism in Russian literature of the 19th century

Russian romanticism combined the human personality, enclosed in a beautiful and mysterious world harmony, high feelings and beauty. Representatives of this romanticism in their works depicted not the real world and the main character, filled with experiences and thoughts.

• Representatives of the romanticism of England

The works are distinguished by gloomy Gothic, religious content, elements of the culture of the working class, national folklore and the peasant class. The peculiarity of English romanticism is that the authors describe in detail travel, wanderings to distant lands, as well as their research. Most famous authors and works: Childe Harold's Journey, Manfred and Oriental Poems, Ivanhoe.

• Representatives of German Romanticism

The development of German romanticism in literature was influenced by a philosophy that promoted the freedom and individualism of the individual. The works are filled with reflections on the existence of man, his soul. They are also distinguished by mythological and fairy-tale motifs. The most famous authors and works: fairy tales, short stories and novels, fairy tales, works.

• Representatives of American Romanticism

IN American literature romanticism developed much later than in Europe. literary works divided into 2 types - eastern (supporters of plantation) and abolitionist (those who support the rights of slaves, their emancipation). They are crowded sharp feelings struggle for independence, equality and freedom. Representatives of American Romanticism - ("The Fall of the House of Usher", ("Ligeia"), Washington Irving ("The Ghost Groom", "The Legend of Sleepy Hollow"), Nathaniel Hawthorne ("The House of Seven Gables", "The Scarlet Letter"), Fenimore Cooper ("The Last of the Mohicans"), Harriet Beecher Stowe ("Uncle Tom's Cabin"), ("The Legend of Hiawatha"), Herman Melville ("Typey", "Moby Dick") and ( poetry collection"Leaves of Grass").

We hope that from this article you have learned everything about the most prominent representatives currents of romanticism in literature.

Art, as you know, is extremely versatile. Great amount genres and trends allows each author to realize his own creative potential, and gives the reader the opportunity to choose exactly the style that he likes.

One of the most popular and, without a doubt, beautiful art movements is romanticism. This direction became widespread at the end of the 18th century, covering European and American culture, but later reaching Russia. The main ideas of romanticism are the desire for freedom, perfection and renewal, as well as the proclamation of the right of human independence. This trend, oddly enough, has spread widely in absolutely all major forms of art (painting, literature, music) and has become truly massive. Therefore, one should consider in more detail what romanticism is, as well as mention its most famous figures, both foreign and domestic.

Romanticism in literature

In this area of ​​art, a similar style initially appeared in Western Europe, after the bourgeois revolution in France in 1789. The main idea of ​​romantic writers was the denial of reality, dreams of a better time and a call to fight for a change of values ​​in society. As a rule, the main character is a rebel, acting alone and looking for the truth, which, in turn, made him defenseless and confused in front of the outside world, so the works of romantic authors are often saturated with tragedy.

If we compare this trend, for example, with classicism, then the era of romanticism was distinguished by complete freedom of action - writers did not hesitate to use the most different genres, mixing them together and creating unique style, which in one way or another was based on a lyrical beginning. The current events of the works were filled with extraordinary, sometimes even fantastic events, in which the inner world of the characters, their experiences and dreams were directly manifested.

Romanticism as a genre of painting

Visual arts also came under the influence of romanticism, and its movement here was based on the ideas of famous writers and philosophers. Painting as such was completely transformed with the advent of this trend, new, completely unusual images began to appear in it. Romantic themes touched on the unknown, including distant exotic lands, mystical visions and dreams, and even the dark depths of human consciousness. In their work, the artists largely relied on the legacy of ancient civilizations and eras (Middle Ages, the Ancient East, etc.).

The direction of this trend in tsarist Russia was also different. If European authors touched on anti-bourgeois topics, then Russian masters wrote on the topic of anti-feudalism.

The craving for mysticism was expressed much weaker than among Western representatives. Domestic figures had a different idea of ​​what romanticism is, which can be traced in their work in the form of partial rationalism.

These factors have become fundamental in the process of the emergence of new trends in art on the territory of Russia, and thanks to them the world cultural heritage knows Russian romanticism just like that.

Romantics occupied various public and political positions in society. They all rebelled against the results of the bourgeois revolution, but they rebelled in different ways, since each had his own ideal. But with all the many faces and diversity, romanticism has stable features.

Disappointment in modernity gave rise to a special interest among romantics in the past: in pre-bourgeois social formations, in patriarchal antiquity. Many romantics were characterized by the idea that the picturesque exoticism of the countries of the south and east - Italy, Spain, Greece, Turkey - is a poetic contrast to the boring bourgeois everyday life. In these countries, then still little affected by civilization, romantics were looking for bright, strong characters, original, colorful lifestyle.

All of them came from the denial of the Enlightenment and the rationalistic canons of classicism, which fettered the creative initiative of the artist. And if classicism divides everything in a straight line, into good and bad, into black and white, then romanticism divides nothing in a straight line. Classicism is a system, but romanticism is not. Romanticism advanced the advancement of modern times from classicism to sentimentalism, which shows inner life person in harmony with vast world. And romanticism opposes harmony to the inner world. It is with romanticism that real psychologism begins to appear. The main task of romanticism was the image inner world, mental life, and this could be done on the material of stories, mysticism, etc.

In their imagination, the romantics transformed the unattractive reality or went into the world of their experiences. The gap between dream and reality, the opposition of beautiful fiction to objective reality, lay at the heart of the entire romantic movement. Romanticism for the first time poses the problem of the language of art. An artist is an interpreter of the language of nature, an intermediary between the world of the spirit and people. However, romanticism was not a homogeneous trend: its ideological development proceeded in various directions. Among the romantics were reactionary writers, adherents of the old regime, who sang of the feudal monarchy and Christianity. On the other hand, romantics with a progressive outlook expressed democratic protest against feudal and all kinds of oppression, embodied the revolutionary impulse of the people for a better future.

Romanticism left a whole era in the world artistic culture, its representatives were: in literature V. Scott, J. Byron, Shelley, V. Hugo, A. Mickiewicz, and others; in the fine arts of E. Delacroix, T. Gericault, F. Runge, J. Constable, W. Turner, O. Kiprensky and others; in the music of F. Schubert, R. Wagner, G. Berlioz, N. Paganini, F. Liszt, F. Chopin and others. They discovered and developed new genres, paid close attention to the fate of the human personality, revealed the dialectic of good and evil, masterfully uncovered human passions and etc.

Romanticism in literature

Romantics often idealized a patriarchal society, in which they saw the kingdom of kindness, sincerity, and decency. Poetizing the past, they went into ancient legends, folk tales. Romanticism has received its own face in every culture: among the Germans, in mysticism; for the British - in a person who will oppose himself to reasonable behavior; the French - in unusual stories.

In literature, images of players appear - people who play with fate. One can recall such works by European writers as Hoffmann's "The Gambler", Stendhal's "Red and Black" (and red and black are the colors of roulette!), and in Russian literature these are Pushkin's "Queen of Spades", Gogol's "Gamblers", "Masquerade" Lermontov.

Romantic writers affirmed the values ​​of the spiritual and creative life of the individual, depicted strong passions, spiritualized and healing nature, which was also unrealistic. The landscape in their works is either very bright, or vice versa, exaggerating, it is devoid of halftones. All this was done in order to more accurately convey the feelings of the characters. Here are the names of the world's best romantic writers: Novalis, Jean Paul, Hoffmann, W. Wordsworth, W. Scott, J. Byron, V. Hugo, A. Lamartine, A. Mishkevich, E. Poe, G. Melville and our Russian poets - M. Yu. Lermontov, F. I. Tyutchev.

A ROMANTIC HERO is a player, he plays with life and fate, because only in the game can a person feel the power of rock.

romantic hero is an individualist. Superman who lived through two stages: 1) before the collision with reality; he lives in a "pink" state, he is seized by the desire for a feat, a change in the world. 2) after a collision with reality; he continues to consider this world both vulgar and boring, but he becomes a skeptic, a pessimist. Having clearly understood that nothing can be changed, the desire to a feat is reborn into a striving for dangers.

Every culture has its own romantic hero, but Byron, in his Childe Harold, gave a typical representation of the romantic hero. He put on the mask of his hero (this suggests that there is no distance between the hero and the author) and managed to comply with the romantic canon. The heroes of romanticism are restless, passionate, indomitable. These are exceptional characters in exceptional circumstances. A romantic hero, whoever he may be - a rebel, a loner, a dreamer or a noble romantic - is always an exceptional person, with indomitable passions, he is necessarily internally strong. This person has a pathos, invocative speech.

Signs of a romantic work.

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 built in such a way that the hero is, as it were, not to blame. The plot in a romantic work is usually romantic. Romantics also build a special relationship with nature, they like storms, thunderstorms, cataclysms.