Romanticism is a hero. Romanticism in Russia - characteristic features of style and period

26.04.2019

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Probably the most common way of creating a romantic hero is typing - that is, the kind of traits that any romantic hero can possess. This original character manages to stand out from the rest.

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

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

The romantic character is matched by exceptional circumstances in which it is fully revealed. V this character used - psychologism - a means of deepening into inner world hero.

Many writers quite often use the landscape as a means of characterizing the hero.

The sea is the favorite landscape of romantics. And the language of romantic works is unusually rich and diverse, it most often uses bright tropes - words in a figurative sense.

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

Glossary:

- characteristic of a romantic hero

- romantic character

- what character traits a romantic hero should have

- features of a romantic hero

- traits of a romantic hero

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Characteristic features of the style

Romanticism is a trend in literature that arose in Russia in the late 18th - first half of the 19th century. This style proclaims the cult of nature and natural feelings person. New features romantic literature freedom of expression, the value of individualism and the original character traits of the protagonist become. Representatives of the trend rejected the rationalism and supremacy of the mind, which were characteristic of the Enlightenment, and put the emotional and spiritual sides of a person at the forefront.

In their works, the authors reflect not the real world, which was too vulgar and base for them, but the inner universe of the character. And through the prism of his feelings and emotions, the outlines of the real world are visible, the laws and thoughts of which he refuses to obey.

The main conflict

The central conflict of all works written in the era of romanticism is the conflict between the individual and society as a whole. Here the main character goes against the established rules in his environment. At the same time, the motives for such behavior can be different - actions can both be for the good of society, and have a selfish intention. In this case, as a rule, the hero loses this fight, and the work ends with his death.

A romantic is a special and in most cases a very mysterious person who tries to resist the power of nature or society. At the same time, the conflict develops into internal strife contradictions that occur in the soul of the main character. In other words, the central character is built on antitheses.

Although in this literary genre and the individuality of the protagonist is appreciated, but nevertheless literary scholars have identified which traits of romantic heroes are the main ones. But, even despite the similarities, each character is unique in its own way, since they are only general criteria for highlighting the style.

Society ideals

The main feature the romantic hero is that he does not accept the well-known ideals of society. The main character has his own ideas about the values of life, which he is trying to defend. He kind of challenges the entire world around him, and not an individual or a group of people. Here we are talking about the ideological confrontation of one person against the whole world.

At the same time, in his rebellion, the protagonist chooses one of two extremes. Either these are unattainable, highly spiritual goals, and the character is trying to catch up with the Creator himself. In another case, the hero indulges in all sorts of sins, not feeling the measure of his moral fall into the abyss.

Bright personality

If one person is able to resist the whole world, then it is as large-scale and complex as the whole world. The main character romantic literature always stands out in society both externally and internally. In the soul of the character, there is a constant conflict between stereotypes already laid down by society and its own views and ideas.

Loneliness

One of the saddest traits of a romantic hero is his tragic loneliness. Since the character confronts the whole world, he remains completely alone. There is no such person who would understand him. Therefore, he either himself flees from the society he hates, or he himself becomes an exile. Otherwise, the romantic hero would no longer be like this. Therefore, romantic writers focus all their attention on psychological portrait central character.

Either the past or the future

The traits of a romantic hero do not allow him to live in the present. The character tries to find his ideals in the past, when the religious feeling was strong in the hearts of people. Or he flatters himself with happy utopias that supposedly await him in the future. But in any case, the protagonist is not satisfied with the era of dull bourgeois reality.

Individualism

As already said, hallmark the romantic hero is his individualism. But it is not easy to be "different from others." This is a fundamental difference from all the people who surround the protagonist. Moreover, if a character chooses a sinful path, then he realizes that he is different from others. And this difference is taken to the extreme - the personality cult of the protagonist, where all actions have an exclusively selfish motive.

The era of romanticism in Russia

The poet Vasily Andreevich Zhukovsky is considered the founder of Russian romanticism. He creates several ballads and poems ("Ondine", "The Sleeping Princess" and so on), in which there is a deep philosophical meaning and striving for moral ideals. His works are saturated with their own experiences and reflections.

Then Zhukovsky was replaced by Nikolai Vasilievich Gogol and Mikhail Yurievich Lermontov. They impose on public consciousness impressed by the failure of the Decembrist uprising, the imprint of an ideological crisis. For this reason, the creativity of these people is described as a disappointment in real life and an attempt to escape into your fictional world, filled with beauty and harmony. The main characters of their works lose interest in earthly life and come into conflict with the world around them.

One of the features of romanticism is the appeal to the history of the people and their folklore. This is most clearly seen in the work "Song of Tsar Ivan Vasilyevich, the young oprichnik and daring merchant Kalashnikov" and a cycle of poems and poems dedicated to the Caucasus. Lermontov perceived it as the homeland of free and proud people. They opposed a slave country that was under the rule of Nicholas I.

Early works Alexander Sergeevich Pushkin is also saturated with the idea of romanticism. An example is Eugene Onegin or The Queen of Spades.

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ROMANCE IN RUSSIAN LITERATURE. Three types of romantic hero.

Romanticism is a trend in literature, art type creativity, characteristic feature which is the display and reproduction of life outside the real-concrete connections of a person with the surrounding reality.

The emergence of romanticism. Romanticism emerged in the late 18th century. The birthplace of romanticism is Germany, the emerging aesthetics gave the world a number of philosophers: F. Schelling, Fichte, Kant. German romanticism had a decisive influence on all types of art: ballet, painting, literature, landscape gardening art... Many romantics were linguists, they were interested in language as an expression of the spirit of a nation, an expression of thoughts and feelings. Romanticism describes a vivid, exceptional plot, lofty passions, feelings, love affair.

Romanticism has its own way of typing. These are exceptional characters in exceptional circumstances. Romantics portray human qualities away from the ordinary. With the inception of romanticism, the resurrection of telepathy and parapsychology takes place. The birth of romanticism is a crisis of rational aesthetics. A new typology of the hero appears. These types have become eternal. ...

The first type of hero. 1 . The hero is a wanderer, a fugitive, a wanderer (he was created by Byron, he was with Pushkin (Aleko), .. Wandering is not geographical, but spiritual, internal migration, the search for the unknown. The search for the highest truth. Wandering is a metaphor for striving into the unknown, eternal search, yearning for the endless, this yearning leads to alienation from society, opposing oneself to those around him, to the world, to God.

This type of hero spawned eternal images... The image of the sea ... (restlessness, throwing ...)

The image of the road ...

Don Quixote is a wanderer who always seeks and cannot find.

The image of the disappearing horizon.

The second type of hero A strange eccentric, a dreamer, out of this world. He is characterized by childish naivety, everyday inability, on earth he is not at home, but at a party. (Odoevsky "Town in a Snuffbox", Pogorelsky, Dostoevsky).

The third type of hero The hero is an artist, a poet with capital letter... An artist is not only a profession, but a state of mind. Creativity among romantics, who is the main creator? - The God. Romantics call him a space artist, for them poetry is a revelation. They decided that the creation of the world was not complete, and the poet should continue the work of the Creator. They raised the poet to such a height ... And gave rise to symbolism.

Visions, hallucinations, dreams gave rise to creativity. Romantics created a biography of Raphael. Zhukovsky's article about how he painted the picture of Madonna. “He languished in this image for a long time, but it did not work out on the canvas. Raphael fell asleep and there was a vision. He saw this image, woke up and wrote. The poet is a spiritual ascetic.

On the subject: methodological developments, presentations and notes

“Heroes of Gorky's early romantic stories. Romantic pathos and the harsh truth of life in M. Gorky's story "The Old Woman Izergil"

The purpose of the lesson: to identify the features early prose M. Gorky on the example of the story "The Old Woman Izergil." early stories Gorky; - especially note ...

THREE DAYS OF THE "LIFE" OF THE HERO OF THE POEM M. Yu. LERMONTOV "MTSYRI"

Lesson objectives: 1. Assimilation of knowledge about the life and work of M. Yu. Lermontov. 2. Formation of the ability to collect material about the hero of a literary work. 3. Formation of the skill of expressive h ...

The moral pathos of the romantics was associated, first of all, with the assertion of the value of the individual, which was embodied in the images of romantic heroes. The first, most striking type is the loner hero, the rogue hero, who is usually called Byronic hero... The opposition of the poet to the crowd, the hero to the rabble, the individual to the society, which does not understand and persecutes him, is a characteristic feature of romantic literature.

E. Kozhina wrote about such a hero: “A man of the romantic generation, a witness to bloodshed, cruelty, tragic destinies people and entire nations, striving for the bright and heroic, but paralyzed in advance by the miserable reality, out of hatred for the bourgeois, elevating the knights of the Middle Ages to a pedestal and even more acutely aware of his own duality, inferiority and instability before their monolithic figures, a man who is proud of his “I”, because only it distinguishes him from the middle class, and at the same time is burdened by him, a person who combines protest, and powerlessness, and naive illusions, and pessimism, and unspent energy, and passionate lyricism - this person is present in all romantic canvases of the 1820s ”.

The dizzying change of events inspired, gave rise to hopes for change, awakened dreams, but sometimes even led to despair. The slogans of Freedom, Equality and Brotherhood proclaimed by the revolution opened up space for the human spirit. However, it soon became clear that these principles were impracticable. Having given rise to unprecedented hopes, the revolution did not justify them. It was discovered early that the freedom received was not only good. It also manifested itself in cruel and predatory individualism. The post-revolutionary order least of all resembled the kingdom of reason that the thinkers and writers of the Enlightenment dreamed of. The cataclysms of the era influenced the mindset of the entire romantic generation. The mood of romantics constantly fluctuates between delight and despair, inspiration and disappointment, fiery enthusiasm and truly worldly sorrow. The feeling of absolute and unlimited freedom of the individual is adjacent to the awareness of her tragic insecurity.

S. Frank wrote that “the nineteenth century opens with a feeling of“ world sorrow ”. In the perception of the world by Byron, Leopardi, Alfred Musset - in Russia in Lermontov, Baratynsky, Tyutchev - in the pessimistic philosophy of Schopenhauer, in the tragic music of Beethoven, in the terrible fantasy of Hoffmann, in the sad irony of Heine - there is no new consciousness in the world of tragic irony his hopes, the hopeless contradiction between intimate needs and hopes human heart and the cosmic and social conditions of human existence ”.

Indeed, does not Schopenhauer himself speak of the pessimism of his views, whose teachings are painted in gloomy tones, and who constantly says that the world is filled with evil, meaninglessness, unhappiness, that life is suffering: “If the immediate and immediate goal of our life is not there is suffering, then our existence is the most stupid and inexpedient phenomenon. For it is absurd to admit that the endless suffering, flowing from the essential needs of life, with which the world is overflowing, was aimless and purely accidental. Although every single misfortune seems to be an exception, misfortune in general is the rule. "

Life human spirit among the romantics it is opposed to the lowness of material existence. From the feeling of his unhappiness, the cult of a unique individual personality was born. She was perceived as the only support and as the only point of reference. life values... Human individuality was thought of as an absolutely self-valuable principle, torn from the surrounding world and in many respects opposed to it.

The hero of romantic literature is a person who has broken away from old ties, asserting his absolute dissimilarity from all others. By virtue of this alone, it is exceptional. Romantic painters tended to shy away from portraying common and ordinary people. As the main actors in their artistic creation lonely dreamers, brilliant artists, prophets, personalities endowed with deep passions, titanic power of feelings perform. They may be villains, but never mediocre. Most often they are endowed with a rebellious mind.

The gradations of disagreement with the world order of such heroes can be different: from the rebellious discontent of Rene to eponymous novel Chateaubriand to total disillusionment with people, reason and world order, characteristic of many of Byron's heroes. The romantic hero is always in a state of some kind of spiritual limit. His senses are heightened. The contours of the personality are determined by the passion of nature, the irrepressibility of desires and aspirations. The romantic person is already exceptional by virtue of his original nature and therefore is completely individual.

The exclusive intrinsic value of individuality did not allow even the thought of its dependence on the surrounding circumstances. The starting point of a romantic conflict is the individual's desire for complete independence, the assertion of the primacy of free will over necessity. The discovery of the self-worth of personality was the artistic conquest of romanticism. But it led to the aestheticization of individuality. The very uncommon personality has already become the subject of aesthetic admiration. Breaking free from the environment, the romantic hero could sometimes manifest himself in violation of prohibitions, in individualism and selfishness, or even simply in crimes (Manfred, Corsair or Cain by Byron). Ethical and aesthetic in the assessment of personality could not coincide. In this, the romantics were very different from the enlighteners, who, on the contrary, in their assessment of the hero, ethical and aesthetic principles completely merged.

The educators of the 18th century created many positive heroes who were carriers of high moral values, who embodied, in their opinion, reason and natural norms. Thus, Robinson Crusoe D. Defoe and Gulliver by Jonathan Swift became the symbols of the new, "natural", rational hero. Undoubtedly, true hero The Enlightenment is Goethe's Faust.

A romantic hero is not easy positive hero, he is not even always positive, the romantic hero is the hero who reflects the poet's longing for the ideal. After all, the question of whether Lermontov's Demon is positive or negative, Konrad in Byron's Corsair does not arise at all - they are majestic, enclosing indomitable strength of mind in their appearance, in their deeds. The romantic hero, as V. G. Belinsky wrote, is “a person leaning on himself,” a person opposing himself to the whole world around him.

An example of a romantic hero is Julien Sorel from Stendhal's Red and Black. Julien Sorel's personal fate was closely related to this change in historical weather. From the past he borrows his inner code of honor, the present dooms him to dishonor. By his inclinations "a man of 93", an admirer of revolutionaries and Napoleon, he was "late to be born." The time has passed when the position was won by personal valor, courage, intelligence. Now the plebeian for the "hunt for happiness" is offered the only help that is in use among the children of timelessness: calculating and hypocritical piety. The color of luck has changed, as if you turned a roulette wheel: today, in order to win, you have to bet not on red, but on black. And the young man, obsessed with the dream of glory, is faced with a choice: either to disappear into obscurity, or to try to assert himself, adjusting to his age, putting on a "uniform in time" - a cassock. He turns away from friends and serves those whom he despises in his soul; an atheist, he pretends to be a saint; admirer of the Jacobins, trying to penetrate the circle of aristocrats; endowed with sharp mind, assent to fools. Realizing that "every man for himself in this desert of egoism called life," he rushed into the fray, hoping to win with the weapon imposed on him.

And yet Sorel, having embarked on the path of adaptation, did not completely become an opportunist; choosing the ways to win happiness, accepted by everyone around, he did not completely share their moral. And the point here is not simply that a gifted young man is immeasurably smarter than the mediocrity with whom he is in service. His hypocrisy itself is not humiliated obedience, but a kind of challenge to society, accompanied by a refusal to recognize the right of the "masters of life" to respect and their claims to set moral principles to their subordinates. The top is the enemy, vile, insidious, vindictive. Taking advantage of their favor, Sorel, however, does not know the debts of conscience before them, because, even when courting a capable young man, they see him not as a person, but as a quick servant.

An ardent heart, energy, sincerity, courage and strength of character, a morally healthy attitude towards the world and people, a constant need for action, in work, in the fruitful work of the intellect, humane responsiveness to people, respect for ordinary workers, love for nature, beauty in life and art, all this distinguished the nature of Julien, and all this he had to suppress in himself, trying to adapt to the animal laws of the world around him. This attempt was not crowned with success: "Julien retreated before the court of his conscience, he could not overcome the craving for justice."

One of the favorite symbols of romanticism was Prometheus, embodying courage, heroism, self-sacrifice, unbending will and intransigence. An example of a work based on the myth of Prometheus is the poem by P.B. Shelley's "Prometheus Free", which is one of the most significant works of the poet. Shelley changing the denouement mythological plot, in which, as you know, Prometheus nevertheless reconciled with Zeus. The poet himself wrote: "I was against such a pitiful outcome as the reconciliation of a fighter for humanity with its oppressor." Shelley creates an ideal hero from the image of Prometheus, punished by the gods for helping people by violating their will. In Shelley's poem, the agony of Prometheus is rewarded with the triumph of his release. Appearing in the third part of the poem, the fantastic creature Demogorgon overthrows Zeus, proclaiming: "There is no return for the tyranny of heaven, and there is no longer your successor."

Female images romanticism are also contradictory, but extraordinary. Many authors of the era of romanticism returned to the history of Medea. The Austrian writer of the era of romanticism F. Grillparzer wrote the trilogy "Golden Fleece", which reflected the characteristic German romanticism"Tragedy of rock". "The Golden Fleece" is often called the most complete dramatic version of the "biography" of the ancient Greek heroine. In the first part, the one-act drama The Guest, we see Medea as a still very young girl forced to endure her tyrant father. She prevents the killing of Phrix, their guest, who fled to Colchis on a golden ram. It was he who sacrificed the golden fleece ram to Zeus in gratitude for saving him from death and hung the golden fleece in sacred grove Ares. The seekers of the golden fleece appear before us in the four-act play "The Argonauts". In it, Medea desperately but unsuccessfully tries to fight her feelings for Jason, against her will becoming his accomplice. In the third part, the five-act tragedy Medea, the story reaches its climax. Medea, brought by Jason to Corinth, appears to those around him as a stranger from barbaric lands, a witch and a sorceress. In the works of romantics, the phenomenon is quite often encountered that at the heart of many insoluble conflicts lies alienness. Returning to his homeland in Corinth, Jason is ashamed of his girlfriend, but still refuses to fulfill Creon's demand and drive her away. And only having fallen in love with his daughter, Jason himself hated Medea.

home tragic theme Medea in Grillparzer is in her loneliness, because even her own children are ashamed and avoid her. Medea is not destined to get rid of this punishment even in Delphi, where she fled after the murder of Creusa and her sons. Grillparzer did not at all seek to justify his heroine, but it was important for him to discover the motives of her actions. At Grillparzer Medea, the daughter of a distant barbaric country, did not accept the fate prepared for her, she rebelled against someone else's way of life, and this attracted romantics very much.

The image of Medea, striking in its contradiction, is seen by many in a transformed form in the heroines of Stendhal and Barbe d'Oreville. Both writers portray the deadly Medea in different ideological contexts, but invariably endow her with a sense of alienation, which turns out to be detrimental to the integrity of the individual and, therefore, entails death.

Many literary scholars correlate the image of Medea with the image of the heroine of the novel "Bewitched" by Barbe d "Oreville, Jeanne-Madeleine de Feardin, as well as with the image of the field famous heroine Stendhal's novel Red and Black by Matilda. Here we see three main components famous myth: unexpected, stormy emergence of passion, magical actions with good or harmful intentions, revenge of an abandoned sorceress - a rejected woman.

These are just a few examples of romantic heroes and heroines.

The revolution proclaimed the freedom of the individual, opening up “unknown new roads” for her, but this same revolution gave birth to a bourgeois order, a spirit of acquisitiveness and selfishness. These two sides of the personality (the pathos of freedom and individualism) are very difficult to manifest in the romantic concept of the world and man. VG Belinsky found a wonderful formula, speaking of Byron (and his hero): "This is a human personality, rebellious against the common and, in his proud rebellion, leaning on himself."

However, in the depths of romanticism, another type of personality is also being formed. This is, first of all, the personality of an artist - a poet, musician, painter, also exalted above the crowd of ordinary people, officials, property owners, secular idlers. Here it comes no longer about the claims of an exceptional personality, but about the rights of a true artist to judge the world and people.

Romantic image artist (for example, among German writers) is far from always adequate to the Byronic hero. Moreover, the Byronic hero-individualist is contrasted with a universal personality that strives for the highest harmony (as if absorbing all the diversity of the world). The universality of such a personality is the antithesis of any limitation of a person, associated with even narrow mercantile interests, even with a greed that destroys the personality, etc.

Romantics did not always correctly assess the social consequences of revolutions. But they sharply felt the anti-aesthetic character of society, which threatened the very existence of art, in which "heartless cash flow" reigns. Romantic artist, unlike some second writers half of the XIX century, did not seek to hide from the world in the "ivory tower". But he felt tragically alone, suffocating from this loneliness.

Thus, in romanticism, two antagonistic concepts of personality can be distinguished: individualistic and universalistic. Their fate in the subsequent development of world culture was ambiguous. The rebellion of the Byronic hero - the individualist was beautiful, carried away his contemporaries, but at the same time his futility was quickly revealed. History has severely condemned the claims of the individual to create his own judgment. On the other hand, the idea of universality reflected a longing for the ideal of a comprehensively developed person, free from the limitations of bourgeois society.

Romanticism (1790-1830) Is a trend in world culture that appeared as a result of the crisis of the Enlightenment and its philosophical concept "Tabula rasa", which means " clear sheet". According to this teaching, a person is born neutral, pure and empty, like a white sheet of paper. This means that if you take up his education, you can bring up an ideal member of society. But the flimsy logical structure collapsed, in contact with the realities of life: bloody Napoleonic Wars, French revolution 1789 and other social upheavals destroyed people's faith in the healing properties of the Enlightenment. During the war, education and culture did not play a role: bullets and sabers still did not spare anyone. Strong of the world they studied hard and had access to all famous works art, but this did not stop them from sending their subjects to death, it didn’t stop them from cheating and cunning, it didn’t stop them from indulging in those sweet vices that have corrupted humanity from time immemorial, regardless of who and how educated. No one stopped the bloodshed, no one was helped by preachers, teachers and Robinson Crusoe with his blessed work and "God's help."

People are disappointed, tired of social instability. The next generation was "born old." "Young people found use of their idle powers in despair"- as Alfred de Musset wrote, the author who wrote the brightest romantic romance"Confession of the Son of the Century." State young man of his time, he described as follows: "Denial of everything heavenly and everything earthly, if you will, hopelessness"... Society was imbued with world grief, and the main postulates of romanticism are a consequence of this mood.

The word "romanticism" comes from the Spanish musical term"Romance" (piece of music).

The main signs of romanticism

Romanticism is usually characterized by listing its main characteristics:

— Romantic duality Is a sharp opposition between ideal and reality. Real world cruel and boring, and the ideal is a refuge from the hardships and abominations of life. A textbook example of romanticism in painting: Friedrich's painting "Two contemplating the moon." The eyes of the heroes are directed to the ideal, but the black hooked roots of life seem not to let them go.

— Idealism- This is the presentation of the maximum spiritual requirements for oneself and for reality. Example: Shelley's poetry, where the grotesque pathos of youth is the main message.

— Infantilism- this is the inability to bear responsibility, frivolity. Example: the image of Pechorin: the hero does not know how to calculate the consequences of his actions, he easily injures himself and others.

— Fatalism (evil fate)- this is tragic character relationship of man and evil fate. Example: " Bronze Horseman"Pushkin, where the hero is pursued by an evil fate, taking away from him his beloved, and with her all hopes for the future.

— Many borrowings from the Baroque era: irrationality (tales of the Brothers Grimm, stories by Hoffmann), fatalism, dark aesthetics (mystical stories by Edgar Allan Poe), theomachy (Lermontov, the poem "Mtsyri").

— The cult of individualism- the clash of the individual and society - the main conflict in romantic works(Byron, Childe Harold: the hero opposes his individuality to an inert and boring society, going on a journey without end).

Characteristics of a romantic hero

Disappointment (Pushkin "Onegin")
Nonconformism (rejected existing value systems, did not accept hierarchies and canons, protested against the rules) -
Shocking behavior (Lermontov "Mtsyri")
Intuition (Bitter "Old woman Izergil" (the legend of Danko))
Denial of free will (it all depends on fate) - Walter Scott "Ivanhoe"

Themes, ideas, philosophy of romanticism

The main theme in romanticism is the exceptional hero in exceptional circumstances. For example, a highlander captured from childhood, miraculously saved and ended up in a monastery. Usually children are taken captive not in order to transport them to monasteries and replenish the staff of monks, the case of Mtsyri is a unique precedent.

The philosophical basis of romanticism and the ideological and thematic core is subjective idealism, according to which the world is a product of the subject's personal sensations. Examples of subjective idealists - Fichte, Kant. Good example subjective idealism in literature - "Confessions of the Son of the Century" by Alfred de Musset. Throughout the story, the hero immerses the reader in subjective reality, as if reading The Diary... Describing his love conflicts and complex feelings, he does not show the surrounding reality, but the inner world, which, as it were, replaces the outer one.

Romanticism dispelled the boredom and melancholy - typical feelings in the society of that period. The secular game of disappointment is brilliantly played by Pushkin in the poem "Eugene Onegin". The protagonist plays to the audience when he fancies himself beyond the reach of mere mortals. A fashion arose among young people to imitate the proud loner Childe Harold, the famous romantic hero from Byron's poem. Pushkin laughs at this tendency, portraying Onegin as a victim of yet another cult.

By the way, Byron became an idol and an icon of romanticism. Distinguished by eccentric behavior, the poet attracted the attention of society, and won recognition for his ostentatious eccentricities and undeniable talent. He even died in the spirit of romanticism: in the internecine war in Greece. An exceptional hero in exceptional circumstances ...

Active romanticism and passive romanticism: what's the difference?

Romanticism is inherently heterogeneous. Active romanticism- this is a protest, a rebellion against that philistine, vile world, which so perniciously affects the individual. Representatives of active romanticism: the poets Byron and Shelley. An example of active romanticism: Byron's poem Childe Harold's Journey.

Passive romanticism- this is reconciliation with reality: embellishment of reality, withdrawal into oneself, etc. Representatives of passive romanticism: writers Hoffman, Gogol, Scott, etc. An example of passive romanticism is Hoffmann's Golden Pot.

Features of romanticism

Ideal Is a mystical, irrational, unacceptable expression of the world spirit, something perfect, to which one must strive. The melancholy of romanticism can be called "yearning for the ideal." People crave it, but they cannot receive it, otherwise what they received will cease to be ideal, since from an abstract idea of the beautiful it will turn into the real thing or a real phenomenon with errors and deficiencies.

The peculiarities of romanticism are ...

creation comes first
psychologism: the main thing is not events, but people's feelings.
irony: rising above reality, making fun of it.
self-irony: this perception of the world reduces tension

Escapism is an escape from reality. Types of escapism in literature:

fiction (going into fictional worlds) - Edgar Allan Poe ("The Red Mask of Death")
exotic (departure to an unusual locality, to the culture of little-known ethnic groups) - Mikhail Lermontov (Caucasian cycle)
history (idealization of the past) - Walter Scott (Ivanhoe)
folklore (folk fiction) - Nikolai Gogol ("Evenings on a farm near Dikanka")

Rational romanticism originated in England, which is probably due to the originality of the mentality of the British. Mystical romanticism appeared precisely in Germany (brothers Grimm, Hoffmann, etc.), where the fantastic element is also due to the specifics of the mentality of the Germans.

Historicism- this is the principle of considering the world, social and cultural phenomena in a natural historical development.

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