Types of romantic heroes. Characteristic features of the romantic hero

30.04.2019

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"The Poets of the Silver Century" - Mayakovsky entered the School of Painting, Drainies and Architecture. V. Ya. Bryusov (1873 - 1924). D. D. Burluk. Nikolai Stepanovich Gumilev was born on April 15, 1886. Ambamests. O. E. Mandelshtam. From 1900-1907. Mandelshtam studied in the Tenishevsk Commercial School. O. E. Mandelstam (1891 - 1938). Axism. V. V. Mayakovsky.

"On the Frontoviki poets" - from the first days of the war Kulchitsky was in the army. Simonov's fame acquired before the war, as a poet and playwright. Sergey Sergeevich Orlov (1921-1977). In 1944, Jalil was executed by Moabitsky executioners. The poem of Surkov "Beats in a cramped refrigerant" was written in 1941. Written during the war, Simonov's poem "Wait for me" became widely known.

"On poetry" - Indian summer has come - the days of farewell heat. Solar brilliance Your wonderful with our plays the river. And dawn cherry glue pouring in the form of a clock. And around the flowers of Lazorow, spread the waves spicy ... Journey through the poetic path. Bad fourths - burst the old rope ... Birch face - under the veil tank and transparent.

"Romanticism in literature" - a lesson - a lecture. Lermontov Mikhail Yuryevich 1814-1841. Romanticism in Russian literature The end of the 18th early 19th centuries. The theme "humiliated and offended". Philosophical fairy tale. Romantic personality-passionate personality. Historical novel; "MTSI". Passion. Walter Scott 1771-1832. Causes of romanticism.

"On romanticism" - Larra. A.S. Pushkin. Eternal liquid. Sacrifice by saving others. "Legend of eternal Zehid". Composite features of stories. "Legend of Moses." M. Gorky. Which of the heroes are close to the old woman Izergil: Danko or Larre? Who does nothing, nothing will become. The basis of the style of romanticism is an image of the inner world of man.

"Poets about Nature" - Alexander Yesenin (Father) and Tatiana Titova (Mother). Block Alexander Aleksandrovich (1880, St. Petersburg - 1921, Petrograd) - Poet. A.A. Block. Russian writers of the 20th century about their native nature. Creative work. Landscape lyrics. Artistic and expressive means. S.A. Yesenin. Baby girl knew a lot of songs, fairy tales and chastushki.

Total in the subject of 13 presentations

ROMANTICISM

In modern science, Lit-PE romanticism is considered mainly from two points of view: as a certain artistic methodbased on the creative transformation of reality in art and how literary direction, historically natural and limited 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. The faith in the possibility of making a miracle lives in the 20th century: in the story of A.Grina "Scarlet Sails", in the 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 Lit-Rea: "The amazing story of Peter Schlemil" A. Shamisso, "Elixir Satan" Hoffmann, Dostoevsky's "double".

In connection with Douloymir, the fantastic and aesthetic category occupies a special position, 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.

Fantasy, or a 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, the secular 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 directly expressing copyright position: "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 a 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 Hoffmann, where the sublime hero often falls into comic situations, and the happy finale is a victory over evil and the acquisition of the ideal - can turn into a very earthly burgache 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 (exotic countries, a distant past or future), folk superstitions 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). This external conflict can take various forms, depending on the type of romantic person, 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 opposition of the Opposition "Personality - Society" acquires in the romantic image of the Hero-tramp or a robber, the blowing world for his own blasting ideals ("cucked" Hugo, "Corsair" by Byron).

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. The hero, the prone to elect demonism as a moral position, thus refuses the idea of \u200b\u200bgood, because the 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 "Lights Cat Moore's Lights, with fragments of the biography of Kappellasuser Jogenesse Craisler, chasing in the waste sheets." The image of a philistine consciousness in this novel is designed to pay the greatness of the inner world of the romantic composer of Johann Craisler. In Novel, E.Ooval Portrait of the painter's 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, a landscape performs a large semantic load. Storm and thunderstorm lead in motion romantic landscapestressing the internal conflict of the universe. This corresponds to the passionate nature of the 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 the "Cathedral of the Paris Virgin" V.Guhugo 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 Marlin's "Scary Divination" with the help of a wonderful sleep-warning is given the opportunity to realize the crime and the fraught with their passion for a married woman: "This fortune-telling 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"; The descendants will pay for the sins of the ancestors, and the unreaculated wines will become a generic curse for them, which will determine the tragic fate of heroes ("terrible revenge" of Gogol, "Ghir" thick).

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

Definitions of the term "romantic hero"

Romantic hero - One of the artistic images of the literature of romanticism.

● Existence « two worlds»: The world of the ideal, dreams and peace of reality. This leads romantic artists in the mood of despair and hopelessness, " world grief».

● Appeal to folk plots, folklore, Interest in the historical past, the search for historical consciousness.

To learn more about the theory of romanticism, use the presentation on this topic.

Typology of the romantic hero

Word cloud illustrating key characteristic features of the romantic hero

Typically types of romantic heroes can be represented as nationalor as universal.

For example:

● Hero Chudak - ridiculous and ridiculous in the eyes of the townships and passersby

● Hero Single - rejected by society, aware of his alien to the world

● "Bayronic hero" - an extra person, "Son of the Century", suffers from contradictory of his own nature

● Hero-demonic personality - challenges the world, sometimes even God, the person is doomed to break with society

● Hero - a man from the people - Opened by society

The cloud is based on articles "Romantic hero in Western European literature" from Online library publishing house "Lyceum" . Visually presented the main aspects of a romantic nature. Thus, the romantic hero appears as a person striving for the search for the world of a romantic ideal. This is an exceptional personality that challenges the environment that thirsting the moral revolution. Such a person contradicts everyday life and dreams of spiritual perfection.

Analysis of the character of heroes from different German authors

The romantic hero and society are opposing forces, as they represent two different concepts: spirituality and mediate. Novisa, like an innovator, a romantic hero is the eternal wanderer In search of your great ideal and aspirations for self-improvement, Göldderlin - lonely replacement and child of Nature., deified love, and Gofman with his weave with realism and romantic irony - several primbed comical chudakwho can nevertheless, at the children's delight and ingenuous faith in miracles. One way or another, all the characters binds the desire to surrender to the feelings, taking the cold mind at the same time. Exactly love All the best awakens in the heroes, she reveals their eyes to the beautiful, truly important things, love transforms the romantic hero, encourages creativity, he finds the dream embodiment itself. " Love is the main thing"- wrote shilling.

The main features of a romantic nature, combining the heroes of literary works at different stages displayed in the mental map.

The English Poet of Percy Bishi Shelley said that romanticism, Fatazina comparing him with the clouds: "constancy I don't know, forever a look I change, but I will never die .."

Total in the subject of 13 presentations

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, perception of native land juices, a 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, a person needs real, earthly 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 great love is worthy of immortality when she cost a person of 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. Similarly, love for God and its establishments, civil debt is dictated. 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.

Types of romantic heroes. Characteristic features of the romantic hero

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