Romantic hero as a literary type. Romantic hero in Western European literature

The moral pathos of the romantics was associated, first of all, with the affirmation 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 outcast hero, who is usually called the Byronic hero. The opposition of the poet to the crowd, the hero to the mob, the individual to society, which does not understand and persecutes him, is a characteristic feature romantic literature.

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

The dizzying change of events inspired, gave rise to hopes for change, awakened dreams, but sometimes led to despair. The slogans of Freedom, Equality and Fraternity proclaimed by the revolution opened up scope for the human spirit. However, it soon became clear that these principles were not feasible. Having generated unprecedented hopes, the revolution did not live up to them. It was discovered early that the resulting freedom was not only good. It also manifested itself in cruel and predatory individualism. The post-revolutionary order was less like 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 world-wide sorrow. The feeling of absolute and boundless personal freedom is adjacent to the awareness of its tragic insecurity.

S. Frank wrote that “the 19th century opens with a feeling of “world sorrow.” In the worldview of Byron, Leopardi, Alfred Musset - here in Russia in Lermontov, Baratynsky, Tyutchev - in the pessimistic philosophy of Schopenhauer, in the tragic music of Beethoven, in the eerie fantasy of Hoffmann, in the sad irony of Heine - there is a new consciousness of the orphanhood of man in the world, the tragic impossibility of his hopes, the hopeless contradiction between the intimate needs and hopes of the human heart and the cosmic and social conditions of human existence.”

Indeed, doesn’t Schopenhauer himself speak about the pessimism of his views, whose teaching is painted in gloomy tones, and who constantly says that the world is filled with evil, meaninglessness, misfortune, that life is suffering: “If the immediate and immediate goal of our life is not there is suffering, then our existence represents 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 filled, was aimless and purely accidental. Although each individual misfortune seems to be an exception, misfortune in general is the rule.”

Life human spirit among the romantics it is contrasted with the baseness of material existence. From the feeling of his ill-being, 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 valuable principle, torn out from the surrounding world and in many ways opposed to it.

The hero of romantic literature becomes a person who has broken away from old ties, asserting his absolute dissimilarity from all others. For this reason alone, she is exceptional. Romantic artists, as a rule, avoided depicting ordinary and ordinary people. As the main characters in their artistic creativity lonely dreamers perform, brilliant artists, prophets, individuals endowed with deep passions and titanic power of feelings. They may be villains, but never mediocre. Most often they are endowed with a rebellious consciousness.

The gradations of disagreement with the world order among such heroes can be different: from the rebellious restlessness of Rene in Chateaubriand’s novel of the same name to the total disappointment in people, reason and the 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 insatiable desires and aspirations. The romantic personality is exceptional by virtue of its original nature and is therefore completely individual.

The exclusive intrinsic value of individuality did not even allow the thought of its dependence on surrounding circumstances. Starting point romantic conflict is the individual’s desire for complete independence, the assertion of the primacy of free will over necessity. The discovery of the intrinsic value of the individual was an artistic achievement of romanticism. But it led to the aestheticization of individuality. The very originality of the individual was already becoming a subject of aesthetic admiration. Breaking out from the environment, romantic hero could sometimes manifest himself in violation of prohibitions, in individualism and selfishness, or even simply in crimes (Manfred, Corsair or Cain in Byron). The ethical and aesthetic in assessing a person might not coincide. In this, the romantics differed greatly from the enlighteners, who, on the contrary, completely merged the ethical and aesthetic principles in their assessment of the hero.

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

A romantic hero is not just a positive hero, he is not even always positive; a romantic hero is a hero who reflects the poet’s longing for an ideal. After all, the question of whether the Demon in Lermontov or Conrad in Byron’s “Corsair” is positive or negative does not arise at all - they are majestic, containing in their appearance, in their deeds, indomitable strength of spirit. A romantic hero, as V. G. Belinsky wrote, is “a person who relies on himself,” a person who opposes himself to the entire world around him.

An example of a romantic hero is Julien Sorel from Stendhal's novel The Red and the Black. The personal fate of Julien Sorel was closely dependent on this change in historical weather. From the past he borrows his internal code of honor, the present condemns him to dishonor. According to his inclinations as a “man of 1993”, a fan of revolutionaries and Napoleon, he was “too late to be born”. The time has passed when positions were won through personal valor, courage, and intelligence. Nowadays, for the “hunt for happiness,” the plebeian 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 when turning a roulette wheel: today, in order to win, you need to bet not on red, but on black. And the young man, obsessed with the dream of fame, is faced with a choice: either to perish in obscurity, or to try to assert himself by adapting to his age, putting on the “uniform of the times” - a cassock. He turns away from his friends and serves those whom he despises in his soul; an atheist, he pretends to be a saint; a fan of the Jacobins - trying to penetrate the circle of aristocrats; being endowed with a sharp mind, he agrees with fools. Realizing that “everyone is for himself in this desert of selfishness called life,” he rushed into battle in the hope of winning with the weapons forced upon him.

And yet, Sorel, having taken the path of adaptation, did not completely become an opportunist; Having chosen the methods of winning happiness accepted by everyone around him, he did not fully share their morality. And the point here is not simply that a gifted young man is immeasurably smarter than the mediocrities in whose service he is. His hypocrisy itself is not humiliated submission, 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 for their subordinates. The top are the enemy, vile, insidious, vindictive. Taking advantage of their favor, Sorel, however, does not know that he owes his conscience to them, since, even treating a capable young man kindly, they see him not as a person, but as an efficient 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, for work, for 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 Julien’s nature, and he had to suppress all this in himself, trying to adapt to the animal laws of the world around him. This attempt was unsuccessful: “Julien retreated before the judgment of his conscience, he could not overcome his craving for justice.”

Prometheus became one of the favorite symbols of romanticism, 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 Unbound", which is one of the most significant works poet. Shelley changed the outcome of the mythological plot, in which, as is known, 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 his oppressor.” Shelley creates Prometheus from the image ideal hero, punished by the gods for violating their will and helping people. In Shelley's poem, the torment of Prometheus is rewarded with the triumph of his liberation. The fantastic creature Demogorgon, appearing in the third part of the poem, overthrows Zeus, proclaiming: “There is no return for the tyranny of heaven, and there is no successor for you.”

Female images of romanticism are also contradictory, but extraordinary. Many authors of the Romantic era returned to the story of Medea. The Austrian writer of the era of romanticism F. Grillparzer wrote the trilogy “The Golden Fleece”, which reflected the “tragedy of fate” characteristic of German romanticism. “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 very young girl, forced to endure her tyrant father. She prevents the murder of Phrixus, 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 others as a stranger from barbarian lands, a sorceress and sorceress. In the works of romantics, it is quite common to see the phenomenon that foreignness lies at the heart of many insoluble conflicts. 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 began to hate Medea.

The main tragic theme of Grillparzer's Medea is 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 for her actions. Grillparzer's Medea, the daughter of a distant barbarian country, has not accepted the fate prepared for her, she rebels against someone else's way of life, and this greatly attracted romantics.

The image of Medea, striking in its inconsistency, is seen by many in a transformed form in the heroines of Stendhal and Barbet d'Aurevilly. 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 itself death.

Many literary scholars correlate the image of Medea with the image of the heroine of the novel “Bewitched” by Barbet d’Aurevilly, Jeanne-Madeleine de Feardan, as well as with the image of the famous heroine of Stendhal’s novel “The Red and the Black” Mathilde. Here we see three main components famous myth: unexpected, violent emergence of passion, magical actions with either good or harmful intentions, revenge of an abandoned witch - a rejected woman.

These are just some examples of romantic heroes and heroines.

The revolution proclaimed individual freedom, opening up “unexplored new roads” before it, but this same revolution gave birth to the bourgeois order, the spirit of acquisition and selfishness. These two sides of personality (the pathos of freedom and individualism) manifest themselves in very complex ways. romantic concept world and man. V. G. Belinsky found a wonderful formula when speaking about Byron (and his hero): “this is a human personality, indignant against the general and, in his proud rebellion, leaning on himself.”

However, in the depths of romanticism, another type of personality is formed. This is, first of all, the personality of an artist - a poet, musician, painter, also elevated above the crowd of ordinary people, officials, property owners, and secular loafers. Here we're talking about no longer about the claims of an exceptional individual, but about the rights of a true artist to judge the world and people.

The romantic image of the artist (for example, among German writers) is not always adequate to Byron’s hero. Moreover, Byron's individualist hero 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, whether associated with narrow mercantile interests, or with a thirst for profit that destroys personality, etc.

Romantics did not always correctly assess the social consequences of revolutions. But they were acutely aware of the anti-aesthetic nature of society, which threatens the very existence of art, in which “heartless purity” reigns. Romantic artist, unlike some writers of the second half of the 19th century century, did not at all seek to hide from the world in an “ivory tower.” But he felt tragically lonely, 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 Byron's individualist hero was beautiful and captivated his contemporaries, but at the same time its futility was quickly revealed. History has harshly condemned the claims of an individual to create his own court. On the other hand, the idea of ​​universality reflected the longing for the ideal of a comprehensively developed person, free from the limitations of bourgeois society.

Who is a romantic hero and what is he like?

This is an individualist. A superman who lived through two stages: before colliding with reality; he lives in a “pink” state, he is possessed by the desire for achievement, to change the world. After a collision with reality; he continues to consider this world both vulgar and boring, but he becomes a skeptic, a pessimist. With a clear understanding that nothing can be changed, the desire for heroism degenerates into a desire for danger.

Every culture had its own romantic hero, but Byron gave the typical representation of the romantic hero in his work Childe Harold. He put on the mask of his hero (suggests that there is no distance between the hero and the author) and managed to correspond to the romantic canon.

All romantic works. Distinguish characteristic features:

Firstly, in every romantic work there is no distance between the hero and the author.

Secondly, the author does not judge the hero, but even if something bad is said about him, the plot is structured in such a way that the hero is not to blame. The plot in a romantic work is usually romantic. Romantics also build a special relationship with nature; they like storms, thunderstorms, and disasters.

In Russia, romanticism arose seven years later than in Europe, since in the 19th century Russia was in some cultural isolation. We can talk about Russian imitation of European romanticism. This was a special manifestation of romanticism; in Russian culture there was no opposition of man to the world and God. The version of Byron's romanticism was lived and felt in his work first by Pushkin, then by Lermontov. Pushkin had the gift of attention to people; the most romantic of his romantic poems is “The Bakhchisarai Fountain”. Pushkin felt and identified the most vulnerable place of a person’s romantic position: he wants everything only for himself.

Lermontov's poem "Mtsyri" also does not fully reflect the characteristic features of romanticism.

There are two romantic heroes in this poem, so if this and romantic poem, then it is very unique: firstly, the second hero is conveyed by the author through an epigraph; secondly, the author does not connect with Mtsyri, the hero solves the problem of self-will in his own way, and Lermontov throughout the entire poem only thinks about solving this problem. He does not judge his hero, but he does not justify him either, but he takes a certain position - understanding. It turns out that romanticism in Russian culture is transformed into reflection. It turns out romanticism from the point of view of realism.

We can say that Pushkin and Lermontov failed to become romantics (however, Lermontov once managed to comply with romantic laws - in the drama “Masquerade”). With their experiments, the poets showed that in England the position of an individualist could be fruitful, but in Russia it was not. Although Pushkin and Lermontov failed to become romantics, they opened the way for the development of realism. In 1825, the first realistic work was published: “Boris Godunov”, then “ Captain's daughter", "Eugene Onegin", "Hero of Our Time" and many others.

With all the complexity ideological content Romanticism, its aesthetics as a whole opposed the aesthetics of classicism of the 17th and 18th centuries. The Romantics broke the centuries-old literary canons of classicism with its spirit of discipline and frozen grandeur. In the struggle for the liberation of art from petty regulation, the romantics defended the unrestricted freedom of the artist’s creative imagination.

Rejecting the constraining rules of classicism, they insisted on mixing genres, justifying their demand by the fact that it corresponds to the true life of nature, where beauty and ugliness, the tragic and the comic are mixed. Glorifying the natural movements of the human heart, the romantics, in contrast to the rationalistic demands of classicism, put forward a cult of feeling; the logically generalized characters of classicism were opposed by their extreme individualization.

The hero of romantic literature, with his exclusivity, with his heightened emotionality, was generated by the desire of the romantics to contrast prosaic reality with a bright, free personality. But if progressive romantics created images strong people with unbridled energy, with violent passions, people rebelling against the dilapidated laws of an unjust society, then conservative romantics cultivated the image of a “superfluous person”, coldly withdrawn in his loneliness, completely immersed in his experiences.

The desire to reveal the inner world of man, interest in the life of peoples, in their historical and national identity - all these strengths Romanticism foreshadowed the transition to realism. However, the achievements of the Romantics are inseparable from the limitations inherent in their method.

The laws of bourgeois society, misunderstood by the romantics, appeared in their minds in the form of irresistible forces playing with man, surrounding him with an atmosphere of mystery and fate. For many romantics human psychology was shrouded in mysticism, it was dominated by moments of the irrational, unclear, and mysterious. The subjective idealistic idea of ​​the world, of a lonely, self-contained personality opposed to this world, was the basis for a one-sided, non-specific image of a person.

Along with the actual ability to convey difficult life feelings and soul, we often find among romantics the desire to transform diversity human characters into abstract schemes of good and evil. Pathetic elation of intonation, a tendency toward exaggeration and dramatic effects sometimes led to stiltedness, which also made the art of the romantics conventional and abstract. These weaknesses, to one degree or another, were characteristic of everyone, even the largest representatives of romanticism.

The painful discord between the ideal and social reality is the basis of the romantic worldview and art. The affirmation of the intrinsic value of the spiritual and creative life of the individual, the image of strong passions, spiritualized and healing nature among many romantics - the heroics of protest or national liberation, including revolutionary struggle, coexists with the motives of “world sorrow”, “world evil”, the night side of the soul, clothed in the forms of irony, grotesque, poetics of dual worlds.

Interest in the national past (often its idealization), traditions of folklore and culture of one’s own and other peoples, the desire to create a universal picture of the world (primarily history and literature), the idea of ​​art synthesis found expression in the ideology and practice of romanticism.

Romanticism in music developed in the 20s of the 19th century under the influence of the literature of romanticism and developed in close connection with it, with literature in general (appeal to synthetic genres, primarily opera, song, instrumental miniatures and musical programming). The appeal to the inner world of man, characteristic of romanticism, was expressed in the cult of the subjective, the craving for emotional intensity, which determined the primacy of music and lyrics in romanticism.

Musical romanticism manifested itself in many different branches associated with different national cultures and with various social movements. So, for example, there is a significant difference between the intimate, lyrical style of the German romantics and the “oratorical” civic pathos characteristic of the work of French composers. In turn, representatives of new national schools that emerged on the basis of a broad national liberation movement (Chopin, Moniuszko, Dvorak, Smetana, Grieg), as well as representatives of the Italian opera school, closely associated with the Risorgimento movement (Verdi, Bellini), in many ways differ from their contemporaries in Germany, Austria or France, in particular, in their tendency to preserve classical traditions.

And yet, they are all marked by some common artistic principles that allow us to talk about a single romantic system of thought.

By the beginning of the 19th century, fundamental research into folklore, history, and ancient literature appeared and was resurrected consigned to oblivion medieval legends, Gothic art, Renaissance culture. It was at this time that many national schools of a special type emerged in the compositional work of Europe, which were destined to significantly expand the boundaries of pan-European culture. Russian, which soon took, if not the first, then one of the first places in world cultural creativity (Glinka, Dargomyzhsky, the “Kuchkists”, Tchaikovsky), Polish (Chopin, Moniuszko), Czech (Smetana, Dvorak), Hungarian (Liszt), then Norwegian (Grieg), Spanish (Pedrel), Finnish (Sibelius), English (Elgar) - all of them, joining the general mainstream of European compositional creativity, in no way opposed themselves to the established ancient traditions. A new circle of images has emerged, expressing unique national traits that national culture, to which the composer belonged. The intonation structure of a work allows you to instantly recognize by ear whether you belong to a particular national school.

Since Schubert and Weber, composers have been involved in the pan-European musical language intonation turns of the ancient, predominantly peasant folklore of their countries. Schubert, as it were, cleared German folk song of the varnish of Austro-German opera, Weber introduced song turns into the cosmopolitan intonation structure of the 18th century Singspiel folk genres, in particular, the famous chorus of hunters in The Magic Shooter. Chopin's music, for all its salon elegance and strict adherence to the traditions of professional instrumental writing, including sonata-symphonic writing, is based on the unique modal coloring and rhythmic structure of Polish folklore. Mendelssohn widely relies on everyday German song, Grieg - on the original forms of Norwegian music-making, Mussorgsky - on the ancient modality of ancient Russian peasant modes.

The most striking phenomenon in the music of romanticism, especially clearly perceived when compared with the figurative sphere of classicism, is the dominance of the lyrical-psychological principle. Of course distinctive feature musical art in general - the refraction of any phenomenon through the sphere of feelings. Music of all eras is subject to this pattern. But the romantics surpassed all their predecessors in importance lyrical beginning in their music, in terms of strength and perfection in conveying the depths of a person’s inner world, the subtlest shades of mood.

The theme of love occupies a dominant place in it, because it is this state of mind that most comprehensively and fully reflects all the depths and nuances of the human psyche. But it is highly characteristic that this theme is not limited to the motives of love in the literal sense of the word, but is identified with the widest range of phenomena. The purely lyrical experiences of the characters are revealed against the backdrop of a broad historical panorama (for example, in Musset). A person’s love for his home, for his fatherland, for his people runs like a through thread through the work of all romantic composers.

Huge space is allocated to musical works small and large forms to the image of nature, closely and inextricably intertwined with the theme of lyrical confession. Like images of love, the image of nature personifies the hero’s state of mind, so often colored by a feeling of disharmony with reality.

The theme of fantasy often competes with images of nature, which is probably generated by the desire to escape from the captivity of real life. Typical of the romantics was the search for a wonderful world sparkling with a wealth of colors, opposed to gray everyday life. It was during these years that literature was enriched with the fairy tales of the Brothers Grimm, the fairy tales of Andersen, and the ballads of Schiller and Mickiewicz. Composers romantic school fabulous, fantastic images acquire a unique national coloring. Chopin's ballads are inspired by Mickiewicz's ballads, Schumann, Mendelssohn, Berlioz create works of a fantastic grotesque plan, symbolizing, as it were, the reverse side of faith, striving to reverse the ideas of fear of the forces of evil.

In the fine arts, romanticism manifested itself most clearly in painting and graphics, less expressively in sculpture and architecture. Prominent representatives of romanticism in the fine arts were E. Delacroix, T. Gericault, K. Friedrich. Eugene Delacroix is ​​considered the head of the French romantic painters. In his paintings, he expressed the spirit of love of freedom, active action (“Freedom Leading the People”), and passionately and temperamentally called for the manifestation of humanism. Gericault's everyday paintings are distinguished by their relevance, psychologism, and unprecedented expression. Friedrich's spiritual, melancholic landscapes (“Two Contemplating the Moon”) are again the same attempt of the romantics to penetrate into the human world, to show how a person lives and dreams in the sublunary world.

In Russia, romanticism began to appear first in portrait painting. In the first third of the 19th century, it largely lost contact with the dignitary aristocracy. Portraits of poets, artists, art patrons, and images of ordinary peasants began to occupy a significant place. This tendency was especially pronounced in the works of O.A. Kiprensky (1782 - 1836) and V.A. Tropinin (1776 - 1857).

Vasily Andreevich Tropinin strove for a lively, relaxed characterization of a person, expressed through his portrait. Portrait of a Son (1818), “A.S. Pushkin” (1827), “Self-Portrait” (1846) amaze not with their portrait resemblance to the originals, but with their unusually subtle insight into inner world person. It was Tropinin who was the founder of the genre, somewhat idealized portrait of a man from the people (“The Lacemaker”, 1823).

At the beginning of the 19th century, significant cultural center Tver was in Russia. All prominent people of Moscow have been here for literary evenings. Here young Orest Kiprensky met A.S. Pushkin, whose portrait, painted later, became the pearl of world portrait art, and A.S. Pushkin dedicated poems to him, calling him “the favorite of light-winged fashion.” The portrait of Pushkin by O. Kiprensky is a living personification of the poetic genius. In the decisive turn of the head, in the energetically crossed arms on the chest, in the poet’s entire appearance, a feeling of independence and freedom is reflected. It was about him that Pushkin said: “I see myself as in a mirror, but this mirror flatters me.” Distinctive feature Kiprensky's portraits are that they show the spiritual charm and inner nobility of a person. The portrait of Davydov (1809) is also full of romantic mood.

Many portraits were painted by Kiprensky in Tver. Moreover, when he painted Ivan Petrovich Wulf, the Tver landowner, he looked with emotion at the girl standing in front of him, his granddaughter, the future Anna Petrovna Kern, to whom one of the most captivating lyrical works was dedicated - the poem by A.S. Pushkin “I remember a wonderful moment...” Such associations of poets, artists, musicians became a manifestation of a new direction in art - romanticism.

The luminaries of Russian painting of this era were K.P. Bryullov (1799 -1852) and A.A. Ivanov (1806 - 1858).

Russian painter and draftsman K.P. Bryullov, while still a student at the Academy of Arts, mastered the incomparable skill of drawing. Sent to Italy, where his brother lived, to improve his art, Bryullov soon amazed St. Petersburg patrons and philanthropists with his paintings. The large canvas “The Last Day of Pompeii” was a huge success in Italy and then in Russia. The artist created in it an allegorical picture of the death of the ancient world and the onset of new era. The birth of a new life on the ruins of an old world crumbling into dust is the main idea of ​​Bryullov’s painting. The artist depicted a mass scene, the heroes of which are not individual people, but the people themselves.

Bryullov's best portraits constitute one of the most remarkable pages in the history of Russian and world art. His “Self-Portrait”, as well as portraits of A.N. Strugovshchikova, N.I. Kukolnik, I.A. Krylova, Ya.F. Yanenko, M Lanci are distinguished by their variety and richness of characteristics, the plastic power of the design, the variety and brilliance of the technique.

K.P. Bryullov introduced a stream of romanticism and vitality into the painting of Russian classicism. His “Bathsheba” (1832) is illuminated by inner beauty and sensuality. Even Bryullov’s ceremonial portrait (“Horsewoman”) breathes life human feelings, subtle psychologism and realistic tendencies, which distinguishes the movement in art called romanticism.

The word ROMANTICISM.

NOVEL - love relationship between man and woman.

ROMANTIC - one who has a sublime, emotional attitude towards something.

ROMANCE - a short musical composition for voice accompanied by an instrument,

written on poems of lyrical content.

During the conversation, the teacher asks the question: “How are the meanings of these three words similar?” The term ROMANTICISM, the meaning of which you will learn in today's lesson, is also directly related to the concept of feeling.

Different eras mean different criteria for assessing a person.

Society has always been important to the criterion by which a person could be assessed. Each era put forward different evaluation criteria. So, for example, the ancient era considered a person from the point of view of his appearance, physical beauty: just remember that the sculptures of that time depict naked, physically developed people. External beauty has been replaced by spiritual beauty

The society of the 18th century was convinced that a person's strength lies in his mind. The world was created by God, and man's task is to intelligently improve this world. Thus, humanity entered the Age of Enlightenment. However, fanatical admiration for the power of reason, of course, could not exist for long: beliefs are beliefs, and practically nothing changes for the better. Quite the contrary: such ideas led to revolutionary upheavals and bloodshed (for example, under the slogan “In the name of reason!” there was a revolution in France), and by the end of the 18th century. There was a wave of disappointment in the power of the mind. The need for an alternative to it became obvious. This alternative has been found. What is opposed to reason in a person? Feelings.

As we have already said, it is with the concept of feeling that the term ROMANTICISM is associated. ROMANTICISM is a trend in culture that affirms the intrinsic value of the spiritual and creative personality, the cult of nature, feelings and the natural in man.

Now the artist, turning to the connoisseur of beauty, appealed, first of all, to his feelings, and not to the mind, guided not by sober mental reflections, but by the dictates of the heart.

Dual world (antithesis)

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

1. I am a king, I am a slave, I am a worm, I am a god.

2. They got together. Water and stone, Poetry and prose, ice and fire are not so different from each other...

3. Bright thoughts rise in my torn heart, And bright thoughts fall, burned by dark fire.

4. Today I triumph soberly, tomorrow I cry and sing.

5. You are a prose writer - I am a poet

you are rich - I am very poor.

Antithesis (from the Greek antithesis - opposition) - a comparison of sharply contrasting or opposing concepts and images to enhance the impression.

Suggested Answers:

1. king - slave worm - god

2. water - stone poetry - prose ice - fire

3. light - dark

4. today - tomorrow I triumph - I cry and sing

5. prose writer - poet rich - poor

What antithesis determined the transition from the previous era to the era of romanticism? MIND - FEELINGS. For understanding of ROMANTICism, the key concept is FEELINGS, which is opposed to REASON. An antithesis arises, which is reflected in the artist’s attitude towards the world around him. Reasonable reality does not find a response in the soul of a romantic: the real world is unfair, cruel, and terrible. In search of the best, the artist dreams of going beyond reality: it is there, outside existing life, he is presented with the opportunity to achieve perfection, a dream, an ideal.

This is how the DUAL WORLD characteristic of romanticism arises: “here” and “there”. The despised “here” is a modern romantic reality, where evil and injustice triumph. “There” - some poetic reality, which the romantic contrasts with reality.

The question arises: where to find this “there”, this ideal world? Romantics find it both in their own soul and in other world, and in the life of uncivilized peoples, and in history. The reader is given this “there” through the prism of the artist’s view. But can romance filtered through the soul be everyday, prosaic? In no case! It, emphasizing the break with the prose of life, will certainly be very unusual, sometimes even unexpected for the reader.

Key Traits of a Romantic Hero

Rejection and denial of reality determined the specifics of the romantic hero. It is fundamentally new hero, the like of him was never known before

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

Answer the questions yourself:

1. How does a romantic relate to reality?

Suggested answer: A romantic does not accept reality, he runs away from it.

2. Where is the romantic heading?

Suggested answer: a romantic strives for a dream, for an ideal, for perfection.

3. How are events, landscape, people depicted?

Suggested answer: events, landscape, people are depicted in an unusual, unexpected way.

4. Where can a romantic find an ideal?

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

5. What becomes a cult for a romantic? Suggested answer: the romantic strives for freedom.

6. What is the meaning of life for a romantic?

Suggested answer: The meaning of life for a romantic is in rebellion against reality, in achievement, in gaining freedom.

7. How does fate test romance?

Suggested answer: Fate offers romance exceptional, tragic circumstances.

Definitions of the term "romantic hero"

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

● Existence « two worlds»: the world of the ideal, dreams and the world of reality. This leads romantic artists into a mood of despair and hopelessness, " world sorrow».

● Appeal to folk stories, folklore, interest in the historical past, 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 character traits romantic hero

Typically, the types of romantic heroes can be represented as national, or else universal.

For example:

● Oddball Hero- ridiculous and ridiculous in the eyes of ordinary people and passers-by

● Lone Hero– rejected by society, aware of his alienness to the world

● "Byronic Hero" - extra person, “son of the century,” suffers from the contradictions of his own nature

● Hero-demonic personality– challenges the world, sometimes even God, a person doomed to be at odds with society

● A hero is a man of the people- rejected by society

The cloud is based on articles "The Romantic Hero in Western European Literature" from the Online Library of the Lyceum Publishing House. The main aspects are visually presented romantic in nature. Thus, the romantic hero appears as a person striving to search for the world of the romantic ideal. This is an exceptional personality, challenging the world around him, thirsting for a moral revolution. Such a person contradicts everyday life and dreams of spiritual perfection.

Analysis of the characters of different German authors

The romantic hero and society are opposing forces, since they represent two different concepts: spirituality and mediocrity. For Novalis, as an innovator, the romantic hero is an eternal wanderer in search of his great ideal and striving for self-improvement, in Hölderlin - lonely recluse And child of nature, deifying Love, and Hoffmann, with his intertwining with realism and romantic irony, has several secularized comical eccentric, capable, however, of childish delight and simple-minded belief in miracles. One way or another, all the characters are connected by the desire to indulge in feelings, while putting aside a cold mind. Exactly Love awakens the best in heroes, it opens their eyes to beautiful, truly important things, love transforms a romantic hero, encourages creativity, in it he finds the very embodiment of a dream. " Love is the main thing"- wrote Schilling.

The main romantic character traits that unite heroes literary works at different stages are displayed in a mental map.

The English poet Percy Bysshe Shelley said this about romanticism, fatally comparing it with clouds: “I know no permanence, I am always changing my appearance, but I will never die..”

The main features of a romantic hero: -Rejection of the ideals of society; -internal duality; - loneliness in real world; -search for ideal and dreams; -life in the sphere of emotions and feelings; - the hero is always a bright, exceptional personality - the hero’s love of freedom - the hero is always in an insoluble conflict with his environment, society, era. -Unusual, exceptional circumstances of life.

MHC 9th grade

“Wooden architecture of Russia” - Houses with a complicated volume configuration. "Cut down the hut." "Skate on the Roof" The best of the monuments have been transported to Kostroma since 1958. Man sought to create his own home. "The feeling of wood." Forests covered most of the land. For their time, wooden fortresses were formidable structures. Houses with single-row connection. Churches. Project competitions. The artist Igor Grabar called Russia “the country of architects”.

“Theater is an open art” - “The theater has the most beaten path to the mind and heart of a person.” ABC of theatre. W. Shakespeare's Globe Theater. School modern play. It is one of the oldest forms of art. Big theater. Dramaturgy is the basis of theatre. V.G. Belinsky. Odessa Opera House. Greek amphitheater. Inside the Globe Theater. In the theatre. Should there be verisimilitude in the theater? Theater.

“Houses in different countries” - Men and women in rich Greek houses each lived their own lives. It is not customary to wash in Japanese baths and saunas. In harsh Sparta, it was even forbidden to use a plane. The beds on which the Greeks slept were carved from maple and beech. In a Japanese home you will have to forget about stereotypes. There is no furniture of any kind in a Japanese house. Greek carpenters finally have a plane in use. Light is another Japanese cult.

"Cinema" - Film art. Painting. First experiments in image projection. Literature. Optical theater. The topic of the lesson is “Cinema Art”. Cinematography does not duplicate or replace. Russian cinema. Lumiere brothers. Theater. Fiction cinema. Soviet cinema. New cinematographic schools. Music in cinema. The birth of cinema. Brothers Auguste and Louis Lumières. Film schools. Short film. Types of cinema.

“Temples” - What is a temple. Temple color. What can you say about these temples? What does the color of the domes mean? Lesson objectives. What does the number of domes on temples mean? The originality of architectural traditions. What do we know about temples? Number of domes. Epiphany Church r.p. Old Maina. The temple is God's house on earth. Dome color. Practical work. Exterior of the temple. Determine the shape of the dome. Dome shape.

“Styles and types of architecture” - XVIII - con. The architecture of classicism as a whole is characterized by regularity of layout and clarity of volumetric form. Baroque architecture. Revival. Eclecticism. XVIII-XIX centuries Dynamic architecture. Classicism. Modern. XVII century Postmodernism. XVIII century Author's judgments about the essence of architecture. Eclecticism. The basis of the architectural language of classicism was the order, in proportions and forms close to antiquity. 21st century.