Romantic style in literature. Lecture: Romanticism as a literary movement
The very etymology of the concept “romanticism” refers to the field of fiction. Initially, the word romance in Spain meant a lyrical and heroic song - romance; then great epic poems about knights; it was subsequently transferred to prose novels of chivalry. In the 17th century the epithet “romantic” (French romantique) serves to characterize adventurous and heroic works written in Romance languages, as opposed to those written in classical languages. In Europe, romanticism began its spread in two countries. England and Germany became the two “homelands” of romanticism.
In the 18th century this word begins to be used in England in relation to the literature of the Middle Ages and the Renaissance. At the same time, the concept of “romance” began to be used to designate a literary genre implying a narrative in the spirit of chivalric romances. And in general, in the second half of the same century in England, the adjective “romantic” describes everything unusual, fantastic, mysterious (adventures, feelings, setting). Along with the concepts of “picturesque” and “gothic” (gothic), it denotes new aesthetic values that differ from the “universal” and “reasonable” ideal of beauty in classicism.
Although the adjective "romantic" has been used in European languages since at least the 17th century, the noun "romanticism" was first coined by Novalis in the late 18th century. At the end of the 18th century. in Germany and at the beginning of the 19th century. in France and a number of other countries, romanticism becomes the name artistic direction, which opposed itself to classicism. As a designation for a certain literary style as a whole, it was conceptualized and popularized by A. Schlegel in lectures that he gave in the late 18th and early 19th centuries. in Jena, Berlin and Vienna (“Lectures on Fine Literature and Art,” 1801-1804). During the first two decades of the 19th century. Schlegel's ideas spread in France, Italy and England, in particular, thanks to the popularization activities of J. de Staël. The work of I. Goethe “Romantic School” (1836) contributed to the consolidation of this concept. Romanticism arose in Germany, in literary and philosophical circles “Jena school” (Schlegel brothers, etc.). Prominent representatives of the direction - F. Schelling, brothers Grimm, Hoffmann, G. Heine.
IN England accepted new ideas W. Scott, J. Keats, Shelley, W. Blake. The most prominent representative of romanticism was J. Byron. His work has had big influence to spread the direction, including in Russia. The popularity of his Childe Harold's Travels gave rise to the phenomenon "Byronism"(Pechorin in "Hero of Our Time" by M. Lermontov).
French Romantics - Chateaubriand, V. Hugo, P. Merimee,George Sand, Polish – A. Mickiewicz, American - F. Cooper, G. Longfellow et al.
The term “romanticism” acquired a broader philosophical interpretation and cognitive meaning at this time. Romanticism, in its heyday, created its own movement in philosophy, theology, art and aesthetics. Having manifested itself especially clearly in these areas, romanticism also did not escape history, law, and even political economy.
Romanticism is an artistic movement that emerged in early XIX in Europe and continues until the 40s of the 19th century. Romanticism is observed in literature, fine arts, architecture, behavior, clothing, and human psychology. REASONS FOR THE ARISE OF ROMANTICISM. The immediate cause of the emergence of romanticism was the Great French bourgeois revolution. How did this become possible? Before the revolution, the world was orderly, there was a clear hierarchy in it, each person took his place. The revolution overturned the “pyramid” of society; a new one had not yet been created, so the individual had a feeling of loneliness. Life is a flow, life is a game in which some are lucky and others are not. During this era, gambling emerged and became extremely popular; gambling houses appeared all over the world, and in Russia in particular, and guides on playing cards were published. In literature, images of players appear - people who play with fate. You can recall such works of European writers as “The Gambler” by Hoffmann, “Red and Black” by Stendhal (and red and black are the colors of roulette!), and in Russian literature these are “The Queen of Spades” by Pushkin, “The Players” by Gogol, “Masquerade” Lermontov. A ROMANTIC HERO is a player, he plays with life and fate, because only in a game can a person feel the power of fate. The main features of romanticism: Unusuality in the depiction of events, people, nature. Striving for ideal, perfection. Closeness to oral folk art in terms of plot and fairy-tale images. Portrayal of the protagonist in exceptional circumstances. Very bright, colorful language, the use of a variety of expressive and figurative means of language.
The main ideas of Romanism: One of the main ideas is the idea of movement. The heroes of the works come and leave again. In literature, images of a mail coach, travel, and wanderings appear. Suffice it to recall, for example, the journey of Chichikov in a stagecoach or Chatsky, who at the beginning arrives from somewhere “He was treated, they say, in sour waters.”), and then leaves somewhere again (“A carriage for me, a carriage!”). This idea reflects human existence in an ever-changing world. THE MAIN CONFLICT OF ROMANTICISM. The main one is the conflict between man and the world. The psychology of a rebellious personality emerges, which was most deeply reflected by Lord Byron in his work “Childe Harold’s Travels.” The popularity of this work was so great that a whole phenomenon arose - “Byronism”, and entire generations of young people tried to imitate it (for example, Pechorin in Lermontov’s “Hero of Our Time”). Romantic heroes are united by a sense of their own exclusivity. “I” is recognized as the highest value, hence the egocentrism of the romantic hero. But by focusing on oneself, a person comes into conflict with reality. REALITY is a strange, fantastic, extraordinary world, as in Hoffmann’s fairy tale “The Nutcracker,” or ugly, as in his fairy tale “Little Tsakhes.” In these tales, strange events occur, objects come to life and enter into lengthy conversations, the main theme of which is the deep gap between ideals and reality. And this gap becomes the main THEME of the lyrics of romanticism. DIFFERENCE BETWEEN RUSSIAN AND EUROPEAN ROMANTICISM. The main literary form of European romanticism were fairy tales, legends, and fantastic stories. In the romantic works of Russian writers, the fairy-tale world arises from the description of everyday life, everyday situations. This everyday situation is refracted and reinterpreted as fantastic. This feature of the works of Russian romantic writers can be seen most clearly in the example of “The Night Before Christmas” by Nikolai Vasilyevich Gogol. But the main work of Russian romanticism is rightfully considered “The Queen of Spades” by A.S. Pushkin. The plot of this work differs significantly from the plot of Tchaikovsky's famous opera of the same name. SUMMARY OF THE STORY: Hussar feast - a story about the secret of three cards, revealed by Mr. Saint-Germain to a Russian countess in Paris - a Russified German, Hermann the engineer - dreams of learning the secret - finds the old countess - her pupil Lisa - writes letters to her, which he copies from romance novels - enters the house when the countess is at the ball - hides behind the curtain - the countess returns - waits for the moment when she is left alone in the room - tries to get the secret of three cards - the countess dies - Genmann is horrified by what happened - Lisa leads him out through the black move - the countess appears to Hermann in a dream and reveals the secret of three cards “three, seven, ace” - Hermann collects all his savings and goes to the gambling house, where the owner of the gambling house, Mr. Chekalinsky, sits down to play with him - Hermann bets on three and wins , on a seven and wins, on an ace and at that moment takes the queen of spades from the deck - she goes crazy and ends up in the Obukhov hospital, and Lisa receives an inheritance, gets married and takes on a pupil. “The Queen of Spades” is a deeply romantic and even mystical work that embodies the best features of Russian romanticism. To this day, this work enjoys a bad reputation among theater artists and directors and is surrounded by many mystical stories that happen to those who stage or act in this work. Traits of romanticism are manifested in creativity V. Zhukovsky and are developed by Baratynsky, Ryleev, Kuchelbecker, Pushkin (“Eugene Onegin”), Tyutchev. And the works Lermontov, the “Russian Byron,” is considered the pinnacle of Russian romanticism.
Features of Russian romanticism. The subjective romantic image contained objective content, expressed in a reflection of the social sentiments of the Russian people in the first third of the 19th century - disappointment, anticipation of change, rejection of both Western European bourgeoisism and Russian despotic autocratic, serf-based foundations.
The desire for nationality. It seemed to Russian romantics that by comprehending the spirit of the people, they became familiar with the ideal beginnings of life. At the same time, the understanding of the “people's soul” and the content of the very principle of nationality among representatives of various movements in Russian romanticism was different. Thus, for Zhukovsky, nationality meant a humane attitude towards the peasantry and poor people in general; he found it in the poetry of folk rituals, lyrical songs, folk signs, superstitions, legends. In the works of the romantic Decembrists, the national character is not just positive, but heroic, nationally distinctive, which is rooted in the historical traditions of the people. They revealed such a character in historical, bandit songs, epics, and heroic tales.
An idea was put forward national types of romanticism. The “classical” type includes the romantic art of England, Germany, and France. The romanticism of Italy and Spain is singled out as a special type: here the slow bourgeois development of the countries is combined with a rich literary tradition. A special type is represented by the romanticism of countries leading a national liberation struggle, where romanticism takes on a revolutionary-democratic sound (Poland, Hungary). In a number of countries with slow bourgeois development, romanticism solved educational problems (for example, in Finland, where Lenrot’s epic poem “Kalevala” appeared). The question of the types of romanticism remains insufficiently studied.
Romanticism in European literature European romanticism of the 19th century is remarkable in that most of its works have a fantastic basis. These are numerous fairy-tale legends, short stories and stories. The main countries in which romanticism as a literary movement manifested itself most expressively are France, England and Germany. This artistic phenomenon has several stages: 1801-1815. The beginning of the formation of romantic aesthetics. 1815-1830. The formation and flourishing of the movement, the definition of the main postulates of this direction. 1830-1848. Romanticism takes on more social forms. examples of romanticism Each of the above countries made its own special contribution to the development of the designated cultural phenomenon. In France, romantic literary works had a more political overtones; writers were hostile towards the new bourgeoisie. This society, according to French leaders, destroyed the integrity of the individual, her beauty and freedom of spirit. Romanticism has existed in English legends for quite a long time, but until the end of the 18th century it did not stand out as a separate literary movement. English works, unlike French ones, are filled with Gothic, religion, national folklore, and the culture of peasant and working-class societies (including spiritual ones). In addition, English prose and lyrics are filled with travel to distant lands and exploration of foreign lands. In Germany, romanticism as a literary movement was formed under the influence idealistic philosophy. The foundations were the individuality and freedom of man, oppressed by feudalism, as well as the perception of the universe as a single living system. Almost every German work is permeated with reflections on the existence of man and the life of his spirit. The development of romanticism in different national literatures was in different ways. It depended on the cultural situation in specific countries, and not always those writers who were preferred by readers at home turned out to be significant on a pan-European scale. Yes, in history English literature Romanticism is embodied primarily by the Lake School poets William Wordsworth and Samuel Taylor Coleridge, but for European romanticism the most important figure among the English romantics was Byron.
English Romanticism
The first stage of English romanticism (90s of the 18th century) is most fully represented by the so-called Lake School. The term itself arose in 1800, when in one of the English literary magazines Wordsworth was declared the head of the Lake School, and in 1802 Coleridge and Southey were named as its members. The life and work of these three poets are associated with the Lake District, the northern counties of England, where there are many lakes. Leucist poets magnificently sang this region in their poems. The works of Wordsworth, who was born in the Lake District, forever capture some of the picturesque views of Cumberland - the River Derwent, the Red Lake on Helvellyn, the yellow daffodils on the shores of Lake Ullswater, winter evening on Lake Esthwaite. The founder of English romanticism was J. G. Byron with his poems about Childe Harold. Such romanticism later began to be called freedom-loving, since its main theme is the life of a non-standard talented person in difficult conditions, in a society that does not want to understand and accept such a person.
The hero strives for freedom not so much actual as spiritual, but he is not always able to achieve it. As a rule, such a hero becomes a “superfluous person”, since he does not have a single outlet or opportunity for self-realization.
The followers of the Byronic tradition in Russia were Pushkin and Lermontov, whose main characters are typical “superfluous people.” Byron's poems combine grief, melancholy, skepticism, and lyricism, thus his work became a role model for many romantic poets in the future. In Russia, his ideas were continued by Pushkin and especially Lermontov.
German (Germanic) romanticism
In Germany, the first recognized work of romanticism was Klinger's drama Sturm und Drang, published at the end of the eighteenth century. This creativity glorified freedom, hatred of tyrants, and cultivated an independent personality.
However, the real symbol of German romanticism was the name of Schiller, with his romantic poems and ballads. German romanticism is called mystical because... Its main themes are the struggle between spirit and matter, the empirical and the tangible.
According to the principles of romanticism, spirit is a priori higher than matter: in Schiller’s poems, life and death, reality and sleep often collide. Much of romanticism is the line between the otherworldly and the real; Elements such as the living dead and prophetic dreams appear in Schiller's poems.
His ideas in Russia were continued by Zhukovsky in his ballads “Svetlana” and “Lyudmila”, which are filled with folklore elements of the “otherworldly” world. Schiller also strives for freedom, however, in his opinion, for an immature person it can only be evil.
Therefore it romantic creativity, unlike Byron, emphasizes that the ideal world is not freedom from society, but a world on the verge of sleep and reality. Unlike Byron, Schiller believed that a person can exist in harmony with the world around him without compromising his personal freedom, since the main thing for him is freedom of spirit and thoughts.
Conclusion: Romanticism as literary direction had a fairly strong influence on the musical, performing arts and painting - just remember the numerous productions and paintings of those times. This happened mainly due to such qualities of the movement as high aesthetics and emotionality, heroism and pathos, chivalry, idealization and humanism. Despite the fact that the age of romanticism was quite short-lived, this did not in any way affect the popularity of books written in the 19th century in subsequent decades - works of literary art from that period are loved and revered by the public to this day.
Romanticism (fr. romantisme) is a phenomenon of European culture in XVIII-XIX centuries, which is a reaction to the Enlightenment and the scientific and technological progress stimulated by it; ideological and artistic direction in European and American culture of the late 18th century - the first half of the 19th century century. It is characterized by an affirmation of the intrinsic value of the spiritual and creative life of the individual, the depiction of strong (often rebellious) passions and characters, spiritualized and healing nature. Spread to various areas human activity. In the 18th century, everything strange, fantastic, picturesque and existing in books and not in reality was called romantic. At the beginning of the 19th century, romanticism became the designation of a new direction, opposite to classicism and the Enlightenment.
Romanticism in literature
Romanticism first arose in Germany, among writers and philosophers of the Jena school (W. G. Wackenroder, Ludwig Tieck, Novalis, brothers F. and A. Schlegel). The philosophy of romanticism was systematized in the works of F. Schlegel and F. Schelling. In its further development, German romanticism is distinguished by an interest in fairy tales and mythological motives, which was especially clearly expressed in the works of the brothers Wilhelm and Jacob Grimm, Hoffmann. Heine, starting his work within the framework of romanticism, later subjected it to critical revision.
Theodore Gericault Raft "Medusa" (1817), Louvre
In England it is largely due to German influence. In England, its first representatives are the poets of the “Lake School”, Wordsworth and Coleridge. They installed theoretical basis his direction, having become acquainted with the philosophy of Schelling and the views of the first German romantics during a trip to Germany. English romanticism is characterized by an interest in social problems: they contrast modern bourgeois society with old, pre-bourgeois relationships, glorification of nature, simple, natural feelings.
A prominent representative of English romanticism is Byron, who, according to Pushkin, “clothed himself in dull romanticism and hopeless egoism.” His work is imbued with the pathos of struggle and protest against modern world, praising freedom and individualism.
The works of Shelley, John Keats, and William Blake also belong to English romanticism.
Romanticism became widespread in other European countries, for example, in France (Chateaubriand, J. Stael, Lamartine, Victor Hugo, Alfred de Vigny, Prosper Merimee, George Sand), Italy (N. U. Foscolo, A. Manzoni, Leopardi) , Poland (Adam Mickiewicz, Juliusz Słowacki, Zygmunt Krasiński, Cyprian Norwid) and in the USA (Washington Irving, Fenimore Cooper, W. C. Bryant, Edgar Poe, Nathaniel Hawthorne, Henry Longfellow, Herman Melville).
Stendhal also considered himself a French romantic, but he meant something different by romanticism than most of his contemporaries. In the epigraph of the novel “Red and Black” he took the words “The truth, the bitter truth,” emphasizing his vocation for a realistic study of human characters and actions. The writer was partial to romantic, extraordinary natures, for whom he recognized the right to “go on the hunt for happiness.” He sincerely believed that it depends only on the structure of society whether a person will be able to realize his eternal, given by nature itself, craving for well-being.
Romanticism in Russian literature
It is usually believed that in Russia romanticism appears in the poetry of V. A. Zhukovsky (although some Russian poetic works of the 1790-1800s are often attributed to the pre-romantic movement that developed from sentimentalism). In Russian romanticism, freedom from classical conventions appears, a ballad is created, romantic drama. A new idea is being established about the essence and meaning of poetry, which is recognized as an independent sphere of life, an expression of the highest, ideal aspirations of man; the old view, according to which poetry seemed to be empty fun, something completely serviceable, turns out to be no longer possible.
The early poetry of A. S. Pushkin also developed within the framework of romanticism. The poetry of M. Yu. Lermontov, the “Russian Byron,” can be considered the pinnacle of Russian romanticism. The philosophical lyrics of F. I. Tyutchev are both the completion and overcoming of romanticism in Russia.
The emergence of romanticism in Russia
In the 19th century, Russia was somewhat culturally isolated. Romanticism arose seven years later than in Europe. We can talk about his some imitation. In Russian culture there was no opposition between man and the world and God. Zhukovsky appears, who remakes German ballads in the Russian way: “Svetlana” and “Lyudmila”. Byron's version of romanticism was lived and felt in his work first by Pushkin, then by Lermontov.
Russian romanticism, starting with Zhukovsky, blossomed in the works of many other writers: K. Batyushkov, A. Pushkin, M. Lermontov, E. Baratynsky, F. Tyutchev, V. Odoevsky, V. Garshin, A. Kuprin, A. Blok, A. Green, K. Paustovsky and many others.
ADDITIONALLY.
Romanticism (from the French Romantisme) is an ideological and artistic movement that arises in late XVIII centuries in European and American culture and continues until the 40s of the 19th century. Reflecting disappointment in the results of the Great French Revolution, in the ideology of the Enlightenment and bourgeois progress, romanticism contrasted utilitarianism and the leveling of the individual with the aspiration for boundless freedom and the “infinite,” the thirst for perfection and renewal, the pathos of the individual and civil independence.
The painful disintegration of the ideal and social reality is the basis of the romantic worldview and art. Affirmation of the intrinsic value of the spiritual and creative life of the individual, image strong passions, spiritual and healing nature, is adjacent to the motifs of “worldly sorrow”, “worldly evil”, the “night” side of the soul. Interest in the national past (often its idealization), the traditions of folklore and culture of one’s own and other peoples, the desire to publish a universal picture of the world (primarily history and literature) found expression in the ideology and practice of Romanticism.
Romanticism is observed in literature, fine arts, architecture, behavior, clothing and human psychology.
REASONS FOR THE ARISE OF ROMANTICISM.
The immediate cause of the emergence of romanticism was the Great French bourgeois revolution. How did this become possible?
Before the revolution, the world was orderly, there was a clear hierarchy in it, each person took his place. The revolution overturned the “pyramid” of society; a new one had not yet been created, so the individual had a feeling of loneliness. Life is a flow, life is a game in which some are lucky and others are not. In literature, images of players appear - people who play with fate. You can recall such works of European writers as “The Gambler” by Hoffmann, “Red and Black” by Stendhal (and red and black are the colors of roulette!), and in Russian literature these are “The Queen of Spades” by Pushkin, “The Gamblers” by Gogol, “Masquerade” Lermontov.
THE BASIC CONFLICT OF ROMANTICISM
The main one is the conflict between man and the world. A psychology of rebellious personality emerges, which was most deeply reflected by Lord Byron in his work “Childe Harold’s Travels.” The popularity of this work was so great that a whole phenomenon arose - “Byronism”, and entire generations of young people tried to imitate it (for example, Pechorin in Lermontov’s “Hero of Our Time”).
Romantic heroes are united by a sense of their own exclusivity. “I” is recognized as the highest value, hence egocentrism romantic hero. But by focusing on oneself, a person comes into conflict with reality.
REALITY is a strange, fantastic, extraordinary world, as in Hoffmann’s fairy tale “The Nutcracker,” or ugly, as in his fairy tale “Little Tsakhes.” In these tales, strange events occur, objects come to life and enter into lengthy conversations, the main theme of which is the deep gap between ideals and reality. And this gap becomes the main THEME of the lyrics of romanticism.
THE AGE OF ROMANTICISM
For the writers of the early 19th century, whose work took shape after the Great French Revolution, life presented different tasks than for their predecessors. They were to discover and artistically shape a new continent for the first time.
The thinking and feeling man of the new century had behind him the long and instructive experience of previous generations; he was endowed with a deep and complex inner world, images of heroes of the French Revolution, Napoleonic wars, national liberation movements, images of the poetry of Goethe and Byron hovered before his eyes. In Russia Patriotic War 1812 played the role of a most important historical milestone in the spiritual and moral development of society, profoundly changing the cultural and historical appearance of Russian society. According to its significance for national culture it can be compared with the period of the 18th century revolution in the West.
And in this era of revolutionary storms, military upheavals and national liberation movements, the question arises whether, on the basis of a new historical reality arise new literature, not inferior in its artistic perfection to the greatest phenomena of literature ancient world and the Renaissance? And could its further development be based on “ modern man", a man of the people? But a man from the people who participated in the French Revolution or on whose shoulders fell the burden of the struggle against Napoleon could not be depicted in literature using the means of novelists and poets of the previous century - he required other methods for his poetic embodiment.
PUSHKIN - PROLAGER OF ROMANTICISM
Only Pushkin is the first in Russian XIX literature century was able to find in both poetry and prose adequate means for embodying the versatile spiritual world, the historical appearance and behavior of that new, deeply thinking and feeling hero of Russian life, who took a central place in it after 1812 and especially after the Decembrist uprising.
In his Lyceum poems, Pushkin could not yet, and did not dare, make him the hero of his lyrics. real person new generation with all its inherent internal psychological complexity. Pushkin’s poem seemed to represent the resultant of two forces: the poet’s personal experience and the conventional, “ready-made,” traditional poetic formula-scheme, according to the internal laws of which this experience was formed and developed.
However, gradually the poet frees himself from the power of the canons and in his poems we no longer see a young “philosopher”-epicurean, an inhabitant of a conventional “town,” but a man of the new century, with his rich and intense intellectual and emotional inner life.
A similar process occurs in Pushkin’s works in any genre, where conventional images of characters, already sanctified by tradition, give way to figures of living people with their complex, varied actions and psychological motives. At first it is the somewhat distracted Prisoner or Aleko. But soon they are replaced by the very real Onegin, Lensky, young Dubrovsky, German, Charsky. And, finally, the most complete expression of the new type of personality will be the lyrical “I” of Pushkin, the poet himself, whose spiritual world represents the deepest, richest and most complex expression of burning moral and intellectual questions time.
One of the conditions for the historical revolution that Pushkin made in the development of Russian poetry, drama and narrative prose was his fundamental break with the educational-rationalistic, ahistorical idea of the “nature” of man, the laws human thinking and feelings.
A complex and contradictory soul " young man” of the beginning of the 19th century in “Caucasian Prisoner”, “Gypsies”, “Eugene Onegin” became for Pushkin an object of artistic and psychological observation and study in its special, specific and unique historical quality. By placing your hero in certain conditions each time, depicting him in different circumstances, in new relationships with people, exploring his psychology with different sides and using for this purpose each time a new system of artistic “mirrors”, Pushkin in his lyrics, southern poems and “Onegin” strives from various sides to approach the understanding of his soul, and through it, further to the understanding of the patterns of contemporary social life reflected in this soul. historical life.
Historical understanding of man and human psychology began to emerge from Pushkin in the late 1810s - early 1820s. We find its first clear expression in the historical elegies of this time (“The daylight has gone out...” (1820), “To Ovid” (1821), etc.) and in the poem “ Prisoner of the Caucasus», main character which was conceived by Pushkin, by the poet’s own admission, as a bearer of feelings and moods characteristic of the youth of the 19th century with its “indifference to life” and “premature old age of the soul” (from a letter to V.P. Gorchakov, October-November 1822)
32. The main themes and motives of A.S. Pushkin’s philosophical lyrics of the 1830s (“Elegy”, “Demons”, “Autumn”, “When outside the city...”, Kamennoostrovsky cycle, etc.). Genre-style searches.
Reflections on life, its meaning, its purpose, death and immortality become the leading philosophical motives of Pushkin’s lyrics at the stage of completion of the “celebration of life”. Among the poems of this period, “Do I wander along the noisy streets…” is especially notable. The motif of death and its inevitability persistently sounds in it. The problem of death is solved by the poet not only as an inevitability, but also as a natural completion of earthly existence:
I say: the years will fly by,
And how many times we are not visible here,
We will all descend under the eternal vaults -
And someone else's hour is near.
The poems amaze us with the amazing generosity of Pushkin’s heart, capable of welcoming life even when there is no longer room for him in it.
And let at the tomb entrance
The young one will play with life,
And indifferent nature
Shine with eternal beauty, -
The poet writes, completing the poem.
In “Road Complaints” A.S. Pushkin writes about the unsettled personal life, about what he lacked since childhood. Moreover, the poet perceives his own fate in the all-Russian context: Russian impassability has both a direct and figurative meaning in the poem, the meaning of this word includes the historical wandering of the country in search of the right path of development.
Off-road problem. But it’s different. Spiritual properties appear in A.S. Pushkin’s poem “Demons”. It tells about the loss of man in the whirlwinds of historical events. The motif of spiritual impassability was suffered by the poet, who thinks a lot about the events of 1825, about his own miraculous deliverance from the fate that befell the participants in the popular uprising of 1825, about the actual miraculous deliverance from the fate that befell the participants in the uprising in Senate Square. In Pushkin's poems, the problem of chosenness arises, the understanding of the high mission entrusted by God to him as a poet. It is this problem that becomes the leading one in the poem “Arion”.
The so-called Kamennoostrovsky cycle continues the philosophical lyricism of the thirties, the core of which consists of the poems “Desert Fathers and Immaculate Wives...”, “Imitation of Italian”, “Worldly Power”, “From Pindemonti”. This cycle brings together thoughts on the problem of poetic knowledge of the world and man. From the pen of A.S. Pushkin comes a poem adapted from the Lenten prayer of Efim the Sirin. Thoughts about religion, about its great strengthening moral strength become the leading motive of this poem.
Pushkin the philosopher experienced his real heyday in the Boldin autumn of 1833. Among the major works about the role of fate in human life, the role of personality in history, the poetic masterpiece “Autumn” attracts attention. The motive of man’s connection with the cycle of natural life and the motive of creativity are leading in this poem. Russian nature, life merged with it, obeying its laws, seems to the author of the poem to be the greatest value; without it there is no inspiration, and therefore no creativity. “And every autumn I bloom again...” the poet writes about himself.
Peering into the artistic fabric of the poem “... Again I visited...”, the reader easily discovers a whole complex of themes and motifs of Pushkin’s lyrics, expressing ideas about man and nature, about time, about memory and fate. It is against their background that the main philosophical problem This poem is the problem of generational change. Nature awakens in man the memory of the past, although it itself has no memory. It is updated, repeating itself in each update. Therefore, the sound of the new pines of the “young tribe”, which the descendants will someday hear, will be the same as now, and it will touch those strings in their souls that will make them remember the deceased ancestor, who also lived in this repeating world. This is what allows the author of the poem “...Once again I visited...” to exclaim: “Hello, Young, unfamiliar tribe!”
Long and thorny was the path of the great poet through " cruel age" He led to immortality. The motive of poetic immortality is the leading one in the poem “I erected a monument to myself not made by hands...”, which became a kind of testament of A.S. Pushkin.
Thus, philosophical motives were inherent in Pushkin’s lyrics throughout his entire work. They arose in connection with the poet’s appeal to the problems of death and immortality, faith and unbelief, change of generations, creativity, and the meaning of existence. All philosophical lyrics of A.S. Pushkin can be subjected to periodization, which will correspond life stages a great poet, at each of which she thought about some very specific problems. However, at any stage of his work, A.S. Pushkin spoke in his poems only about things that are generally significant for humanity. This is probably why “the folk trail” to this Russian poet will not become overgrown.
ADDITIONALLY.
Analysis of the poem “When outside the city, I wander thoughtfully”
“... When outside the city, I wander thoughtfully...” So Alexander Sergeevich Pushkin
begins the poem of the same name.
Reading this poem, his attitude towards all feasts becomes clear.
and the luxury of city and metropolitan life.
Conventionally, this poem can be divided into two parts: the first is about the capital’s cemetery,
the other is about rural things. In the transition from one to another, the
the poet's mood, but highlighting the role of the first line in the poem, I think it would be
It is a mistake to take the first line of the first part as defining the entire mood of the verse, because
lines: “But how I love it, sometimes in the autumn, in the evening silence, to visit the village
family cemetery…” They radically change the direction of the poet’s thoughts.
In this poem, the conflict is expressed in the form of a contrast between the urban
cemeteries, where: “Grids, columns, elegant tombs. Under which all the dead rot
capitals In a swamp, somehow cramped in a row..." and rural, more close to my heart poet,
cemeteries: “Where the dead slumber in solemn peace there are undecorated graves
space..." But, again, when comparing these two parts of the poem one cannot forget about
the last lines, which, it seems to me, reflect the author’s entire attitude towards these two
completely different places:
1. “That evil despondency comes over me, At least I could spit and run...”
2. “The oak tree stands wide over the important coffins, swaying and making noise...” Two parts
One poem is compared as day and night, moon and sun. Author via
comparing the true purpose of those who come to these cemeteries and those lying underground
shows us how different the same concepts can be.
I'm talking about the fact that a widow or widower will come to city cemeteries just for the sake of
in order to create the impression of grief and sorrow, although it is not always correct. Those who
lies under “inscriptions and prose and verse” during their lifetime they cared only about “virtues,
about service and ranks.”
On the contrary, if we talk about rural cemetery. People go there to
pour out your soul and talk to someone who is no longer there.
It seems to me that it is no coincidence that Alexander Sergeevich wrote such a poem for
a year before his death. He was afraid, I think, that he would be buried in the same city
capital cemetery and he will have the same grave as those whose tombstones he contemplated.
“Burns unscrewed from poles by thieves
The slimy graves, which are also here,
Yawning, they are waiting for the tenants to come home in the morning.”
Analysis of A.S. Pushkin’s poem “Elegy”
Crazy years of faded fun
It's hard for me, like a vague hangover.
But like wine - the sadness of days gone by
In my soul, the older, the stronger.
My path is sad. Promises me work and grief
The troubled sea of the future.
But I don’t want, O friends, to die;
And I know I will have pleasures
In the midst of sorrows, worries and anxiety:
Sometimes I’ll get drunk again with harmony,
I will shed tears over the fiction,
A. S. Pushkin wrote this elegy in 1830. It refers to philosophical lyrics. Pushkin turned to this genre as an already middle-aged poet, wise in life and experience. This poem is deeply personal. Two stanzas form a semantic contrast: the first discusses drama life path, the second sounds like the apotheosis of creative self-realization, the high purpose of the poet. We can easily identify the lyrical hero with the author himself. In the first lines (“the faded joy of crazy years / is heavy on me, like a vague hangover.”), the poet says that he is no longer young. Looking back, he sees the path traveled behind him, which is far from flawless: past fun, from which his soul is heavy. However, at the same time, the soul is filled with longing for the days gone by; it is intensified by a feeling of anxiety and uncertainty about the future, in which one sees “work and sorrow.” But it also means movement and full-fledged creative life. "Labor and Sorrow" an ordinary person perceived as hard Rock, but for a poet these are ups and downs. Work is creativity, grief is impressions, significant events that bring inspiration. And the poet, despite the years that have passed, believes and awaits “the coming troubled sea.”
After lines that are rather gloomy in meaning, which seem to beat out the rhythm of a funeral march, suddenly a light takeoff of a wounded bird:
But I don’t want, O friends, to die;
I want to live so that I can think and suffer;
The poet will die when he stops thinking, even if blood runs through his body and his heart beats. The movement of thought is true life, development, and therefore the desire for perfection. Thought is responsible for the mind, and suffering is responsible for feelings. “Suffering” is also the ability to be compassionate.
A tired person is burdened by the past and sees the future in the fog. But the poet, the creator confidently predicts that “there will be pleasures among sorrows, worries and anxiety.” What will these earthly joys of the poet lead to? They bestow new creative fruits:
Sometimes I’ll get drunk again with harmony,
I will shed tears over the fiction...
Harmony is probably the integrity of Pushkin’s works, their impeccable form. Or this is the very moment of creation of works, a moment of all-consuming inspiration... The fiction and tears of the poet are the result of inspiration, this is the work itself.
And maybe my sunset will be sad
Love will flash with a farewell smile.
When the muse of inspiration comes to him, maybe (the poet doubts, but hopes) he will love and be loved again. One of the poet’s main aspirations, the crown of his work, is love, which, like the muse, is a life companion. And this love is the last. “Elegy” is in the form of a monologue. It is addressed to “friends” - to those who understand and share the thoughts of the lyrical hero.
The poem is a lyrical meditation. It is written in classical genre elegy, and this corresponds to the tone and intonation: elegy translated from Greek is “lamentable song.” This genre has been widespread in Russian poetry since the 18th century: Sumarokov, Zhukovsky, and later Lermontov and Nekrasov turned to it. But Nekrasov’s elegy is civil, Pushkin’s is philosophical. In classicism, this genre, one of the “high” ones, obliged the use of pompous words and Old Church Slavonicisms.
Pushkin, in turn, did not neglect this tradition, and used Old Slavonic words, forms and phrases in the work, and the abundance of such vocabulary in no way deprives the poem of lightness, grace and clarity.
A message about romanticism will tell you about the ideological and artistic direction of the late 18th – early 19th centuries.
"Romanticism" message in brief
What is romanticism?
Romanticism is an ideological and artistic movement that arose in American and European culture the end of the 18th century - the beginning of the 19th century, as a reaction to the aesthetics of classicism. Romanticism first developed in the 1790s in German poetry and philosophy, later spread to France, England and other countries.
Features of Romanticism
In the art of romanticism, new criteria were increased attention to the unique, individual traits of a person, freedom of expression, sincerity, relaxedness and naturalness. Representatives of the new movement rejected practicality and rationalism, glorifying inspiration and emotional expression.
Young people especially succumbed to the influence of romanticism, because they had the opportunity to read and study a lot. Young people were inspired by the ideas of self-improvement and individual development, the idealization of personal freedom, which were combined with the rejection of rationalism. The painting “Wanderer Above the Sea of Fog” became a symbol of the embodiment of new romantic ideas in Europe.
In the painting of romanticism, volumetric spatiality, dynamic composition, chiaroscuro and rich color prevailed. Among the romantic artists are Géricault, Turner, Delacroix, Martin and Fuseli. Favorite motifs are ancient ruins and landscapes.
In literature, the romantics turned to the mysterious, the mysterious, the terrible: fairy tales and folk beliefs. Among the new literary movements that emerged were Sturm und Drang (Germany), Primitivism (France). The Gothic novel, ballads and old romances were especially popular.
The main features of romanticism in literature:
- Complete creative freedom
- Variety of genres
- Personal, lyrical beginning works
- Unusual and fantastic events
- Moving heroes into acute situations
- The character of the main characters was bright
- Very often the book took place in distant countries with outlandish conditions.
In philosophy, the brothers Novalis and Schlegel, Coleridge declared themselves romantics. They “preached” the transcendental philosophy of Fichte and Kant, based on the creative possibilities of the mind. Philosophical new ideas spread widely to France and England and influenced the further development of American transcendentalism.
Romanticism is a movement in European and American literature of the late 18th - first half of the 19th centuries. The epithet “romantic” in the 17th century served to characterize adventurous and heroic stories and works written in Romance languages (as opposed to those created in classical languages). In the 18th century, this word denoted the literature of the Middle Ages and the Renaissance. At the end of the 18th century in Germany, then in other European countries, including Russia, the word romanticism became the name of an artistic movement that contrasted itself with classicism
Ideological prerequisites of romanticism - disappointment in the Great French Revolution in bourgeois civilization in general (in its vulgarity, prosaicness, lack of spirituality). The mood of hopelessness, despair, “world sorrow” is the disease of the century, inherent in the heroes of Chateaubriand, Byron, Musset. At the same time, they are characterized by a sense of hidden wealth and limitless possibilities of existence. Hence Byron, Shelley, the Decembrist poets and Pushkin - enthusiasm based on faith in the omnipotence of the free human spirit, a passionate thirst for the renewal of the world. The romantics dreamed not of partial improvements in life, but of a holistic resolution of all its contradictions. Many of them are dominated by the mood of struggle and protest against the evil reigning in the world (Byron, Pushkin, Petofi, Lermontov, Mickiewicz). Representatives of contemplative romanticism were often inclined to think about the dominance in life of incomprehensible and mysterious forces (fate, fate), about the need to submit to fate (Chateaubriand, Coleridge, Southey, Zhukovsky).
Romantics are characterized by a desire for everything unusual - fantasy, folk legends, " past centuries"and exotic nature. They create a special world of imaginary circumstances and exceptional passions. Especially, in contrast to classicism, great attention is given to the spiritual wealth of the individual. Romanticism discovered the complexity and depth of the spiritual world of man, his unique originality (“man is a small Universe”). The attention of the romantics to the peculiarities of the national spirit and culture of different peoples, to the uniqueness of different historical eras was fruitful. Hence the demand for historicism and folk art (F. Cooper, W. Scott, Hugo).
Romanticism was marked by renewal artistic forms: creation of the genre of historical novel, fantastic story, lyric-epic poem. Lyric poetry reached an extraordinary flowering. Significantly expanded capabilities poetic word due to its ambiguity.
The highest achievement of Russian romanticism is the poetry of Zhukovsky, Pushkin, Baratynsky, Lermontov, Tyutchev
Romanticism originally arose in Germany, a little later in England; it has become widespread in all European countries. The whole world knew the names: Byron, Walter Scott, Heine, Hugo, Cooper, Anderson. Romanticism arose at the end of the 18th century and lasted until the 19th century. It was a time of gigantic social upheaval, when the feudal-medieval world collapsed and on its ruins the capitalist system arose and established itself; time of bourgeois revolutions. The emergence of romanticism is associated with acute dissatisfaction with social reality; disappointment in the environment and impulses for a different life. Towards a vague but powerfully attractive ideal. Means, characteristic feature Romanticism is dissatisfaction with reality, complete disappointment in it, disbelief that life can be built on the principles of goodness, reason, and justice. Hence the sharp contradiction between ideal and reality (the desire for a sublime ideal). Russian romanticism arises in different conditions. It was formed in an era when the country had yet to enter a period of bourgeois transformations. It reflected the disappointment of advanced Russian people in the existing autocratic-serfdom orders, the clarity of their ideas about the ways historical development countries. Romantic ideas in Russia seem to be softened. In the first couple of years, romanticism was closely associated with classicism and sentimentalism. Zhukovsky and Batyushky are considered to be the founders of Russian romanticism.
The main theme of romanticism is the theme of romanticism. Romanticism is an artistic method that developed at the beginning of the 19th century. Romanticism is characterized by a special interest in the surrounding reality, as well as opposition real world ideal.
ROMANTICISM is an artistic method and international literary movement that arose in Western Europe at the end of the 18th century, and in Russia at the beginning of the 19th century and remained productive and leading until the 40s, and for some authors (like V. Hugo) even later.
The word “romantic” is earlier. It, “appeared in the second half of the 17th century. in England, then, several decades later, in France and Germany, it meant a reference to the novel (“as in a novel”), and the concept of the latter went back to the knightly genre, which presupposed an extraordinary picture of the world, different from that perceived in everyday life.” That is, initially “everything fantastic was called romantic”<еское>, unusual, strange, found only in books and not in reality.” Rationalistic classicism claimed plausibility (this motivated the rule of “three unities” in drama - the unity of place, time and action), especially Western European educational literature of the 18th century. Meanwhile, the historical events of the turn of the XVIII-XIX centuries. caused disappointment in the illusions of the enlighteners regarding an intelligent device public life, the vicissitudes of history and the destinies of its most prominent figures contributed to the spread of irrationalism and increased emotionality in the perception of the environment. The highest value began to be seen as an extraordinary personality with powerful passions, completely independent, equal to the whole world, opposed to everything that is outside of it. Romanticism became the expression of this worldview in art.
“The Romantics reproduced the characters of their time - the characters of people who had moved away from their old connections and were just entering into new system relationships. But they mastered these characters, artistically typified them in such a way that the break with the old conditions of life was absolutized by them in the form of complete independence of the individual from anyone and from nothing: neither from God, nor from the clan. human nature, nor from the circumstances surrounding him, in the form of the absolute intrinsic value of an individual human personality.”
The confrontation between an exceptional personality and a low-lying (by its scale) world leads to “world sorrow” (“disease of the century”) of characters and lyrical heroes romantic literature, which was especially acute in the work of J.G.N. Byron, who significantly influenced Russian literature (Pushkin during the period of southern exile and especially Lermontov). The reaction to the imperfection of the world was dreaminess in the “passive” and “active” (rebellious) versions and its consequence - the romantic “two worlds”. The first Russian romantic V.A. Zhukovsky wrote about the impossibility of conveying in earthly language the divine essence of life, “this presence of the Creator in creation” (“Inexpressible”, 1819). Young Lermontov, who seemed to be keeping a kind of poetic diary, admitted: “My soul, I remember, from childhood / was looking for the miraculous” (“June 1831, 11 days”) - and even earlier: “In my mind I created another world / And other images exist; / I tied them together with a chain, / I gave them a form, but did not give them a name...” (“Russian Melody”, 1829). The “active”, rebellious romantic Lermontov was no less a dreamer than the “passive”, meek Zhukovsky, who created deliberately conventional, fantasy world“scary” ballads. In 1840, Lermontov recalled his early years: “So the omnipotent lord of the wondrous kingdom - / I sat alone for long hours, / And their memory is alive to this day / Under a storm of painful doubts and passions...” (“How often, surrounded by a motley crowd...”). In my dreams I exhausted my mental strength and his hero Pechorin, whose romantic character shown in many ways realistically. Grushnitsky is the epigone of truly romantic consciousness and behavior, vulgarizing what began as a protest against the vulgarity, mediocrity of people and the surrounding reality.
Among the romantic “other worlds” there were other historical eras. It was in romanticism that historicism appeared, which then became one of the foundations of realism, and Walter Scott created the genre of the historical novel, in which the adventures of fictional characters, often between two warring camps, come to a successful conclusion with the participation of historical characters, not the main ones, but playing in the plot vital role(the outline of Walterscott’s novel is preserved in “ The captain's daughter”Pushkin, the work is already largely realistic). Awareness of the differences in historical eras occurred against the backdrop of awareness of sustainable national characteristics existence and consciousness of each people, so the romantics were also the first artists who consciously reproduced the national specifics (in Russia initially under the name “nationality”), both of their own people and of others: exoticism, especially Caucasian, became one of the signs of Russian romanticism and in verse (poems by Pushkin, Lermontov), and in prose (stories by A.A. Bestuzhev, who wrote under the pseudonym Marlinsky). Romantic historical novels created M.N. Zagoskin, I.I. Lazhechnikov. Romantic type historicism, which sharply contrasted different eras, and did not connect them with a chain of natural development (“Yes, there were people in our time...”), was also preserved in poetic works that acquired noticeable realistic features (“Borodino”, “Song about Tsar Ivan Vasilyevich ...”, “Duma” by Lermontov).
In general, the peculiarity of Russian romanticism is that it was not “pure” at both its dawn and its decline. In the lyrics of Zhukovsky, mainly early, the influence of sentimentalism remains (heightened sensitivity when poetizing simple, ordinary human relations), in poetry by K.N. Batyushkova - epicureanism (chanting the joys of life) of the 18th century, in the poetry of the Decembrists K.F. Ryleeva, V.K. Kuchelbecker, as well as Pushkin of the St. Petersburg (post-lyceum) period - the high style of classicism. At the same time, Russian literature moved from romanticism to realism in the person of its highest geniuses not later, but even somewhat earlier than Western European ones. On the other hand, in general, the poetic work of its most prominent representatives E.A. remained within the framework of romanticism. Baratynsky and F.I. Tyutchev (the latter lived until 1873), the lyrics of A.A. are predominantly romantic. Fet, in general, romanticism dominates in the multi-genre work of A.K. Tolstoy.
Nevertheless, in the 1890s. gave the impression of absolute novelty early works M. Gorky, clothed in the form of exotic stories, legends and “songs”. They are also called romantic for lack of a more suitable definition, but this is a different, obviously conventional, as if stylized “romanticism” created by a realist artist: Gorky not only wrote in the same 90s. quite realistic works, but also in the “romantic” ones he indirectly reproduced modern socio-historical issues (in “The Old Woman Izergil” Larra and Danko indirectly express the ideas of bourgeois individualism and civil service, including revolutionary sacrifice, and at the same time the story quite convincingly recreates the features of archaic consciousness and behavior) . To the literature of the 20th century, for example, the work of A. Green, the concept of “romanticism” is also applied by inertia, due to the lack of terms to designate similar, but still different phenomena. At the same time, the term “neo-romanticism” is quite acceptable, especially in relation to symbolism (see: Modernism).
Romanticism must be distinguished from romanticism - a type of elevated attitude towards life, deeply personal, especially emotional, inspired by the desire for certain ideals, often vague, resulting from dissatisfaction with everyday life. The corresponding type of content in art may be characteristic not only of romanticism. From among the realists of the 19th century. I.S. was especially inclined towards romance and “poetry” in general. Turgenev. In Soviet times, romance as a type of enthusiasm was imposed, at first successfully, on both literature and the consciousness of people, especially young people.
