(situational - position), along with the position, and Parasite.

Romantics are people who want everyone to do well, but they don’t know who will do it and how. This is what distinguishes romantics from Creators, who not only have lofty intentions, but also realize them themselves.

In a situation of prosperity and abundance, the Romantic really wants to organize a Holiday for everyone, and not just for his own people, especially not just for himself. That is why, if such a holiday does not work out, he may be internally sad: “We are happy here, but in Angola the children are starving!”

Who is his for the Romantic and how he sees real, highly human relationships is a complex question. A romantic here often goes to extremes. Often the Romantic chooses Love for everyone, all humanity and all living things in general (including the options “Kill the beaver, save the birch!”). The value of Independence is often proclaimed, then the Romantic speaks of Personal Freedom, actually implying that he does not owe anything to anyone. If the Romantic finds himself in a close relationship with someone, he begins to talk about the importance of devotion: “We are responsible for those we have tamed!”

There is no need to lend money to Romantics: they will not return it and will be angry with you.

For Romantics, alternating between unfounded enthusiasm and unjustified sadness. With age, the amount of enthusiasm decreases, sadness becomes the predominant emotional background. See→

Direction of development

In work:

Definitions of the term "romantic hero"

Romantic hero- one of artistic images literature of romanticism.

● 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 characteristic features romantic hero

Usually types 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"- an extra person, a “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 of a romantic character are visually presented. 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, as 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- some secularized comical eccentric, capable of that no less, to childish delight and simple-minded faith 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.

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...”

Probably the most common way to create a romantic hero is through typification - that is, traits that any romantic hero can possess. This original character manages to stand out from all the others.

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

Romantic character is built

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

The romantic character corresponds to exceptional circumstances in which it is fully revealed. In this character, psychologism is used - a means of deepening into inner world hero.

Many writers quite often use landscape as a means of characterizing the hero. The sea is the favorite landscape of romantics. And the language of romantic works is unusual

rich and varied, it most often uses bright tropes - words with a figurative meaning.

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

Glossary:

- characteristics of a romantic hero

– romantic character

– what character traits should a romantic hero have?

– characteristics of a romantic hero

- traits of a romantic hero

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 has 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. The characteristic features are:

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

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 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 came out. realistic work: “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 greatness. 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.

Hero romantic literature with its exclusivity, with its 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 of 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 “ extra person", coldly withdrawn into 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 of 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 real ability to convey the complex life of feelings and souls, 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 took shape 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 (recourse to synthetic genres, primarily opera, song, instrumental miniature 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 different 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 creativity 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, which allow us to talk about a single romantic system of thought.

By the beginning of the 19th century there appeared basic research folklore, history, ancient literature, forgotten medieval legends, Gothic art, and Renaissance culture are resurrected. 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 first, then one of the first places in the world cultural creativity(Glinka, Dargomyzhsky, “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 composer 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 the German folk song of the varnish of the Austro-German opera, Weber introduced into the cosmopolitan intonation structure of the Singspiel of the 18th century the song turns of 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 the importance of the lyrical principle in their music, in the 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, for this is precisely what state of mind 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 captivity real life. Typical for 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. For composers of the romantic school, fairy-tale, 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 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... The head of the French romantic painters consider Eugene Delacroix. 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 she mostly 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 the inner world of a 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 outstanding people Moscow have been here on literary evenings. Here young Orest Kiprensky met A.S. Pushkin, whose portrait, painted later, became the pearl of the 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- 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 an allegorical picture of death in it ancient world and offensive 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 crowd scene, the heroes of which are not individuals, and 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 inner beauty, sensuality. Even Bryullov’s ceremonial portrait (“Horsewoman”) breathes life human feelings, subtle psychologism and realistic tendencies, which distinguishes the movement in art called romanticism.