The concept of a romantic hero in literature. Romantic hero in Western European literature. In contrast to the disappointment of Chateaubriand's Rene, which is rooted exclusively in selfishness and self-adoration, Lermontov's disappointment is a militant protest

Romanticism is an ideological trend in art and literature that appeared in Europe in the 90s of the 18th century and became widespread in other countries of the world (Russia is one of them), as well as in America. The main ideas of this direction is the recognition of the value of the spiritual and creative life of each person and his right to independence and freedom. Very often, in the works of this literary trend, heroes with a strong, rebellious disposition were depicted, the plots were characterized by a bright intensity of passions, nature was depicted in a spiritualized and healing way.

Having appeared in the era of the Great French Revolution and the world industrial revolution, romanticism changed such a direction as classicism and the Enlightenment as a whole. In contrast to the adherents of classicism, who support the ideas of the cult significance of the human mind and the emergence of civilization on its foundations, romantics put mother nature on a pedestal of worship, emphasize the importance of natural feelings and the freedom of aspirations of each individual.

(Alan Maley "The Graceful Age")

The revolutionary events of the late 18th century completely changed the course of everyday life, both in France and in other European countries. People, feeling acute loneliness, were distracted from their problems by playing various games of chance, and having fun in a variety of ways. It was then that the idea arose to imagine that human life is an endless game, where there are winners and losers. In romantic works, heroes were often depicted opposing the world around them, rebelling against fate and fate, obsessed with their own thoughts and reflections on their own idealized vision of the world, which sharply does not coincide with reality. Realizing their defenselessness in a world where capital rules, many romantics were in confusion and confusion, feeling infinitely lonely in the life around them, which was the main tragedy of their personality.

Romanticism in Russian literature of the 19th century

The main events that had a huge impact on the development of romanticism in Russia were the War of 1812 and the Decembrist uprising of 1825. However, distinguished by originality and originality, Russian romanticism of the early 19th century is an inseparable part of the pan-European literary movement and has its common features and basic principles.

(Ivan Kramskoy "Unknown")

The emergence of Russian romanticism coincides in time with the maturing of a socio-historical turning point in the life of society at a time when the socio-political structure of the Russian state was in an unstable, transitional state. People of advanced views, disappointed in the ideas of the Enlightenment, promoting the creation of a new society based on the principles of reason and the triumph of justice, resolutely rejecting the principles of bourgeois life, not understanding the essence of antagonistic life contradictions, felt feelings of hopelessness, loss, pessimism and disbelief in a reasonable solution to the conflict.

Representatives of romanticism considered the human personality, and the mysterious and beautiful world of harmony, beauty and high feelings contained in it, to be the main value. In their works, representatives of this trend depicted not the real world, too base and vulgar for them, they displayed the universe of feelings of the protagonist, his inner world, filled with thoughts and experiences. Through their prism, the outlines of the real world appear, with which he cannot come to terms and therefore tries to rise above it, not obeying its social and feudal laws and morals.

(V. A. Zhukovsky)

One of the founders of Russian romanticism is the famous poet V.A. Zhukovsky, who created a number of ballads and poems that had a fabulous fantastic content (“Ondine”, “The Sleeping Princess”, “The Tale of Tsar Berendey”). His works have a deep philosophical meaning, the desire for a moral ideal, his poems and ballads are filled with his personal experiences and reflections, inherent in the romantic direction.

(N. V. Gogol)

Thoughtful and lyrical elegies of Zhukovsky replace the romantic works of Gogol ("The Night Before Christmas") and Lermontov, whose work bears a peculiar imprint of an ideological crisis in the minds of the public, impressed by the defeat of the Decembrist movement. Therefore, the romanticism of the 30s of the 19th century is characterized by disappointment in real life and withdrawal into an imaginary world where everything is harmonious and perfect. Romantic protagonists were portrayed as people cut off from reality and having lost interest in earthly life, coming into conflict with society, and exposing the powerful of this world in their sins. The personal tragedy of these people, endowed with high feelings and experiences, consisted in the death of their moral and aesthetic ideals.

The mindset of progressively thinking people of that era was most clearly reflected in the creative heritage of the great Russian poet Mikhail Lermontov. In his works “The Last Son of Liberty”, “Novgorod”, which clearly trace the example of the republican freedom of the ancient Slavs, the author expresses his ardent sympathy for the fighters for freedom and equality, those who oppose slavery and violence against the personality of people.

Romanticism is characterized by an appeal to historical and national sources, to folklore. This was most clearly manifested in the subsequent works of Lermontov (“The Song about Tsar Ivan Vasilyevich, the young oprichnik and daring merchant Kalashnikov”), as well as in a cycle of poems and poems about the Caucasus, which was perceived by the poet as a country of freedom-loving and proud people who opposed the country of slaves and masters under the rule of the Tsar-Autocrat Nicholas I. The images of the main characters in the works of Izmail Bey "Mtsyri" are depicted by Lermontov with great passion and lyrical pathos, they bear the halo of the chosen ones and fighters for their Fatherland.

The early poetry and prose of Pushkin (“Eugene Onegin”, “The Queen of Spades”), the poetic works of K. N. Batyushkov, E. A. Baratynsky, N. M. Yazykov, the work of the Decembrist poets K. F. Ryleev, A. A. Bestuzhev-Marlinsky, V. K. Kuchelbeker.

Romanticism in foreign literature of the 19th century

The main feature of European romanticism in foreign literature of the 19th century is the fantastic and fabulous nature of the works of this direction. For the most part, these are legends, fairy tales, novellas and short stories with a fantastic, unrealistic plot. The most expressive romanticism manifested itself in the culture of France, England and Germany, each of the countries made its own special contribution to the development and spread of this cultural phenomenon.

(Francisco Goya" Harvest " )

France. Here, literary works in the style of romanticism had a bright political color, largely opposed to the newly-minted bourgeoisie. According to French writers, the new society that emerged as a result of social changes after the French Revolution did not understand the value of the personality of each person, destroyed its beauty and suppressed the freedom of the spirit. The most famous works: the treatise "The Genius of Christianity", the stories "Attala" and "Rene" by Chateaubriand, the novels "Delphine", "Korina" by Germaine de Stael, the novels by George Sand, Hugo "Notre Dame Cathedral", a series of novels about the musketeers Dumas, a collection writings of Honore Balzac.

(Karl Brullov "Horsewoman")

England. In English legends and traditions, romanticism was present for a long time, but did not stand out as a separate direction until the middle of the 18th century. English literary works are distinguished by the presence of a slightly gloomy Gothic and religious content, there are many elements of national folklore, the culture of the working and peasant class. A distinctive feature of the content of English prose and lyrics is the description of travels and wanderings to distant lands, their study. A striking example: "Oriental Poems", "Manfred", "Childe Harold's Journey" by Byron, "Ivanhoe" by Walter Scott.

Germany. The foundations of German romanticism were greatly influenced by the idealistic philosophical worldview, which promoted the individualism of the individual and his freedom from the laws of feudal society, the universe was viewed as a single living system. German works written in the spirit of romanticism are filled with reflections on the meaning of human existence, the life of his soul, and they are also distinguished by fabulous and mythological motifs. The most striking German works in the style of romanticism: fairy tales by Wilhelm and Jacob Grimm, short stories, fairy tales, Hoffmann's novels, Heine's works.

(Caspar David Friedrich "Stages of life")

America. Romanticism in American literature and art developed a little later than in European countries (30s of the 19th century), its heyday falls on the 40s-60s of the 19th century. Such large-scale historical events as the US War of Independence at the end of the 18th century and the Civil War between North and South (1861-1865) had a huge impact on its appearance and development. American literary works can be conditionally divided into two types: abolitionist (supporting the rights of slaves and their emancipation) and eastern (supporters of plantation). American romanticism is based on the same ideals and traditions as European, in its rethinking and understanding in its own way in the conditions of a peculiar way of life and pace of life of the inhabitants of a new, little-known continent. American works of that period are rich in national trends, they have a keen sense of independence, the struggle for freedom and equality. Outstanding representatives of American romanticism: Washington Irving ("The Legend of Sleepy Hollow", "Ghost Groom", Edgar Allan Poe ("Ligeia", "The Fall of the House of Usher"), Herman Melville ("Moby Dick", "Typey"), Nathaniel Hawthorne ("The Scarlet Letter", "The House of Seven Gables"), Henry Wadsworth Longfellow ("The Legend of Hiawatha"), Walt Whitman, (poetry collection "Leaves of Grass"), Harriet Beecher Stowe ("Uncle Tom's Cabin"), Fenimore Cooper ("The Last of the Mohicans").

And although romanticism reigned in art and literature for a very short time, and heroism and chivalry were replaced by pragmatic realism, this in no way diminishes his contribution to the development of world culture. Works written in this direction are loved and read with great pleasure by a large number of fans of romanticism around the world.

"Poets of the Silver Age" - Mayakovsky entered the school of painting, sculpture and architecture. V. Ya. Bryusov (1873 - 1924). D. D. Burliuk. Nikolai Stepanovich Gumilyov was born on April 15, 1886. Acmeists. O. E. Mandelstam. From 1900-1907 Mandelstam studied at the Tenishevsky Commercial School. O. E. Mandelstam (1891 - 1938). Acmeism. V. V. Mayakovsky.

“About front-line poets” - From the first days of the war, Kulchitsky was in the army. Simonov gained fame even before the war, as a poet and playwright. Sergei Sergeevich Orlov (1921-1977). In 1944, Jalil was executed by Moabite executioners. Surkov's poem "fire beats in a cramped stove" was written in 1941. Simonov's poem "wait for me" written during the war became widely known.

"About poetry" - Indian summer has come - Days of farewell warmth. Your wonderful solar shine plays with our river. And at dawn, cherry glue hardens in the form of a clot. And around the flowers are azure, spicy waves bloomed ... Journey along the poetic path. The undertakings ended badly - An old rope burst ... The face of a birch - under a wedding veil and transparent.

"Romanticism in Literature" - Lesson - lecture. Lermontov Mikhail Yurievich 1814-1841. Romanticism in Russian Literature in the late 18th and early 19th centuries. Theme "humiliated and offended." Philosophical tale. A romantic personality is a passionate personality. Historical novel; "Mtsyri". Passion. Walter Scott 1771-1832. Causes of Romanticism.

"On Romanticism" - Larra. A.S. Pushkin. Eternal Jew. Sacrifice yourself to save others. "Legend of the Wandering Jew". Compositional features of stories. "The Legend of Moses". M. Gorky. Which of the heroes is close to the Old Woman Izergil: Danko or Larre? Whoever does nothing, nothing will happen to him. The basis of the style of romanticism is the image of the inner world of a person.

"Poets about nature" - Alexander Yesenin (father) and Tatyana Titova (mother). BLOCK Alexander Alexandrovich (1880, St. Petersburg - 1921, Petrograd) - poet. A.A. Block. Russian writers of the XX century about native nature. Creative work. Landscape poetry. Artistic and expressive means. S.A. Yesenin. The boy's grandmother knew many songs, fairy tales and ditties.

There are 13 presentations in total in the topic

The concept of "romanticism" is often used as a synonym for the concept of "romance". By this they mean the tendency to look at the world through rose-colored glasses and an active life position. Or they associate this concept with love and any actions for the sake of their loved one. But romanticism has several meanings. The article will focus on a narrower understanding that is used for a literary term, and on the main character traits of a romantic hero.

Characteristic features of the style

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

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

Main conflict

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

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

Although in this literary genre the individuality of the protagonist is valued, nevertheless literary critics have identified which features of romantic heroes are the main ones. But, even despite the similarity, each character is unique in its own way, since they are only general criteria for highlighting a style.

Ideals of society

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

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

Bright personality

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

Loneliness

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

Either past or future

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

Individualism

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

The era of romanticism in Russia

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

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

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

The early works of Alexander Sergeevich Pushkin are also imbued with the idea of ​​romanticism. An example is "Eugene Onegin" or "The Queen of Spades".

Who is a romantic hero and what is he like?

This is an individualist. Superman who lived through two stages: before the collision with reality; he lives in a "pink" state, he is seized by the desire for a feat, a change in 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 feat is reborn into a desire for danger.

Every culture has its own romantic hero, but Byron, in his Childe Harold, gave a typical representation of the romantic hero. He put on the mask of his hero (he says that there is no distance between the hero and the author) and managed to comply with the romantic canon.

All romantic works. Distinguish characteristic features:

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

Secondly, the author of the hero does not judge, but even if something bad is said about him, the plot is built 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, cataclysms.

In Russia, romanticism arose seven years later than in Europe, since in the 19th century Russia was in a certain cultural isolation. One can speak of 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 variant of Byron's romanticism lived and felt in his work the first in Russian culture Pushkin, then Lermontov. Pushkin had a gift for attention to people, the most romantic of his romantic poems is The Fountain of Bakhchisarai. Pushkin groped for and identified the most vulnerable spot in 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, therefore, if this is a romantic poem, then it is very peculiar: 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 poem only thinks about solving this problem. He does not judge his hero, but he does not justify it either, but he takes a certain position - understanding. It turns out that romanticism in Russian culture is transformed into reflection. It turns out romanticism in terms of realism.

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

Despite the complexity of the ideological content of romanticism, its aesthetics as a whole opposed the aesthetics of classicism of the 17th and 18th centuries. 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 restrictive rules of classicism, they insisted on mixing genres, substantiating their demand by the fact that it corresponds to the true life of nature, where beauty and ugliness, tragic and comic are mixed. Glorifying the natural movements of the human heart, the romantics, in opposition to the rationalistic demands of classicism, put forward a cult of feeling, and logically generalized characters of classicism, the romantics opposed their extreme individualization.

The hero of romantic literature, with his exclusivity, with his heightened emotionality, was born from the desire of romantics to oppose 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 an “extra person”, coldly closed 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 originality - 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, obscure, 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-concrete depiction of a person.

Along with the real ability to convey the complex life of feelings and souls, we often meet in romantics the desire to turn the diversity of human characters into abstract schemes of good and evil. The pathetic elation of intonation, the tendency to exaggerate, to dramatic effects sometimes led to stiltedness, which also made the art of the Romantics conditional 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 assertion of the inherent value of the spiritual and creative life of the individual, the image of strong passions, spiritualized and healing nature in many romantics - the heroism of protest or national liberation, including the revolutionary struggle, is adjacent to the motifs of "world sorrow", "world evil", the night side of the soul, clothed in the forms of irony, the grotesque, the poetics of the dual world.

Interest in the national past (often idealized), the 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 (turning to synthetic genres, primarily opera, song, instrumental miniatures and musical programming). The appeal to the inner world of a person, characteristic of romanticism, was expressed in the cult of the subjective, the craving for the emotionally intense, 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. Thus, for example, the intimate, lyrical style of the German Romantics and the "oratorical" civic pathos, characteristic of the work of French composers, differ significantly. In turn, representatives of the new national schools based on the 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 contemporaries in Germany, Austria or France, in particular, the tendency to preserve the classical traditions.

Nevertheless, all of them are marked by some general artistic principles that allow us to speak of a single romantic structure of thought.

By the beginning of the 19th century, fundamental studies of folklore, history, and ancient literature appeared, medieval legends, gothic art, and Renaissance culture that had been forgotten were resurrected. It was at this time that many national schools of a special type developed in the composer's work of Europe, which were destined to significantly expand the boundaries of common European culture. Russian, which soon took, if not the first, then one of the first places in world cultural creativity (Glinka, Dargomyzhsky, "Kuchkists", Tchaikovsky), Polish (Chopin, Moniuszko), Czech (Sour Cream, Dvorak), Hungarian (List), then Norwegian (Grieg), Spanish (Pedrel), Finnish (Sibelius), English (Elgar) - all of them, merging into the general mainstream of the composer's work in Europe, in no way opposed themselves to the established ancient traditions. A new circle of images appeared, expressing the unique national features of the national culture to which the composer belonged. The intonation structure of the work allows you to instantly recognize by ear belonging to a particular national school.

Beginning with Schubert and Weber, the composers involved in the common European musical language the intonational turns of the old, predominantly peasant folklore of their countries. Schubert, as it were, cleansed the German folk song from the lacquer of the Austro-German opera, Weber introduced into the cosmopolitan intonation structure of the singspiel of the 18th century song turns of folk genres, in particular, the famous hunters' choir in The Magic Arrow. Chopin's music, with 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 old modality of ancient Russian peasant modes.

The most striking phenomenon in the music of romanticism, which is especially vividly perceived when compared with the figurative sphere of classicism, is the dominance of the lyrical-psychological principle. Of course, a distinctive feature of musical art in general is 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 value of the lyrical beginning in their music, in strength and perfection in conveying the depths of the inner world of a person, 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 background 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 thread through the work of all romantic composers.

A huge place is given in musical works of small and large forms to the image of nature, closely and inextricably intertwined with the theme of lyrical confession. Like the images of love, the image of nature personifies the state of mind of the hero, so often colored by a sense 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 for romantics was the search for a wonderful, sparkling with the richness of colors of the world, 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, the ballads of Schiller and Mickiewicz. Among the composers of the romantic school, fabulous, fantastic images acquire a national unique 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 wrong side of faith, striving to reverse the ideas of fear of the forces of evil.

In the visual arts, romanticism manifested itself most clearly in painting and drawing, less expressively in sculpture and architecture. E. Delacroix, T. Gericault, K. Friedrich were prominent representatives of romanticism in the visual arts. Eugene Delacroix is ​​considered the head of the French romantic painters. In his canvases, he expressed the spirit of love of freedom, active action (“Freedom Leading the People”), passionately and temperamentally appealed to the manifestation of humanism. Gericault's everyday paintings are distinguished by relevance and psychologism, unprecedented expression. Spiritualized, melancholic landscapes of Friedrich ("Two contemplating the moon") - again the same attempt of romantics to penetrate into the human world, to show how a person lives and dreams in the sublunar world.

In Russia, romanticism began to manifest itself first in portraiture. In the first third of the 19th century, for the most part, she lost contact with the high-ranking aristocracy. A significant place began to be occupied by portraits of poets, artists, art patrons, the image of ordinary peasants. This trend was especially pronounced in the work of O.A. Kiprensky (1782 - 1836) and V.A. Tropinin (1776 - 1857).

Vasily Andreevich Tropinin strove for a lively, laid-back characterization of a person, expressed through his portrait. Portrait of the son (1818), "A.S. Pushkin" (1827), "Self-portrait" (1846) amaze not with a portrait resemblance to the originals, but with an unusually subtle penetration 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, Tver was a significant cultural center of Russia. All the 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 will dedicate poems to him, where he will call him "the favorite of light-winged fashion." The portrait of Pushkin by O. Kiprensky is a living personification of a poetic genius. In the resolute turn of the head, in the arms crossed vigorously on the chest, the whole appearance of the poet reveals a sense of independence and freedom. It was about him that Pushkin said: “I see myself as in a mirror, but this mirror flatters me.” A distinctive feature of Kiprensky's portraits is 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 Vulf, a landowner from Tver, 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 - A.S. Pushkin's poem “I remember wonderful moment... Such associations of poets, artists, musicians became a manifestation of a new trend 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 of the Academy of Arts, mastered the incomparable skill of drawing. Sent to Italy, where his brother lived, to improve his art, Bryullov soon impressed St. Petersburg patrons and patrons 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 advent of a new era. The birth of a new life on the ruins of an old, crumbling world 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.

The best portraits of Bryullov 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 Lanchi are distinguished by the variety and richness of their characteristics, the plastic power of the drawing, the variety and brilliance of technology.

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 with living human feelings, subtle psychologism and realistic tendencies, which distinguishes the direction in art called romanticism.

romantic hero

romantic hero- one of the artistic images of the literature of romanticism. A romantic is an exceptional and often mysterious person who usually lives in exceptional circumstances. The clash of external events is transferred to the inner world of the hero, in whose soul there is a struggle of contradictions. As a result of such a reproduction of the character, romanticism raised the value of the personality, inexhaustible in its spiritual depths, extremely highly, opening its unique inner world. A person in romantic works is also embodied with the help of contrast, antithesis: on the one hand, he is understood as the crown of creation, and on the other, as a weak-willed toy in the hands of fate, forces unknown and beyond his control, playing with his feelings. Therefore, he often turns into a victim of his own passions.

Signs of a Romantic Hero

1. Exceptional Hero in Exceptional Circumstances
2. Reality is actively recreated in accordance with the ideal
3. Independence
4. Insolvability of the conflict between the hero and society
5. Abstract perception of time
6. Pronounced two or three character traits

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See what "Romantic Hero" is in other dictionaries:

romantic hero- see the hero of the work + romanticism ...

the hero of the work- one of the main characters of a work of art (as opposed to a character); the development of the character of the hero and his relationship with other characters play a decisive role in the development of the plot and composition of the work, in revealing it ... ... Terminological dictionary-thesaurus on literary criticism

hero- 1. A person who has accomplished military or labor exploits. Selfless, fearless, brilliant (obsolete), daring (obsolete poet), valiant, glorious (obsolete), famous, famous, true, legendary, courageous, folk, real, ... ... Dictionary of epithets

Grushnitsky ("A Hero of Our Time")- See also Juncker. He's only been in the service for a year. He was in the active detachment and was wounded in the leg. Wears, in a special kind of foppery, a thick soldier's overcoat. He has a St. George cross. He is well built, swarthy and black-haired; he looks like he can... Dictionary of literary types

- - was born on May 26, 1799 in Moscow, on Nemetskaya Street in the house of Skvortsov; died January 29, 1837 in St. Petersburg. On his father's side, Pushkin belonged to an old noble family, descended, according to the genealogy, from a native "from ... ... Big biographical encyclopedia

Pushkin A. S. Pushkin. Pushkin in the history of Russian literature. Pushkin studies. Bibliography. PUSHKIN Alexander Sergeevich (1799 1837) the greatest Russian poet. R. June 6 (according to the old style, May 26) 1799. The P. family came from a gradually impoverished old ... ... Literary Encyclopedia

1. The hero of the tragedy by A.P. Sumarokov "Dimitry the Pretender" (1771). The historical prototype is False Dmitry I, he is probably Yuri (Grigory) Otrepyev. In 1601 the Pretender appeared in Poland under the name of Demetrius, son of Ivan IV the Terrible; in the summer of 1604 with ... ... literary heroes

The hero of A.S. Griboedov’s comedy “Woe from Wit” (1824; in the first edition, the spelling of the name Chadsky). Probable prototypes of the image P.Ya.Chaadaev (1796 1856) and VKKyukhelbeker (1797 1846). The nature of the actions of the hero, his statements and relationships with ... ... literary heroes

- (fr. Jean Valejean) the hero of the novel by V. Hugo "Les Misérables" (1862). One of the prototypes of the hero was the convict Pierre Morin, who in 1801 was sentenced to five years in hard labor for stealing a piece of bread. Only one person, the Bishop of the city of Digne Monsignor de ... ... literary heroes

Sunset Beach ... Wikipedia

Books

• M. Lermontov. Complete Works, M. Lermontov. Mikhail Yuryevich Lermontov is a younger contemporary of Pushkin and the second largest after him in Russian poetry of the 19th century. In 2014, the 200th anniversary of the birth of the poet is celebrated. His destiny was...