Romanticism artistic features. Lecture: Romanticism as a literary movement

Originated at the end XVIII century, however greatest prosperity reached in the 1830s. From the beginning of the 1850s, the period began to decline, but its threads stretched throughout the 19th century, giving the basis to such movements as symbolism, decadence and neo-romanticism.

The emergence of romanticism

The birthplace of the movement is considered to be Europe, in particular England and France, which is where the name of this artistic movement - “romantisme” – comes from. This is explained by the fact that romanticism of the 19th century arose as a consequence of the Great French Revolution.

The revolution destroyed the entire pre-existing hierarchy and mixed up society and social strata. The man began to feel loneliness and began to seek solace in gambling and other entertainment. Against this background, the idea arose that all life is a game in which there are winners and losers. The main character of every romantic work is a person who plays with fate, with fate.

What is romanticism

Romanticism is everything that exists only in books: incomprehensible, incredible and fantastic phenomena, at the same time associated with the affirmation of personality through its spiritual and creative life. Mainly the events unfold against the backdrop of expressed passions, all the heroes have clearly demonstrated characters and are often endowed with a rebellious spirit.

Writers of the Romantic era emphasize that the main value in life is a person’s personality. Each person is a separate world full of amazing beauty. It is from there that all inspiration and sublime feelings are drawn, and also a tendency towards idealization appears.

According to novelists, the ideal is an ephemeral concept, but nevertheless has the right to exist. The ideal is beyond everything ordinary, therefore the main character and his ideas are directly opposed everyday relationships and material things.

Distinctive features

Features of romanticism lie in the main ideas and conflicts.

The main idea of ​​almost every work is the constant movement of the hero in physical space. This fact seems to reflect the confusion of the soul, his continuously ongoing reflections and at the same time changes in the world around him.

Like many artistic movements, romanticism has its own conflicts. Here the whole concept is built on the complex relationship of the protagonist with the outside world. He is very self-centered and at the same time rebels against base, vulgar, material objects of reality, which one way or another manifests itself in the character’s actions, thoughts and ideas. The most pronounced in this regard are the following literary examples romanticism: Childe Harold - the main character from “Childe Harold’s Pilgrimage” by Byron and Pechorin - from “A Hero of Our Time” by Lermontov.

If we summarize all of the above, it turns out that the basis of any such work is the gap between reality and the idealized world, which has very sharp edges.

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:

1. 1801-1815. The beginning of the formation of romantic aesthetics.
2. 1815-1830. The formation and flourishing of the movement, the definition of the main postulates of this direction.
3. 1830-1848. Romanticism takes on more social forms.

Each of the above countries made its own special contribution to the development of this cultural phenomenon. In France, the romantic ones had a more political overtones; the 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 the French ones, are filled with Gothic, religion, national folklore, and the culture of peasant and working-class societies (including spiritual ones). Besides, English prose and the 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 of idealistic philosophy. The foundations were individuality and those 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.

Europe: examples of works

The following literary works are considered the most notable European works in the spirit of romanticism:

Treatise “The Genius of Christianity”, stories “Atala” and “Rene” by Chateaubriand;

Novels “Dolphine”, “Corinna, or Italy” by Germaine de Stael;

The novel "Adolphe" by Benjamin Constant;

The novel “Confession of a Son of the Century” by Musset;

Roman "Saint-Mars" by Vigny;

Manifesto "Preface" to the work "Cromwell", the novel "Cathedral" Notre Dame of Paris» Hugo;

The drama "Henry III and His Court", a series of novels about the musketeers, "The Count of Monte Cristo" and "Queen Margot" by Dumas;

Novels “Indiana”, “The Wandering Apprentice”, “Horace”, “Consuelo” by George Sand;

Manifesto "Racine and Shakespeare" by Stendhal;

Poems " Old sailor" and "Christabel" by Coleridge;

- “Eastern Poems” and “Manfred” by Byron;

Collected Works of Balzac;

The novel "Ivanhoe" by Walter Scott;

The fairy tale “Hyacinth and Rose”, the novel “Heinrich von Ofterdingen” by Novalis;

Collections of short stories, fairy tales and novels by Hoffmann.

Romanticism in Russian literature

Russian romanticism of the 19th century arose under the direct influence of Western European literature. However, despite this, it had its own characteristic features, which were traced back in previous periods.

This artistic phenomenon in Russia fully reflected the hostility of progressives and revolutionaries towards the ruling bourgeoisie, in particular, towards its way of life - unbridled, immoral and cruel. Russian romanticism of the 19th century was a direct consequence of rebellious sentiments and anticipation of turning points in the country's history.

In the literature of that time, two directions are distinguished: psychological and civil. The first was based on the description and analysis of feelings and experiences, while the second was based on propaganda of the fight against modern society. The common and main idea of ​​all novelists was that a poet or writer had to behave in accordance with the ideals that he described in his works.

Russia: examples of works

The most vivid examples romanticism in literature Russia XIX century is:

The stories “Ondine”, “The Prisoner of Chillon”, the ballads “The Forest King”, “The Fisherman”, “Lenora” by Zhukovsky;

Works “Eugene Onegin”, “The Queen of Spades” by Pushkin;

- “The Night Before Christmas” by Gogol;

- “Hero of Our Time” by Lermontov.

Romanticism in American Literature

In America, the direction received a slightly later development: its initial stage dates back to 1820-1830, the subsequent one - to 1840-1860 of the 19th century. Both stages were exceptionally influenced by civil unrest both in France (which served as the impetus for the creation of the United States) and directly in America itself (the war of independence from England and the war between North and South).

Artistic movements in American romanticism are represented by two types: abolitionist, who advocated liberation from slavery, and eastern, who idealized plantation.

American literature of this period is based on a rethinking of knowledge and genres captured from Europe and mixed with the unique way of life and pace of life on the still new and little-explored continent. American works richly flavored with national intonations, a sense of independence and the struggle for freedom.

American romanticism. Examples of works

The Alhambra series, the stories "The Phantom Bridegroom", "Rip Van Winkle" and "The Legend of Sleepy Hollow" by Washington Irving;

The Last of the Mohicans by Fenimore Cooper;

The poem “The Raven”, the stories “Ligeia”, “The Gold Bug”, “The Fall of the House of Usher” and others by E. Alan Poe;

Gorton's novels The Scarlet Letter and The House of the Seven Gables;

Melville's novels Typee and Moby Dick;

The novel "Uncle Tom's Cabin" by Harriet Beecher Stowe;

Poetically translated legends “Evangeline”, “The Song of Hiawatha”, “The Matchmaking of Miles Standish” by Longfellow;

Whitman's Leaves of Grass collection;

Essay "Woman in the Nineteenth Century" by Margaret Fuller.

Romanticism as a literary movement 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 the least affect the popularity of books written in the 19th century; in subsequent decades - works literary art of that period are loved and revered by the public to this day.

Romanticism as artistic direction arose in a number of European countries at the turn of the 18th and 19th centuries. Major milestones The Great French Revolution of 1789-1794 and the bourgeois revolutions of 1848 became its chronological framework.

Romanticism was a complex ideological and philosophical phenomenon that reflected the reaction of various social groups on bourgeois revolutions and bourgeois society.

Anti-bourgeois protest was characteristic of both conservative circles and the progressive intelligentsia. Hence the feelings of disappointment and pessimism that are characteristic of Western European romanticism. Among some romantic writers (the so-called passive ones), the protest against the “money bag” was accompanied by a call for the return of feudal-medieval orders; among progressive romantics, rejection of bourgeois reality gave rise to a dream of a different, fair, democratic system.

Russian romanticism, in contrast to European romanticism with its pronounced anti-bourgeois character, maintained a greater connection with the ideas of the Enlightenment and adopted some of them - the condemnation of serfdom, the propaganda and defense of enlightenment, the defense of popular interests. The military events of 1812 had a huge impact on the development of Russian romanticism. Patriotic War caused not only the growth of civil and national self-awareness of the advanced strata of Russian society, but also the recognition of the special role of the people in the life of the national state. The theme of the people has become very significant for. Russian romantic writers. It seemed to them that by comprehending the spirit of the people, they were joining the ideal principles of life. The desire for nationality marked the work of all Russian romantics, although their understanding of the “soul of the people” was different.

So, for Zhukovsky, nationality is, first of all, a humane attitude towards the peasantry and poor people in general. He saw its essence in the poetry of folk rituals, lyrical songs, folk signs and superstitions.

In the works of the romantic Decembrists, the idea of ​​the people's soul was associated with other features. For them, the national character is a heroic, nationally distinctive character. It is rooted in the national traditions of the people. They considered such figures as Prince Oleg, Ivan Susanin, Ermak, Nalivaiko, Minin and Pozharsky to be the most striking exponents of the people's soul. Thus, Ryleev’s poems “Voinarovsky”, “Nalivaiko”, his “Dumas”, the stories of A. Bestuzhev, the southern poems of Pushkin, and later “The Song of the Merchant Kalashnikov” and the poems of Lermontov’s Caucasian cycle are dedicated to the understandable folk ideal. In the historical past of the Russian people, romantic poets of the 20s were especially attracted to crisis moments - periods of struggle with Tatar-Mongol yoke, free Novgorod and Pskov - with autocratic Moscow, the fight against the Polish-Swedish intervention, etc.

Interest in national history among the romantic poets it was generated by a feeling of high patriotism. Russian romanticism, which flourished during the Patriotic War of 1812, took it as one of its ideological foundations. IN artistically Romanticism, like sentimentalism, paid great attention to depicting the inner world of man. But unlike sentimentalist writers, who praised “quiet sensitivity” as the expression of a “languid, sorrowful heart,” the romantics preferred the image extraordinary adventures and violent passions. At the same time, the unconditional merit of romanticism, especially its progressive direction, was the identification of an effective, strong-willed principle in man, the desire for high goals and ideals that raised people above everyday life. For example, creativity was of this nature English poet J. Byron, whose influence was experienced by many Russian writers of the early 19th century.

Deep interest in inner world people caused indifference among romantics to the external beauty of heroes. In this, romanticism was also radically different from classicism with its obligatory harmony between the appearance and internal content of the characters. Romantics, on the contrary, sought to discover the contrast between the external appearance and the spiritual world of the hero. As an example, we can recall Quasimodo (“Notre Dame de Paris” by V. Hugo), a freak with a noble, sublime soul.

One of important achievements Romanticism is the creation of a lyrical landscape. For romantics, it serves as a kind of decoration that emphasizes the emotional intensity of the action. Descriptions of nature noted its “spirituality”, its relationship with the fate and fate of man. A brilliant master of lyrical landscape was Alexander Bestuzhev, already in early stories whose landscape expresses the emotional subtext of the work. In the story “The Revel Tournament” he portrayed it this way scenic view Revel, corresponding to the mood of the characters: “It was in the month of May; bright sun rolled toward midday in the transparent ether, and only in the distance did the canopy of the sky touch the water with a silvery cloudy fringe. The light spokes of the Revel bell towers burned across the bay, and the gray loopholes of Vyshgorod, leaning on the cliff, seemed to grow into the sky and, as if overturned, pierced into the depths of the mirror waters.” 13

The originality of the themes of romantic works contributed to the use of specific vocabulary expressions - an abundance of metaphors, poetic epithets and symbols. Thus, the sea and the wind appeared as a romantic symbol of freedom; happiness - sun, love - fire or roses; In general, pink color symbolized love feelings, black - sadness. The night personified evil, crime, enmity. The symbol of eternal variability is a sea wave, insensibility is a stone; images of a doll or masquerade meant falsehood, hypocrisy, and duplicity.

V. A. Zhukovsky. V. A. Zhukovsky (1783-1852) is considered to be the founder of Russian romanticism. Already in the first years XIX century, he gains fame as a poet who glorifies bright feelings - love, friendship, dreamy spiritual impulses. Great place lyrical images occupied his work native nature. Zhukovsky became the creator of a national lyrical landscape in Russian poetry. In one of his early poems, the elegy “Evening,” the poet reproduced a modest picture like this native land:

Everything is quiet: the groves are sleeping; there is peace in the surroundings,

Prostrate on the grass under a bent willow,

I listen to how it murmurs, merges with the river,

A stream overshadowed by bushes.

You can barely hear the reeds swaying over the stream,

The voice of the loop in the distance, having fallen asleep, wakes up the villages.

In the grass of the crake I hear a wild cry... 14

This love for depicting Russian life, national traditions and rituals, legends and tales will be expressed in a number of subsequent works by Zhukovsky. In 1808 he created a poetic work, the ballad “Lyudmila”. Although its plot was borrowed from the work of the German poet Buter, Zhukovsky nevertheless transfers the action of the ballad to Russia, depicting Russian life at the end of the 18th century. The fantastic plot of the ballad has all the features characteristic of romantic works of this kind: the return of the missing groom, his midnight trip with Lyudmila, accompanied by a string of mysterious visions, which “with the late sunrise, a light, light round dance, twisted into an aerial chain. So they rushed after them.

Here the airy faces sing: As if a light breeze is winding in the leaves of the dodder, As if a stream is splashing.” After “Lyudmila” he created the ballads “Thunderbolt” (1810) and “Svetlana” (1808-1812). They were written by the poet on subjects taken from Russian medieval life, they are replete with descriptions of folk life, rituals, in particular Christmas fortune telling:

Once on Epiphany evening

The girls were guessing;

A shoe behind the gate,

They took it off their feet and threw it;

The snow was cleared; under the window

Listened, fed

Counted chicken grains.

The ardent wax was drowned,

Into a bowl with clean water

They laid a gold ring,

Emerald earrings,

White boards spread out

And over the bowl they sang in harmony

The songs are amazing." 15

The poet subtly and impressively depicts the excited state of the girl, tormented by anxiety for the fate of her beloved and fear of the miracles of the night:

Here's one beauty

He sits down at the mirror.

With secret timidity she

Looking in the mirror

It's dark in the mirror, all around

Dead silence.

Candle with flickering fire

A little leaf shine...

Shyness worries her chest,

She's afraid to look back

Fear clouds the eyes.

The light squeaked with a crack,

The cricket cried pitifully

Midnight Messenger. 16

The portrayal of the wonderful and mysterious in Zhukovsky’s ballads, which delivers, in Belinsky’s words, “sweet and terrible pleasure,” determined the extraordinary success of his works.

With the beginning of the Patriotic War of 1812, Zhukovsky became a warrior of the noble militia, with whom he was near Mozhaisk on the day of Borodin, and then ended up in the Tarutino camp. Here, under the impression of military events and the general patriotic upsurge, he creates his best civilian poem, “A Poet in the Camp of Russian Warriors,” later published by the magazines “Bulletin of Europe” and “Son of the Fatherland.” “The Singer in the Camp...” was essentially a passionate journalistic work of emerging civic romanticism, further development which will occur in the early 20s of the XIX century. Written after the abandonment of Moscow by the Russian army, at a time when the turning point in military operations had not yet been felt, the poem was addressed to the patriotic feeling of the Russian people, reminding them of the glorious military traditions of their ancestors, starting with Prince of Kyiv Svyatoslav, Dmitry Donskoy and ending with Suvorov. A significant place in the poem was given to the image national hero M.I. Kutuzov and his associates - General Ermolov, Raevsky, Konovnitsin and others. They were followed by the commanders of Cossack and partisan detachments: “Whirlwind-ataman” Platov, “fiery fighter” Denis Davydov, fearless Seslavin, who “would fly wherever with winged shelves. There both sword and shield were thrown into the dust. And the path is paved with enemies.” The poet spoke with great feeling about love for native land:

The country where we first tasted the sweetness of life, Fields, native hills, Sweet light of the native sky, Familiar streams, Golden games youth And the first years of lessons. What will replace your beauty? Oh, Holy Motherland, what heart does not tremble, blessing you? 17

At the same time, much during the military events remained incomprehensible to the author, for example, the national liberation nature of the great struggle of the Russian people. Zhukovsky also did not understand Kutuzov’s strategic plan, although in the poem he glorified the experience and firmness of the “hero with gray hair.” Despite this, the poet’s appeal to the high patriotism of his compatriots found a warm response in their hearts. Contemporaries read “The Singer in the Camp of Russian Warriors” with excitement and delight. The poem was copied by hand and distributed in hundreds of copies.

The poet's popularity drew attention to him high society and the king himself. He was close to the court. Thus began Zhukovsky’s long court service. First he became a reader for the Dowager Empress, then a teacher for the bride of Grand Duke Nikolai Pavlovich (the future Emperor Nicholas I), and later a teacher for his son. During the years of difficult court service, Zhukovsky did not bother about his personal career; he sought, along with knowledge, to convey to the members of the royal family the ideas of humanism and enlightenment. And although young friends sometimes reproached the poet for the fact that his talent was beginning to fade in the court atmosphere, they never doubted his human decency and spiritual qualities. The degree of trust Zhukovsky had in the people who knew him is evidenced by the fact that the Decembrists (in particular N. Muravyov) informed him about the existence of the “Union of Welfare” and called him to join them. Zhukovsky refused, but knowing about the conspiracy, he did not betray his friends, despite his closeness to the court.

In his youth, Zhukovsky actively participated in literary life. At the beginning of the 19th century he was a member of the Friendly literary society", which included Andrei Turgenev, Merzlyakov, Voeikov and others, then secretary of "Arzamas". His natural sociability, wit, and penchant for jokes were clearly reflected in the protocols of this society and his letters to the “Arzamas residents.” Zhukovsky also organized his own “Fridays” and “Saturdays”, where friends, writers and musicians gathered. This time was illuminated for him by his cordial friendship with Pushkin, whose constant defender he remained until the end of the poet’s life. He sought to mitigate the fate of the disgraced Pushkin, interceded for him with Alexander I and Nicholas I. Zhukovsky also did a lot for other writers. He achieved the release of Baratynsky from soldiery, the ransom of Shevchenko from serfdom, the return of Herzen from exile, defended N. I. Turgenev, I. V. Kireevsky, and helped N. V. Gogol.

The poet’s views, even in his youth, were far from radicalism; later he condemned the uprising in Senate Square. But at the same time, he took advantage of every opportunity to alleviate the plight of the exiles. Being an opponent of “tyranny”, the oppression of man by man, he proved his loyalty to his convictions by a courageous civic act by freeing his serfs. His archive contains letters from unknown, poor people who asked him for intercession - among them were orphans, widows, and serfs. Zhukovsky helped and saved their letters.

In the later period of his work, Zhukovsky did a lot of translations and created a number of poems and ballads of fairy-tale and fantastic content (“Ondine”, “The Tale of Tsar Berendey”, “The Sleeping Princess”).

Ballads occupied one of the central places in Zhukovsky’s work; he turned to this form of poetic work throughout his life. In literary circles he even received the nickname “balladeer.” Under his influence, the ballad genre began to “grow in breadth.” A number of followers also appeared - they were P. A. Pletnev, V. K. Kuchelbecker and even young Pushkin. Critics had ambivalent assessments of Zhukovsky's ballads. Journalist Grech, who did not approve of the spread of the ballad genre, wrote: “Ah, dear creator of Svetlana, how many souls do you have to answer for? How many young people have you seduced into murder?” 18 Perhaps one of the reasons for this attitude was the novelty and complexity of this genre. The ballad, which became one of the favorite genres of romantic poets, turned out to be the most convenient poetic form to embody those moral and class shifts that occurred at the beginning of the 19th century, the complexities of the human psyche.

Zhukovsky's ballads are filled with deep philosophical meaning, they reflected his personal experiences, thoughts and traits inherent in romanticism in general.

The poet’s personal life was not cloudless; from a young age he felt bitterness social inequality, then - unfulfilled dreams about happiness with his beloved girl, for whom he retained feelings for many years. Melancholy moods, close to Zhukovsky himself, color most of his creations. They are intensified by the consciousness of the infidelity of worldly goods and the premonition of losses. The poet tries to find solutions to social and individual problems in an ethical way. The main theme of his ballads is crime and punishment. Zhukovsky exposed the base passions of man - selfishness, greed, ambition. He believed that a crime is committed when a person failed to curb these passions and forgot his moral duty.

So, Warwick - the hero of the ballad of the same name - seized the throne, killing the rightful heir, his nephew. The greedy Bishop Gatton (“God’s judgment on the bishop”) does not give bread to the starving people. Punishments for crimes in Zhukovsky's ballads are either pangs of conscience, or - in cases where repentance does not occur - nature becomes the judge of human crimes. Nature in Zhukovsky’s ballads is always fair, and she often carries out retribution: thus, the Avon River, in which the little heir to the throne was drowned, overflows its banks, and the criminal Warwick drowns in its furious waves; the greedy Bishop Gatton was eaten by mice that bred in his full barns. The crime must be punished.

Zhukovsky, like other Russian romantics, had a high degree of desire for moral ideal. This ideal for him was philanthropy and personal independence. He affirmed them both with his work and with his life.

"The Era of Zhukovsky" in Russian literary romanticism ends with the 20s of the 19th century, but the significance of his work is enduring. Besides poetic heritage poet, Zhukovsky’s great merit is his achievements in the field of Russian versification. In this regard, he can be considered one of the founders of a new, national school of Russian literature. Belinsky rightly noted that “without Zhukovsky we would not have Pushkin.”

On the formation and development of romanticism in artistic culture Russia first thirds of the XIX century were influenced by the following factors: the war of 1812, the Decembrist movement, the ideas of the Great French bourgeois revolution. A feature of Russian romanticism is the development and deepening of the tasks of the Russian Enlightenment in the art of romanticism in Russia, and this is the main difference between Russian romanticism and Western European, which was established in the fight against Enlightenment ideology. A very precise description of Russian romanticism was given by V.G. Belinsky: “Romanticism is a desire, aspiration, impulse, feeling, sigh, groan, a complaint about unfulfilled hopes that had no name, sadness for lost happiness, which God knows what it consisted of.” .

Romanticism in Russian literature is distinguished by a variety of movements: elegiac ( V.A.Zhukovsky), revolutionary ( K.F. Ryleev, V.K.Kuchelbecker), philosophical ( Baratynsky, Batyushkov), their interpenetration and conventional definitions.

Creativity is synthetic in nature A.S. Pushkin, which already in this period of time is distinguished by the maturation of realistic principles in it. World Pushkin's heroes differs from the romantic heroes of Zhukovsky, Ryleev and Byron in his folk originality and vivid figurative language.

A new stage in the development of romanticism in Russia begins after the Decembrist uprising. A special role in Russian romantic poetry plays M.Yu.Lermontov- the direct heir of Pushkin and the Decembrists, the poet of his generation, “awakened by cannon shots on Senate Square” (A.I. Herzen). His lyrics are distinguished by a rebellious, rebellious character. His works are characterized by the hero’s sharply critical view of modernity, longing for the ideal and “fiery defense of human rights to freedom” (V.G. Belinsky).

Russian romantic prose of the 19th century is presented V.F. Odoevsky, whose historical and fantasy short stories are full of interest in history, the past of Russia, filled with motifs of the wonderful, mysterious, and folklore. Fantastic stories A. Pogorelsky(“Black Hen”, “Lafertovskaya Poppy”) - a combination of realism and fantasy, humor and sublime feelings, which are based on literary developments of Russian folk tales and folklore.

Western European and Russian romanticism interpenetrated each other and mutually enriched in this process. At this time, the development of literary translation and the significance of Zhukovsky’s activities as a translator and popularizer of masterpieces of European literature.

Romanticism in Russian fine art.

The main feature of romanticism in Russian painting is the combination of romanticism with realistic quests. There is a special interest in the spiritual world of man. Psychologism and national identity the works of the Russian artist are different O.A. Kiprensky: , . The external calm and internal tension of the images reveal deep emotional excitement and strength of feelings. Warm, sonorous colors characterize the portraits created in the first two decades of the century. - the high spirituality of the poet’s image, the will and energy imprinted in him, the subtle transmission of deeply hidden feelings of bitterness and mental pain. Female images (,) are distinguished by tenderness and poetry.

Realistic features appear in romantic works V.A.Tropinina(,). - a different, original interpretation of the poet, servant of the muses.

The traditions of classicism and the features of romanticism come into contact in the works K.P.Bryullova. The romantic pathos of the picture is clearly felt, the contrast in it with the feeling of catastrophe, tragic hopelessness and selflessness, the spiritual beauty of people in a moment of mortal danger. In this painting, a red thread runs through the connection between the idea of ​​the painting and Russian reality of the early 19th century. How to artistic expression One can note the boldness of the color scheme, the contrasts of color and light, and light reflexes. Bryullov’s works of the Italian period are distinguished by their beauty and expressiveness, female images (,), male portraits (,).

Particular mention should be made of the role of self-portrait in the work of Russian romantic artists. It appears as the history of the spiritual life of society first half of the 19th century century, showing the personality of a contemporary who reflected the world of deep human feelings and passions (self-portraits,). The hero's disappointment, loneliness, and discord with society foreshadow the appearance of a “hero of our time” in the self-portraits of Kiprensky (1822-1832). Doom, hopelessness, deep fatigue" extra people"is felt in Bryullov's self-portrait (1848). And at the same time, the tragic sound, the poetic subtlety of the image. The pictorial language of romantic artists is full of intense contrasts of chiaroscuro, sonorous colors as a means of characterizing heroes.

Romanticism in Russian music.

The formation of professional musical art at the beginning of the 19th century was particularly influenced by the national rise of Russian self-awareness.

The work of the great Russian composer M.I.Glinka- Start new era development of musical art. Glinka appeared a true singer Russian people.

In Glinka’s works one can feel the inextricable connection between music and folk soil, an artistic rethinking of folk images. In Glinka's work there is a connection with world musical culture, which we can hear in the reworkings of melodies from Italy, Spain, France, and the East (" Aragonese jota", "Tarantella").

The composer's ballads and romances based on poems by Russian poets are filled with romanticism. Their artistic perfection, complete and harmonious fusion of music and text, visibility, picturesque musical images, emotional elation, passion and subtle lyricism make Glinka’s romances unsurpassed examples. musical creativity(“Night View”, “Doubt”, “I Remember wonderful moment", "Waltz-Fantasy").

Glinka is also a realist, the founder of the Russian musical symphonic school ("Kamarinskaya"), in which best features Russian realistic music, combined with bright features romantic attitude: powerful passion, rebelliousness of spirit, free flight of imagination, strength and brightness of musical color.

The high ideals of Russian art appear before us in Glinka's operas. In the heroic-patriotic opera "Ivan Susanin" (the original title of this opera is "Life for the Tsar"), the composer strives to show typical features, to convey the way of thoughts and feelings of the people. The innovation was the appearance on opera stage as the main tragic hero Kostroma peasant. Glinka shows his typicality and individuality, while relying on folk song in his musical character. Interesting musical images other heroes of the opera (Antonina, her fiancé, the Poles). The introduction of Polish folk melodies (polonaise, mazurka) gives a unique flavor to individual scenes of the opera. Among the fragments of the opera that we recommend for listening are the tragic aria of I. Susanin and the solemn, jubilant, anthemic sound of the final chorus “Glory”. The opera "Ruslan and Lyudmila" is a solemn hymn to light, goodness, beauty, an epic interpretation of Pushkin's youthful poem. In musical dramaturgy we will hear the principle of picture comparisons, contrast inherent in the nature of Russian fairy tales and folk epic. The musical characteristics of the characters are fabulously bright. The music of the East in the opera is organically combined with the Russian and Slavic musical line.

When starting to analyze a romantic work, you need to remember that the main technique of the romantics is antithesis (contrast); works of literature, music and painting of romanticism are built on this technique. In literature, these are images of the main characters that are opposite in their characteristics; in music these are contrasting intonations, themes, their struggle and interaction; in painting there are also contrasting colors, a “talking background”, the struggle between light and darkness.

Romanticism as a method and direction in artistic culture was a complex and contradictory phenomenon. In every country it had a strong national expression. In literature, music, painting and theater it is not easy to find features that unite Chateaubriand and Delacroix, Mickiewicz and Chopin, Lermontov and Kiprensky.

Romantics occupied different social and political positions in society. They all rebelled against the results of the bourgeois revolution, but they rebelled in different ways, since each had their own ideal. But for all its many faces and diversity, romanticism has stable features.

Disillusionment with modernity gave rise to a special interest in the past: to pre-bourgeois social formations, to patriarchal antiquity. Many romantics had the idea that the picturesque exoticism of the countries of the south and east - Italy, Spain, Greece, Turkey - was a poetic contrast to the boring bourgeois everyday life. In these countries, then little touched by civilization, romantics looked for bright, strong characters, an original, colorful way of life. Interest in the national past has given rise to a lot of historical works.

Striving to rise above the prose of existence, to liberate the diverse abilities of the individual, to achieve maximum self-realization in creativity, the romantics opposed the formalization of art and the straightforward and reasonable approach to it, characteristic of classicism. They all came from denial of the Enlightenment and the rationalistic canons of classicism, which fettered the artist’s creative initiative. And if classicism divides everything in a straight line, into good and bad, into black and white, then romanticism divides nothing in a straight line. Classicism is a system, but romanticism is not. Romanticism advanced the advancement of modern times from classicism to sentimentalism, which shows the inner life of man in harmony with the wider world. And romanticism contrasts harmony with the inner world. It is with romanticism that real psychologism begins to appear.

The main goal of romanticism was image of the inner world, spiritual life, and this could be done on the material of stories, mysticism, etc. It was necessary to show the paradox of this inner life, its irrationality.

In their imagination, romantics transformed the unsightly reality or retreated into the world of their experiences. The gap between dream and reality, the opposition of beautiful fiction to objective reality, lay at the heart of the entire romantic movement.

Romanticism first raised the problem of the language of art. “Art is a language of a completely different kind than nature; but it also contains the same miraculous power, which equally secretly and incomprehensibly affects the human soul” (Wackenroder and Tieck). The artist is an interpreter of the language of nature, a mediator between the world of spirit and people. “Thanks to artists, humanity emerges as a complete individuality. Through modernity, artists unite the world of the past with the world of the future. They are the highest spiritual organ in which the vital forces of their outer humanity meet each other and where the inner humanity manifests itself first of all” (F. Schlegel).

However, romanticism was not a homogeneous movement: its ideological development went in different directions. Among the romantics were reactionary writers, adherents of the old regime, who glorified the feudal monarchy and Christianity. On the other hand, romantics with a progressive worldview expressed a democratic protest against feudal and all kinds of oppression, and embodied the revolutionary impulse of the people for a better future.

Romanticism left an entire era in world artistic culture, its representatives were: in literature V. Scott, J. Byron, Shelley, V. Hugo, A. Mickiewicz, etc.; in fine arts E. Delacroix, T. Gericault, F. Runge, J. Constable, W. Turner, O. Kiprensky and others; in music F. Schubert, R. Wagner, G. Berlioz, N. Paganini, F. Liszt, F. Chopin and others. They discovered and developed new genres, paid close attention to the fate of the human personality, revealed the dialectic of good and evil, masterfully revealed human passions, etc.

The types of art more or less equalized in importance and produced magnificent works of art, although the romantics gave primacy to music in the ladder of the arts.

Romanticism as a literary movement in the works of A.S. Pushkin PLAN What is romanticism? The reasons for the emergence of romanticism. The main conflict of romanticism. The era of romanticism. Pushkin is the pioneer of new paths for Russian literature. “Eugene Onegin” is a depiction of modern reality. Conclusion

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 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. The affirmation of the intrinsic value of the spiritual and creative life of the individual, the depiction of strong passions, spiritualized and healing nature, is adjacent to the motives 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 Players” by Gogol, “Masquerade” Lermontov.

THE BASIC 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 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 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 a long and instructive experience of previous generations, he was endowed with a deep and complex inner world, images of the heroes of the French Revolution, the Napoleonic Wars, national liberation movements, images of the poetry of Goethe and Byron hovered before his eyes. In Russia, the Patriotic War of 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. In terms of 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, a new literature, not inferior in its artistic perfection to the greatest phenomena of literature of the ancient world and the Renaissance? And can its further development be based on “modern man,” a man from 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 – THE PROGRAMMER OF ROMANTICISM

Only Pushkin was the first in Russian literature of the 19th century to find, in both poetry and prose, adequate means to embody the versatile spiritual world, 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 in features 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, spiritual world which represents the most profound, rich and complex expression of the burning moral and intellectual questions of the 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 of human thinking and feeling.

The complex and contradictory soul of the “young man” of the early 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.

The historical understanding of man and human psychology began to emerge with Pushkin in the late 1810s and 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,” the main character of which was conceived by Pushkin, in his own way. recognition of the poet 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)

“EVGENY ONEGIN” – a depiction of modern reality

Having first emerged during the period of southern poems, Pushkin’s historical approach to understanding the “laws” of the soul and heart of man - past and modern - will soon receive consistent expression in “Eugene Onegin” and “Boris Godunov”. Pushkin’s comparison in “Eugene Onegin” of the social, everyday and moral-psychological appearance of two generations - Onegin with his father and uncle, Tatyana with her parents - is evidence of an exceptionally deep, subtle understanding of the dependence of human psychology on the everyday and cultural-historical atmosphere of the time . Unlike the main characters in the works of his predecessors and older contemporaries, including the heroes of Karamzin and Zhukovsky, Onegin and Tatyana are people whose entire psychological and moral appearance is permeated with reflections of intellectual and moral life from time.

As Pushkin perfectly understands, Onegin’s father and Larina’s mother, finding themselves in the position of Evgeny and Tatyana, behaved differently, since their time was characterized by other ideals and other moral ideas, and at the same time, a different system of feeling, a different rhythm of life. A young man who grew up in St. Petersburg, was raised by a French tutor and read Adam Smith, thinks differently than his narrow-minded father, brought up in the morals of the last century, who “nobly” served and wasted money. The generation whose idols were ladies' men and grandsons felt differently than the generation that read Byron, Benjamin Constant and Madame de Staël. Comparing the characters of Onegin and Tatyana with the characters of people of the previous generation, Pushkin shows how new, historically unique properties of the soul are formed in the real process of life people XIX century. These properties determine the special features of all life - external and internal - younger generation, fundamentally and qualitatively different from the life of the “fathers,” fraught with new, complex moral and psychological problems unknown to previous literature.

Tatiana meets Onegin. In the genre of a sentimental story, such a meeting would be described as a meeting of two sublime hearts, in a romantic poem - two chosen, although different in their makeup, lofty, poetic natures, contrasted by the poet with the surrounding reality and superior to other, ordinary people in the strength of their feelings and aspirations . We see something else in Pushkin. Both Tatyana and Onegin are presented by Pushkin not as variations of ready-made, repeating types, but as dialectically complex human characters, each of which bears the imprint of the conditions of his life, his own special spiritual experience. The dissimilar circumstances of the development of the novel's heroes also determine the nature of the psychological refraction that the image of each of them receives when reflected in the consciousness of the other.

As Pushkin shows the reader, Tatiana’s love is a psychological reflection (and expression) of her entire previous life (material and spiritual factors): Russian nature, communication with her nanny, perception of national life. And, finally, the whole coloring of Tatyana’s love feeling for Onegin would have been different if she had not passed his image through the prism of the heroes and plots of her love novels, and had not associated him with them.

Pushkin’s depiction of Onegin and Tatyana’s childhood and adulthood, their attitude to nature, people, and the everyday objects around them are interconnected moments of a single process of social, everyday and psychological development of the heroes, turning into each other. And the characteristics of Onegin’s father, his uncle, teachers, and the description of his lifestyle in St. Petersburg create a vivid picture of Russian noble life at the beginning of the 19th century. Familiarity with the upbringing and lifestyle of the main character before meeting Tatyana explains to the reader his reaction to meeting the heroine and not her letter. And the description of this reaction is a new further stage in the reader’s more in-depth acquaintance with the hero, providing new material for insight into character and psychology.” young man" XIX century.

Thus, all the individual episodes in the novel turn out to be not indifferent to each other, but internally connected with each other. And not only the environment and external factors lives help to explain and understand the inner world of the characters, but this world itself acquires enormous, exceptional significance in depicting the modern reality of that time.

The historical understanding of not only the external environment and conditions in which people live and act, but also the very structure of their feelings and moral life, is no less clearly expressed in Pushkin’s prose - from “Arap Peter the Great” to “The Queen of Spades”, “ The captain's daughter” and “Egyptian Nights”.

In Pushkin’s works, along with the change in the “spirit of the times,” not only social mores, characters and fashions change, but also the relationships that develop between people: the love of a medieval paladin or “poor knight” is fundamentally, qualitatively different from the love of young people of the 19th century. Therefore in XVIII literature centuries, the “poor knight” was supplanted by the gentleman Phoblas, and half a century later the “Phoblases’ glory fell into disrepair,” and their place was taken by Onegin and Childe Harold.

CONCLUSION

The peculiarity of any work of art and literature is that it does not die with its creator and its era, but continues to live later, and in the process of this later life it historically naturally enters into new relationships with history. And these relationships can illuminate the work for contemporaries with a new light, can enrich it with new, previously unnoticed semantic facets, bring from its depth to the surface such important, but not yet recognized by previous generations, moments of psychological and moral content, the meaning of which for the first time could be realized. - truly appreciated only in the conditions of the next, more mature era. This happened with Pushkin’s work. The experience of the historical life of the 19th and 20th centuries and the work of the great poet’s heirs revealed new important philosophical and artistic meanings in his works, often still inaccessible to either Pushkin’s contemporaries or his first closest, immediate successors, including Belinsky. But just as the work of Pushkin’s students and heirs helps today to better understand the works of the great poet and appreciate all the seeds hidden in them that will develop in the future, so the analysis of Pushkin’s artistic discoveries allows literary science to penetrate deeper into the subsequent discoveries of Russian literature of the 19th and 20th centuries. This emphasizes the deep, organic connection between the new paths laid out in art by Pushkin and the entire later development of Russian literature right up to the present day.

Literature “Literature in the Movement of Time”, Friedlander G.M. “The Life and Work of A.S. Pushkin”, Kuleshov V.I. “Pushkin’s Prose: Paths of Evolution”, Tomashevsky B.V.