"Vital ..." - 1820-1821. In an effort to reveal reality in its diversity, the romantic Hoffmann went along the line of combining various plans: temporary, plot, emotional. He tied all these different plans into a peculiar composition: inadvertently, parts included in the autobiographical notes of the cat tell about various events, the participant and witness of which is the composer Johann Kreisler. In his narration, Hoffman combines elements of tragedy and comedy, satire and lofty lyrics, grotesque and jokes.
Murr cat world- this is primarily a comic and satirical world; the world of people is depicted grotesquely, sometimes lyrically and excitedly, sometimes with genuine tragedy.
The juxtaposition of these worlds acquires a grotesque-satirical character. It is not for the first time that Hoffmann, pursuing satirical goals, made the humanized world of animals the object of his depiction. In the collection "Fantasy in the spirit of Callo" there are two stories whose heroes are animals.
In the animal world, in which the Murr cat lives, everything happens as in a real human society. The cat makes friends, is fond of art and science, he experiences disappointments, leaving his solitude and colliding with the world, experiences love with all its ups and downs, leads the life of a bursh, falls into the "high society". In the world of a cat, “human” passions are raging: love, jealousy, enmity.
In the world of people- in the history of Kreisler - passions take on an ugly animal character. Adviser Benzon is fighting for influence at the court of Duke Irenaeus, for power over the duke, whose mistress she was in her youth, and is ready to sacrifice her daughter for this, marrying her to the feeble-minded Prince Ignatius. Prince Hector is driven by an egoist. calculation and animal voluptuousness.
Behind the "high" feelings of a cat, it is always easy to find their selfish background, the cat's egoism is quite naive and harmless. The selfishness of people is deeply hidden and hidden behind decency of manners and outward beauty. The cat is funny in its egoism, but people are ugly.
The court of Duke Irenaeus is a satire on the German feudal-absolutist order.
Cat MUR is a satire on the German bourgeois man in the street. He talks often like Kreisler, he is a lonely dreamer, a collision with the world brings the cat as painful disappointments as romance.
The image of Kreisler is opposed to the noble-philistine world of egoism. He dies in the struggle with the surrounding reality. According to Hoffmann's plan, he was to end in madness.
A clear shift in emphasis from the world of fantasy. to the real world. The dualism of the worldview is expressed not through opposing the fairy tale and the real world, but through the disclosure of the real conflicts of the real world, through the general theme of the writer's TV - the conflict between the artist and the real world. Yu. Almost all the fairy-tale goes away and the writer's attention is focused on the conflicts that take place in Germs contemporary to him. But this does not mean that he has become a realist. The principle of romantic convention, the conflict brought from the outside, determine the nature and development of the plot.
The composition is based on the principle of two-dimensionality, opposing the 2 beginnings, the cat. combined in a line of stories. This technique is basic. ideological and artistic principle embodying the author of the idea, philosopher. comprehension of moral, ethical and social categories.
Abraham- in both parts - there is a deep, parodic meaning. The dramatic fate of a true artist, musician, tormented in an atmosphere of intrigue, surrounded by high-born nonentities of a chimerical principality, is opposed to the existence of the “enlightened” philistine Murr. This is both opposing and comparing, because Murr is the antipode of Kreisler, his parodic counterpart.
irony in the novel penetrates into all lines of narratives, defines the character of most of the heroes of the novel, a satire on various phenomena of life.
Cat + dog world= satire on the class society of the German state. To the "enlightenment" philistine burgh-vo, to student unions - burshenschafts, to the highest aristocracy (Skaramush, Badina's salon of the Italian greyhound), to the dignified nobility (spitz). Murr imagines himself to be an outstanding personality, an enlightener => the chronicle is for the edification of posterity, in fact - he is a “harmonious vulgarity”, a cat. was hated by romantics.
Prince Irenaeus- spiritual poverty. The whole court is poor-witted, flawed people, but they are hopelessly far from the claim. Those. only the position obliges them to have pictures and listen to music, to pretend that they enjoy it (more important for G.). => confrontation between the everyday world and the poetic world. Kreisler, Abraham and Julia are "true musicians". In the image of Abraham Liskov, he encounters the transformation of the image of a magician in H. TV. Unlike his literary prototypes (Lindhorst and Prosper Alpanus), he performs his tricks on the basis of the very real laws of optics and mechanics. He himself does not experience any magical transformations.
G.'s attempt to present an ideal society-e device, based on a cat. universal admiration for the lawsuit. This is Kanzheim Abbey, where Kreisler seeks shelter. It doesn't look much like a monastery.
Duality G.– penetrating 2 worlds into each other. Peace in the soul of a true romantic and the world of everyday consciousness. The irony of the romantic (i.e., and over the romantic himself, because he is not able to bridge the gap between dream and reality) and rhetorical (mismatch of appearance and essence).
At the heart of the production- the conflict between the artist and society. Romantic. antithesis at the heart of the attitude of writing. The highest embodiment of the human "I" is a creative person, an artist, the road is open to him, there he can fully realize himself and hide from the philistine community. The romantic hero G. lives in the real world, despite all attempts to break out of these limits, he remains in reality. A fairy tale cannot bring harmony to this world, which, in the end, subjugates them to itself. => dualism, cat. its heroes suffer. Kreisler is the main carrier of the ironic. G.'s attitude to life, his "chronic dualism" is tragic. Irony has a real social address and social content. And this function helps him to reflect the typical phenomena of action.
Question 10
Creative. debut. The story has been translated into almost all European languages. The basis of the plot is a fantasy story they say. h-ka, who sold the devil - "ch-ku in gray" - for an inexhaustible purse his shadow. Traditional romantic fiction is filled with new content - the central positive hero loses his exclusivity, and the incredible events that happen to him are devoid of mystical and mysterious th interpretation. So, the devil himself is an ordinary businessman in his bourgeois-merchant guise. All fantastic details are perceived in an everyday context.
The shadow turns out to be more significant than the mighty gold. Shamisso reveals the conflict between the ch-ka and the environment, which is typical for romantics. A positive way out of the conflict, which is not characteristic of the traditional romantic consciousness - not wanting to remain dependent on the devil, Shlemel throws a wallet into the abyss, refusing all motherly blessings, a cat. he brought it to him. Without money, without a shadow - excommunicated from the human community.
Anti-bourgeois orientation (desire for money).
The helmet is physically ugly - the boys throw stones at it. He is also ugly socially - the girl refuses to marry him. The absence of a shadow is also a moral defect.
Question 11. Poetry of the "lake school". The peculiarity of the worldview and aesthetic principles of the Leukists. TV-in Wordsworth (Vor-ta).
The 1st stage of English romanticism (rom-ma) (90s of the 18th century) is represented by the "Lake School". Leikist poets (from the English lake - lake) sang this land in their poems. Program -1st joint work of Worth and Coleridge (Col-g) - a collection of "Lyric Ballads" (1798), which outlined the rejection of old classicist samples and proclaimed the democratization of problems, expanded themes, breaking the system of versification. Preface to the Ballads (1800), writ. In that, it is considered as a manifesto of early English rom-ma.
The fates of Worth, Kolzh and Southey had much in common. THEY first greeted Franz. revolution, then, frightened by the Jacobin terror, they retreated from it. In the last During the years of their lives, the Leukists weakened their creative activity, stopped writing poetry, turning either to prose (Souty), or to philosophy and religion (Kol-zh), or to understanding the creative consciousness of the poet (Vor-t) .
For the first time they openly condemned the classical principles of TV. The Leikists demanded from the poet that he depict not great historical events and outstanding personal, but the everyday life of workers, ordinary people =>, skb continue the traditions of sentiment. Worth, Kol-zh and Southey appealed to the inner world of h-ka, interested in the dialectics of his soul. Having revived the interest of the British in Shakespeare, in the poets of the English. Renaissance, they appealed to the national self-consciousness, emphasized the original, the original in English. history and culture. 1 of the chapters. principles of the new school - the widespread use of folklore.
The enrichment of the poetic language through the introduction of colloquial vocabulary, the simplification of the poetic construction itself brought the poetic style closer to everyday speech, helped Worth, Kol-zh and Southey convince her and more truthfully reflect the contradictions of action. Opposing the laws of bourgeois society, increasing the suffering and misfortune of the people, who broke the established orders and customs for centuries, the Leukists turn to the image of the English Middle Ages and England before the industrial-agrarian. coup, as eras, distinguished by seemingly stable, stable social ties and strong religious beliefs, a solid moral code. Recreating pictures of the past in their works, Kol-zh and Southey did not call for its restoration, but emphasized its enduring values in comparison with the striving movement of modernity. Worth and his like-minded people managed to show the tragedy of the fate of the English cross during the period of the industrial revolution. They accentuated the reader's attention on the psychological consequences of all social changes, speaking on the moral character of the humble worker. Both Worth and Kol-zha, during the period of creating ballads (1798), united the desire to follow the truth of nature (not copy it, but supplement it with colors of the imagination), the ability to evoke compassion and sympathy in read la. The task of poetry, according to Wor-rt and Kol-zh, is to turn to the life of ordinary people, to depict the ordinary. The task of poetry is to capture the absolute in the simplest phenomena of modern life. The poet must be able to evoke feelings of fear and suffering in the reader, like a cat. strengthening faith in the sublime - the triumph of intuition over reason - the symbolic embodiment of uninhibited human passions. Both poets tried to use imagination as a special property of the mind, stimulating the creative active principle in a person. But already with the "Lyric Ballads" there were also differences between the poets. Number of interest, whether supernatural events, cat. he sought to give features of the ordinary and probability, and Worth was attracted by the ordinary, the prosaic, elevated by him to the rank of the incredible, interesting, unusual.
Using the ballad form, the Leukists, like Scott, transformed this genre, placing the narrator in new conditions of an eyewitness and a participant in events, and made the genres of friendship letters, dedicators, elegies independent. Reaffirming the self-worth of the individual.
"Guilt and Sorrow" (1793-1794) - Worth's most famous work, in the cat. he reflected the tragedy. for the peasants and the whole people the course of the industrial and agrarian revolution. The most terrible consequence of these events for the poet is the spiritual impoverishment of a man embittered by poverty and lack of rights. The gloomy coloring of the poem enhances the drama of the narratives, in the center is the villainous murder by a fugitive sailor of a h-ka (a beggar and homeless, like himself). In the poetry of Word-ta, the image of a beggar walking along endless roads often appears. This image was suggested to the poet by the harsh action, when the entire social structure was radically changing: the yeomanry class, the free cross, disappeared, many rural workers were forced to leave their native places in search of work. At the beginning of his creative path, the poet was interested in the problem of human self-consciousness, a cat. creates an arts barrier between things and nature. A wanderer, a vagabond, a beggar, instead of restoring the lost harmony, is a way of destroying it. The terrifying poverty and ruin of the peasants will be witnessed by the poem "Alice Fell, or Poverty", "The Last of the Herd", "The Sailor's Mother", "The Old Cumberland Beggar" (narrated by a poem), "Poor Susanna's Dreams". The poet admires the worldly wisdom of his heroes, their dignity, vitality in the face of many adversities, the loss of loved ones and loved ones. He is touched by wisdom, concluded in the children's consciousness unspoiled by life experience ("The Foolish Boy", "We Are Seven").
In the ballad "We are seven" the poet meets a girl, a cat. telling him about the death of his brother and sister, but when asked how many children are left in the family, he answers that 7, as if considering them alive. The understanding of death is inaccessible to children's consciousness, and so on. the girl often plays on the grave of the dead, she believes that they are somewhere nearby.
Among the poetic female images created by Worth and connected with the tree problem, one must distinguish the image of Lucy Grey, a simple cross girl who lived "in the midst of the sun and the downpour", next to a small purple violet, among picturesque streams and green hills. The image of Lucy goes through many poems of the poet ("Lucy Grey", "She lived among the traveled paths", "Strange outbursts of passion that I have ever known"), etc. Most often, the appearance of Lucy is associated with Worth home, home, home. Lucy's character emphasizes beauty, spirituality, poetic traits, properties of the beloved sister of the poet Dorothy. Landscape lyrics Worth. He knew how to convey colors, movements, smells, sounds of nature, knew how to breathe life into her, make her experience, think, speak with him, share his grief and suffering. "Lines written near Tintern Abbey," "The Cuckoo," "Like Clouds of a Lonely Shadow," "My Heart Rejoices," "The Yew Tree," are poems in which the beautiful views of the Lake District are always captured and glorified. He was the first major romantic poet who showed the tragedy of an entire class that was destroyed by the industrial revolution.
Romanticism is one of the largest trends in world art of the late 18th and early 19th centuries. As Brockhaus and Efron write in their dictionary, etymologically the French word "romanticism" goes back to the Spanish word "romans". In the 18th century, everything fantastic, unusual, strange, found only in books, and not in reality, was called romantic.
For the first time, the word "romanticism" as a term, as the name of a literary movement, began to be used in Germany at the end
XVIII century. The first school of the “Romantics of Jena” arose there, founded by the brothers Friedrich and August Schlegel, Novalis and Tiek. They also created the first philosophical and aesthetic substantiation of the theory of romanticism.
One most interesting literary legend explains the reason for the triumphant spread of romanticism. In 1765, the reading public was shocked by the publication of the "Works of Ossian, son of Fingal, translated from the Gaelic by Jaynes MacPherson." In the preface to the edition, the legendary Ossian was declared the author of these Scottish epic poems. Filled with poetry of high feat, breathing the exoticism of distant wanderings, these poems made a tremendous impression on contemporaries, and Ossian's songs spread throughout Europe, and in 1788 appeared in a Russian translation. Already after Macpherson's death in 1796, it became clear that there was no Ossian, Macpherson himself composed the songs, but it was with this greatest literary hoax that the spread of the new romantic method in literature is associated.
Of course, the reasons for the emergence and spread of romanticism were deeper, and it was not by chance that it arose precisely on the verge of the 18th and 19th centuries. In “Confessions of the Son of the Age”, A. Musset named two reasons that gave rise to the tragic and at the same time romantic duality of his contemporaries: “The disease of our century,” wrote Musset, “comes from two reasons: the people who heart two wounds. The upheavals of the revolution and the upheavals of the Napoleonic wars, not in France alone, posed before each individual and society as a whole many acute and insoluble questions, forced them to reconsider old concepts and old values. “It was some kind of denial of everything heavenly and everything earthly,” writes Musset, “a denial that can be called disappointment or, if you like, hopelessness.” The whole world seemed to be split in two. From the point of view of the romantic, the world split into “soul” and “body”, sharply opposed to each other and hostile. “On the one hand, enthusiastic minds, people with ardent, suffering souls, who felt the need for the infinite, bowed their heads, sobbing, and closed in painful visions - fragile reed stalks on the surface of an ocean of bitterness. On the other hand, people of the flesh stood firmly on their feet, not bending in the midst of real pleasures, and knew one concern - to count their money. Only sobs and bursts of laughter were heard: the soul sobbed, the body laughed.
The ideology of romanticism was formed under the influence of disappointment in the ideas of enlightenment, which entered life, taking the form of bourgeois reality and not justifying the hopes for the spiritual rebirth of people. The great expectations that the best part of society lived on were replaced by no less great disappointment, which gradually grew into “cosmic pessimism”, and, taking on a universal, universal character, was accompanied by moods of hopelessness, despair, “world sorrow”, which was later called the “disease of the century” .
Through the entire history of romantic literature, the internal theme of the “terrible world” with its blind power of material relations, the irrationality of fate, and the longing for the eternal monotony of everyday life has passed.
This is how romanticism embodies ideas and spiritual values that are polar to the “terrible world”. The depth and universality of disappointment in reality, in the possibilities of civilization and progress, is polar opposite to the craving for the "infinite", for absolute and universal ideals. Romantics dreamed not of a partial improvement of life, but of a holistic resolution of all its contradictions. One of the main features of the Romantic worldview was a passionate, all-encompassing thirst for renewal and perfection.
The German philosopher Schelling, who in many ways inspired romantic poets and was internally close to them, wrote about the time of his youth, about the time of the birth of romantic ideas in Germany: ask not about what is, but what is possible...”.
In these words of Schelling lies one of the most profound interpretations of the romantic view of the world - the opposition of reality and dreams, of what is and what is possible. This, as researchers believe, is the most essential thing in romanticism, this is what determines its deep pathos.
The base and mercenary reality of romanticism, which they reject, is opposed by another, higher, poetic reality. Of course, such an opposition between the ideal and reality is generally a property of art, but in romanticism the antithesis “dream - reality” becomes constructive, it organizes the artistic world of romance, becomes for him both the most important ideological and the most important aesthetic principle.
The discord between the ideal and reality acquires special sharpness and tension in romanticism, which is the essence of the romantic dual world. At the same time, in the work of some romantics, the idea of the dominance of incomprehensible and mysterious forces in life, of the need to submit to fate, prevailed. The mood of struggle and protest against the evil reigning in the world dominates in the work of others. Thus, in Russian romanticism, two branches of the romantic movement take shape. The poet's belonging to one branch or another is determined by the nature of his attitude to the world - contemplative or active, active. Representatives of the first branch prefer to escape from reality to the world of dreams, to the other world. Poets of an active direction challenge reality, their works are full of calls for active action, their heroes are fighters for the freedom of personal will, freedom of spirit.
From the romantic denial of "this world" also follows the aspiration of romantic poets to everything extraordinary and exotic - to everything that goes beyond the boundaries of the rejected everyday reality. Romantics are drawn to themselves not close, but distant. Everything distant - in time or space - becomes for them a synonym for the poetic. Novalis wrote: “So everything in the distance becomes poetry: distant mountains, distant people, distant events, etc. (everything becomes romantic). This is where our poetic nature comes from. Poetry of night and twilight.
According to G. Pospelov, all the romantics “searched for their romantic ideal outside the reality surrounding them, they all somehow opposed “the despised here” - “the indefinite and mysterious there”. Zhukovsky was looking for his "there" in the other world, Pushkin and Lermontov - in the free, militant or patriarchal life of the uncivilized, Ryleev and Kuchelbeker - in the heroic, tyrannical deeds of antiquity.
Recognizing the imperfection of the world, singing the dream of an ideal world, literature had to recognize the mystery of being. Maybe the dream is hiding behind the shell of reality. You just need to look deeper into the innermost depths. The recognition of the mysterious aspects of being was very important - it was from this feature that fantastic literature arose, which then transformed into science fiction.
Romantic poets and writers, for the most part, gravitated towards history, willingly used historical information in their works. History represented for them not a "here" but a mysterious "there." Turning to history was a peculiar form of denial, and in other cases - a direct political revolt.
Turning to history, the romantics saw in it the foundations of national culture, its deepest sources. They not only cherished the historical past, but often based their universal social and aesthetic concepts on it. However, the most essential and truly authentic for the Romantics was not the historical fact in itself, but its poetic interpretation, not historical reality, but historical and poetic tradition. The Romantics had a rather free attitude to historical material, not being afraid to allow some arbitrariness in the interpretation and depiction of certain historical events. They did not so much depict the historical past as they constructed it in accordance with their social and political ideals. The most common technique in the works of romantics with historical themes is allusion, that is, a special way of “modernizing” the facts of history, a kind of “adaptation” of them to the problems of their time.
Romantics showed particular interest in folklore as the embodiment of the national spirit. Fr. Schlegel wrote: “It is necessary to return to the origins of the native language and native poetry, freeing the former strength and the former sublime spirit, which, not appreciated by anyone, dozes in the monuments of national antiquity, starting with the Nibelungenlied and ending with Fleming and Weckerlin ...”
Thus, it was romanticism that posed the problem of the nationality of art, in which the romantics wanted to embody the “soul of the people”, its inner psychological essence.
From the romantic denial of reality and the omnipotent reason, many private, albeit very significant, features and signs of romantic poetics naturally follow. First of all - a special romantic hero.
Repulsion from the real world gives rise in the works of romantics to a qualitatively new hero, the like of whom the previous literature did not know. This hero is in hostile relations with the surrounding society, opposed to the prose of life, the “crowd”. This is a “man of the world”, a person outside of everyday life, restless, most often lonely and tragic. The mode of his behavior is the embodiment of a romantic rebellion against reality, a protest and a challenge. In the romantic hero, a poetic and romantic dream is realized, which does not want to put up with the lack of spirituality and inhumanity of the prose of life.
Inconsistency is an essential feature of a romantic hero. After the classic hero, who was the bearer of any one specific (positive or negative) trait, the setting of romantic writers to depict the hero's inconsistency was a new and very essential element of works of art. This was the most important discovery for literature of the multidimensionality of the man of the new time, the possibility of his holistic, unsimplified incarnation. It is from here that the psychologism of 19th-century literature originates.
A. Losev argued that romanticism arose as “the philosophy of the immanently experienced objectively existing universe. This meant that every real thing, event, social structure or historical period began to be interpreted as a symbol of an infinite objective world, with the resultant insistent inclination towards fantasy and towards preaching a retreat into the infinite expanses of absolutely objective reality. The essence of romanticism therefore consisted, firstly, in the absolutization of the human subject, which began as early as the Renaissance, and secondly, in overcoming this absolutization by expanding the human subject to cosmic dimensions, or, at least, to preaching a fantastic departure to infinity. to achieve immanently experienced universal-world reality. Therefore, I would express the essence of romanticism with the following aphorism of Novalis: “My beloved is an abbreviated likeness (Abbreviatur) of the universe, and the universe is a widespread likeness (Ebongitudo) of my beloved.”
Romanticism for the first time in art approved the thesis of the intrinsic value of the human personality, which was one of the most important achievements of the new art. On the one hand, the absolutization of the human personality, the will of the subject, the assertion of his independence from external forces were very fruitful for Russian art, on the other hand, they gave rise to painful, sometimes exaggerated feelings of rejection from the world, feelings of superiority over the “crowd”.
A strong personality in romanticism rises above the “gray crowd”, above the mass of obedient people not illuminated by the divine light of inspiration. Not wanting to come to terms with the lifeless life of this crowd, the romantic hero flees from it, and this motive of flight becomes one of the leading motifs in the literature of romanticism.
In the romantic consciousness, two main nos dominate: the real world and the omnipotence of the mind. The first "no" gave rise to an interest in history, everything fantastic and extraordinary, in the end - the most romantic hero; the second “no” determined no less significant aspects of romanticism.
First of all, it is a romantic cult of the poet and poetry. The Romantics declared that it was poetic feeling, and not reason, that was the main means of knowing the truth. Therefore, poetry and the poetic beginning in life play an exceptional role in its importance and significance. Hence - the recognition of the high, also exceptional, vital and divine, calling of the poet.
Romantics argued that the poet is akin to a priest and a prophet, that he is in one person both a philosopher, a scientist, and a seer. Novalis wrote: “The poet and the priest were at the beginning one, and only recent times separated them. However, a true poet has always remained a priest, just as a true priest has always remained a poet.< ...>
“The sense of poetry is closely related to the sense of the prophetic and the religious sense of Providence in general. The poet arranges, connects, chooses, invents, and for him it is incomprehensible why it is so, and not otherwise...”
F. Schlegel was convinced: "What people are among other creations of the earth, so are artists in relation to people."
One of the most characteristic features of romantic consciousness is an almost religious admiration for art, poetry, the personality of the poet and artist. Romantics dedicate their most inspired creations to the nature of creativity.
In one of Novalis's sonnets we read:
Calls to us, changing every hour,
Poetry is a mysterious force.
There she blessed the world with eternal peace,
Here eternal youth streams on us.
She is like a light to our weak eyes,
To love beautiful hearts judged,
She is intoxicated and cheerful and dull
In prayerful and intoxicated hour...
Romantics firmly believed in the existence of the divine principle in the world and in man, striving in their work to “show the creative originality of the human soul” (N. Polevoy).
The unconscious, intuitive creativity was declared the defining aesthetic value in romantic art. Most of all, romantics were occupied with the “incomprehensible”, barely perceptible art, born from the sacred improvisation, mysterious and incomprehensible by the laws of reason.
In the field of aesthetics, romanticism opposed the classicist “imitation of nature” with the creative activity of an artist striving to transform the real world. “The artist creates his own, special world, more beautiful and true, and therefore more real than empirical reality, because art itself, creativity is the innermost essence, deepest meaning and highest reality. Works of art are likened to a living organism, and the artistic form is interpreted not as an outer shell of content, but as something that grows out of its depths and is inextricably linked with it” (AM Gurevich).
Thus, “romantic literature is characterized by a special image of the author. This is the author-creator, the author-demiurge, who creates the world of a work of art according to his author's arbitrariness, sometimes deliberately deviating from some generally accepted laws of artistic creativity, thereby demonstrating his own unlimited freedom. A romantic author can, for example, break the chronology of the story, place the preface in the middle or end of the work, interrupt the story with his digressions, remarks. Often the composition of a romantic work was arbitrary, “free”, representing not a coherent story about the hero, but separate episodes, fragments of his life. Thus, the importance was emphasized not of external events, but of the logic of the poetic thought of the author” (I. G. Satsyuk).
With the recognition of the priority of the unconscious in art, the pathos of creative freedom, so characteristic of romantics, is also connected. They reject normativity in aesthetics, rationalistic regulation in art, so characteristic of classicism. Romantics learned the main idea of Kant - a genius does not obey the rules, but creates them. Hence - the desire of romantic artists to experiment in art, to create new forms, to innovate in poetics, to discover new genres. Romantics created the genres of the historical novel, fantasy story, and lyrical epic poem.
Lyricism reached a brilliant flowering in the era of romanticism. The possibilities of the poetic word were expanded due to polysemy, associativity, condensed metaphor, as well as through discoveries in the field of versification, meter, and rhythm. Romantics did not recognize the genre hierarchy, proclaimed the interpenetration of the arts, the synthesis of art, philosophy, religion. They asserted the need for musical and pictorial principles in literature, boldly mixed the high and the low, the tragic and the comic, the ordinary and the unusual, gravitated towards fantasy, the grotesque, and the demonstrative conventionality of form. As N. Polevoy once wrote, romanticism “rejects all conditions and forms, mixes drama with romance, tragedy with comedy, history with poetry, divides creations as it pleases, and freely creates according to the immutable laws of the human spirit.”
Romanticism is perhaps the most conditional of all literary movements. Conventionality is generally characteristic of artistic creativity. It is thanks to her that artistic images arise in which not only the present, but also past and future reality is revealed.
There are two planes in a work of art: the plane of expression and the plane of reflection. The plan of expression is connected with the task of embodying the author's ideal. The plan of reflection is a reproduction in the artistic world of the life that really surrounds the author. This “mirror” principle in art is especially clearly manifested in realistic trends, but romanticism, for all its conventionality, always has a close connection with reality. The great German romantic E.T.A. Hoffmann wrote: “The base of the magic ladder by which our imagination climbs to heaven must be firmly fixed on the earth.”
V. G. Belinsky expressed the essence of the romantic mood as follows: “In its closest and most essential meaning, romanticism is nothing but the inner world of a person’s soul, the innermost life of his heart. The mysterious source of romanticism lies in the chest and heart of a person: feeling, love is a manifestation or action of romanticism, and therefore almost every person is a romantic. The exception remains either only for egoists who cannot love anyone but themselves, or people in whom the sacred grain of sympathy and antipathy is crushed and drowned out either by moral underdevelopment, or by the material needs of a poor and rude life. This is the very first, natural concept of romanticism.”
Ap. Grigoriev: “The romantic in art and in life for the first time seems to be the attitude of the soul to life, unfree, subordinate, unconscious, and on the other hand, it is also an attitude subordinate to something - it is either disturbing, or eternally dissatisfied with the present that lives in a person’s chest and bursts into space from the chest, - that fire that Mtsyri spoke about, that from “young days, hiding, he lived in my chest ... and he burned his prison ...” Romantic of this kind was also in the ancient world, and in the medieval, and in the new; it appears in every epoch that has just escaped from some strong moral upheaval, at transitional moments of consciousness.”
A special role in the formation of the artistic principles of romanticism in Russian literature was played by the work of V. A. Zhukovsky.
"The idea of duality"
An important feature of romanticism, essential for understanding the romantic interpretation of nature, is the so-called "concept of two worlds". It is based on an act of rejection of the real world, fear of its prosaic nature, flight into the world of dreams.
As K. Balmont wrote, love for the distant, for what is connected with a dream, is, perhaps, the first sign of romanticism. A romantic, embodying a thirst for life, a thirst for versatility, being a clear free personality, always strives from the limit to the Beyond and the Infinite. From this trait to many lines of the New. The Romantics are that wanderer which, destroying the old, creates the new. Their homeland is never enough for them. Their homeland is not their homeland, but the flight of the soul to the eternal homeland of those who think and create beautifully. This is expressed in romance and outwardly. Loving the Earth as a planet, not in its partial minute face, but in its starry-heavenly destiny, they greedily rush to new parts of it, not yet known, to other countries, to foreign lands. Moreover, for a romantic, it is not so much achievement, possession, but the desire itself that is important.
Romantics rush from the prosaic, gray everyday life of their countries to the exotic, bright world of foreign, distant countries, especially the countries of the East. The Schlegel brothers are the first to study Indian culture, Sanskrit and Persian. Goethe leaves cloudy Germany and goes to live in golden-azure Italy.
Byron and Shelley leave England forever, the labyrinths of Switzerland, azure Italy, heroic Hellas become their homeland. For Xavier de Maistre, strangely enough, Russia and the Caucasus become the country of romantic dreams.
We can say that a romantic is always a traveler, a "pilgrim of eternity" (Byron), running away from everyday life, conquering the world of dreams in his wanderings. K. D. Friedrich and E. Delacroix spoke about "escape from the prosaic world".
Internal inconsistency of romanticism
An interesting characterization given to the aesthetic preferences of the romantics by H. Ortega y Gasset. Romantics, he says, were completely obsessed with scenes of violence, where the lower, natural and subhuman trampled on the human whiteness of the female body, and forever painted Leda with a swan inflamed, Pasiphae with a bull, overtaken by a goat Antiope. But even more refined sadism attracted them to the ruins, where cultivated, faceted stones faded in the arms of wild greenery. Seeing the building, a true romantic first of all looked for yellow moss on the roof. Faded spots announced that everything was just dust, from which wilds would rise.
Ortega accuses the romantics of indifference to civilization, of cultivating wild nature, a thicket in which entire nations can run wild. Romantics did not notice that civilization does not exist by itself, it is artificial and requires care and support. The romantic cult of nature is traditionally regarded as something positive. However, Ortega, based on his own concept of civilization, evaluates it very negatively, although he admits that the problem of the interaction between the rational and the elemental, culture and nature is great and eternal, and the merit of the romantics is that they drew attention to it.
It can be said that romanticism discovered real, not invented nature, although it selected from it a rather narrow and specific circle of unusual, exotic phenomena. He discovered light, warmth and movement in nature, presented it as lively and changeable, evoking deep feelings and diverse.
Romanticism was an internally contradictory phenomenon. On the one hand, the Romantics abandoned rules and laws and proclaimed freedom the main and only law. And at the same time, they approved as a rule that knows no exceptions the interest in the strange, unusual, exotic, excessive. They cultivated the national idea and at the same time, as if afraid of the "prosaic" world, taken without embellishment, they practiced "escape from the world" and avoided depicting the life of their people and the nature of their country. Even if they turned to these topics, here they settled on something exotic and exclusive. Romantics demanded the complete emancipation of feelings, but limited the latter only to its extreme, stormy impulses, completely uninterested in the diverse range of its manifestations. Insisting on the introduction of time and movement into art, they limited themselves to depicting only individual seasons and parts of the day and interpreted movement primarily as an unstoppable stream that carries destructive power in itself. Romantics rebelled against the artificial distinction of nature into "noble" and "ignoble", but they depicted only the first, unrestrainedly embellishing the life of an ordinary person.
Romantic duality and the motive of the inexpressible in Russian literature - page #1/1
Romanticism as a literary movement. Philosophical and aesthetic views of Russian romanticism, its classification and main representatives. Leading romantic genres.
Features of contemplative romanticism V.A. Zhukovsky. The originality of the elegy genre in the poet's work. Analysis of the work "Rural Cemetery": themes, the image of the lyrical hero, composition, the specifics of artistic time and space.
The theme of romantic duality and the motive of the inexpressible in Russian literatureXIXcentury (on the example of the poems of V.A. Zhukovsky "The Inexpressible", A.S. Pushkin "Autumn", F.I. Tyutchev "Silentium»).
Periodization of K.N. Batyushkov. Themes and artistic originality of the poet's lyrics in 1803-1812. Epicurean traditions, features of the "little philosophy". Analysis of the poem "My penates".
Artistic originality of philosophical romanticism. Themes and poetics of D.V. Venevitinov. Analysis of one poem (at the student's choice).
The theme of the fate of a genius in the lyrics of the poets of the first thirdXIXcentury (on the example of the work of V.A. Zhukovsky, D.V. Venevitinov, E.A. Baratynsky).
Philosophical understanding of the life path of a person (comparative analysis of the work of D.V. Venevitinov "Life" and A.S. Pushkin "The Cart of Life").
Natural-philosophical searches and the image of nature in the lyrics of the poets of the first thirdXIXcentury (on the example of poems by D.V. Venevitinov, A.S. Khomyakov, S.P. Shevyrev).
Themes, artistic originality and the main representatives of civil romanticism. Genre and stylistic features of the Decembrist poets (on the example of the works of P.A. Katenin and F.N. Glinka).
The genre of thought in the work of K.F. Ryleev: themes, ideological orientation, historical basis, features of the plot and composition, system of characters. Analysis of one work (at the student's choice).
The ideological, thematic and artistic originality of E.A. Baratynsky (1820s). Features of the romantic worldview of the lyrical hero. Specific features of the interpretation of the theme of love, separation, happiness, art. Analysis of one poem (at the student's choice).
Philosophy, poetics and structure of the cycle E.A. Baratynsky "Twilight". The content and function of P.A. Vyazemsky. Reflection of the main ideas of the collection in the poem "Babe".
Partisan lyrics by Denis Davydov. The image of the partisan poet. Lyrical hero and his evolution. Themes and genres. Analysis of one work (at the student's choice).
The originality of romanticism in the work of P.A. Vyazemsky. Genre composition, civil pathos of works. satirical art. Analysis of one poem by the poet (at the student's choice).
Poets of Pushkin's time. Analysis of A.A. Delviga, V.K. Kuchelbeker, F.N. Glinka, N.M. Yazykov (at the student's choice).
Specific features of the prose of Russian romantics. Themes and poetics of the Russian science fiction story (on the example of the work of V.F. Odoevsky "La Sylphide").
Russian secular story of the first thirdXIXcentury. Analysis of one work (at the student's choice).
History and theory of the fable genre. Fable creativity I.A. Krylov: social, moral-philosophical, aesthetic issues and their reflection in the writer's work. Analysis of one fable (at the student's choice).
Thematic and artistic originality of A.S. Pushkin. Traditions of Russian literatureXVIIIcentury and the turn of the century and their reflection in the work of the poet. Civil and Epicurean poetry of early A.S. Pushkin. Comprehensive analysis of the poem "Memories in Tsarskoye Selo".
Lyrica A.S. Pushkin 1817 - 1820s. Social problems and civil pathos. Poetic interpretation of Russian history. Genre composition of Pushkin's lyrics of the Petersburg period.
Oda A.S. Pushkin "Liberty" in the context of literary tradition. Connection with the work of the same name by A.N. Radishchev. Socio-historical and moral-philosophical sounding of the poem. genre specific. Style features.
Poems of the "southern period" in the work of A.S. Pushkin. Themes, specifics of the poet's romantic worldview, artistic originality. The motive of romantic duality. Analysis of the poem "The daylight went out."
The theme and poetics of the poem by A.S. Pushkin "Freedom Sower of the Desert": socio-philosophical basis, biblical motifs, the role of the epigraph. The specificity of artistic means.
Poems by A.S. Pushkin dedicated to E.K. Vorontsova (“The Burnt Letter”, “Keep Me My Talisman”): themes, biographical basis, techniques for creating the image of a beloved woman, stylistic originality, function of appeals.
Moral and philosophical searches in the lyrics of A.S. Pushkin in the 1830s. The theme of life and death, the search for harmony and happiness. Analysis of one poem (at the student's choice).
The theme of friendship and the image of the Lyceum in the late lyrics of A.S. Pushkin. Addresser and addressees of poems. Analysis of one work (at the student's choice).
The theme of love in the lyrics of A.S. Pushkin. The poems “I loved you…” and “Night lies on the hills of Georgia…” as a reflection of the poet's views on the relationship between a man and a woman.
The theme of the poet and poetry in the work of A.S. Pushkin. Analysis of the poem "Prophet": themes, biblical allusions, composition, chronotope.
Christian motives in the lyrics of A.S. Pushkin. Poetic correspondence with Metropolitan Philaret (Drozdov) and its role in revealing the religious and philosophical searches of the poet. Analysis of the poem "The Hermit Fathers and Immaculate Wives ...".
Historical, social, moral and philosophical issues and their reflection in the poem by A.S. Pushkin "Poltava". Image of PeterIin the work. Artistic originality of the poem.
The work of A.S. Pushkin's "The Bronze Horseman" through the prism of the Petersburg myth. The image of Eugene and methods of its creation. Genre originality, conflict, composition and chronotope of the poem.
The theme of the people and power in the tragedy of A.S. Pushkin "Boris Godunov". The historical basis of the work. The image of Tsar Boris: the internal conflict of the character and its causes. Main, secondary and episodic characters. The role and place of the images of Pimen and the holy fool Nikolka in the work of A.S. Pushkin.
"Little Tragedies" by A.S. Pushkin as a cycle. Themes, plot and main characters of the works. The Philosophical Basis of the Tragedy "A Feast in the Time of Plague".
The conflict of "regularities" and "chance" in the story of A.S. Pushkin "The Queen of Spades". The image of Hermann, the methods of its creation, the reasons for the moral contradictions of the character. Genre specificity: features of a secular, everyday story, adventure and gothic novel, ballads in the work.
Romantic, sentimental, realistic traditions in the "Tales of the late I.P. Belkin. Storyteller image. The main plots of the cycle and their role in the disclosure of A.S. Pushkin.
Social, love and moral-philosophical problems of A.S. Pushkin "Dubrovsky". Images of Russian nobles and their reflection in the work. The conflict of landowners and peasants in the perception of the author.
The theme and poetics of the novel by A.S. Pushkin "The Captain's Daughter": the role of the epigraph, the idea of mercy and justice, the specifics of reflecting historical events, the image of Grinev in the system of characters in the work. female characters in the novel.
A novel in verse by A.S. Pushkin "Eugene Onegin": the history of creation, themes, the image of the protagonist and methods of its creation. Onegin in the system of images of the novel.
The artistic method and genre originality of the novel in A.S. Pushkin "Eugene Onegin". Epic and lyrical features, the role of lyrical digressions. Features of romanticism and realism. Composition and chronotope of the work. Narrator image. The concept of "Onegin stanza".
Periodization of M.Yu. Lermontov. Artistic originality of the lyrics of 1828-1837. The mythopoetic basis of the poem "Angel". Byronic motifs and their reflection in the work "No, I'm not Byron, I'm different ...". Specific interpretation of the theme of love in the poems "The Beggar" and "I will not humiliate myself before you ...".
The specificity of romanticism in the lyrics of M.Yu. Lermontov 1837 - 1841 (on the example of the poems "And boring and sad ...", "How often surrounded by a motley crowd ...", "When the yellowing field is agitated ...", "I go out alone on the road ..."). Byronic and Schellingian motifs. The theme of finding harmony and finding happiness. Conflict between man and crowd. The role of nature and elements of pantheistic philosophy in the work.
The theme of the poet and poetry in the lyrics of M.Yu. Lermontov turn of 1830 - 1840s. Interpretation of the theme of art in the poems "Death of a Poet", "Poet", "Journalist, Reader and Writer", "Prophet".
Romantic tendencies in the perception of the theme of art and the image of the poet in the lyrics of A.S. Pushkin and M.Yu. Lermontov.
The theme of love and the image of a beloved woman in the poetry of A.S. Pushkin and M.Yu. Lermontov: common and individual features in the lyrics of poets.
Historical and moral-philosophical problems of the poem by M.Yu. Lermontov "Song about Tsar Ivan Vasilyevich, a young guardsman and a daring merchant Kalashnikov." artistic originality of the work.
Poem by M.Yu. Lermontov "Mtsyri": romantic tendencies, the image of the central character and methods of its creation. The plot, composition and chronotope of the poem.
Themes and poetics of the novel by M.Yu. Lermontov "A Hero of Our Time": the image of Pechorin, the plot and composition, the role of the technique of "three narrators" in revealing the author's intention.
Genre originality of the novel by M.Yu. Lermontov "A Hero of Our Time". Romantic and realistic tendencies in the work. The meaning of the chapter "The Fatalist" in the structure of the novel.
"Evenings on a farm near Dikanka" as a cycle. System-forming factors of the collection of short stories. Themes, images of narrators, composition. The specifics of folklore. The role of the story "Ivan Fedorovich Shponka and his aunt" in the structure of the cycle.
The artistic originality of the collection of N.V. Gogol "Mirgorod". Subject, ideological orientation, structure. Social and metaphysical in the cycle. Analysis of one work (at the student's choice).
Petersburg myth and its reflection in the St. Petersburg stories of N.V. Gogol. The meaning of the work "Overcoat" in the general plan of the cycle. The role of the grotesque and fantasy in the story.
The theme and artistic originality of the story by N.V. Gogol "Nevsky Prospekt": a romantic interpretation of the theme of art. The images of Piskarev and Pirogov: the specificity of the antithetical image, portrait characteristics, the evolution of characters. Artistic time and space: mythopoetic perception of the image of St. Petersburg.
Ideological, artistic and genre specifics of the comedy by N.V. Gogol's "Inspector". Socio-historical and moral-philosophical problems. Image system. The role of the final
Poem N.V. Gogol "Dead Souls": themes, plot-compositional structure, chronotope. The image of Chichikov and methods of its creation. The role of the portrait in shaping the image of the central character. Chichikov with the system of images of the poem. Gallery of landowners and features of its construction.
Genre originality of the poem by N.V. Gogol "Dead Souls": features of the epic and lyrics, the role and place of inserted genres in the work. The specificity of the author's intention, biblical allusions, the influence of masterpieces of world literature on the formation of the writer's intention.
“Selected places from correspondence with friends” N.V. Gogol. Socio-political and religious-philosophical views of the author. The problem of creativity and purpose of the writer in the work. The controversy around the "Selected places ...".
The final stage of romanticism did not have a specific localization like early Jena and Heidelberg romanticism.
Representatives:
THIS. Hoffmann, A. Chamisso, Eichendorff, early Heine.
Late romanticism developed a number of provisions of early romanticism, in particular the concept of a brilliant personality.
A new trend: the isolation of the genius from the crowd. Dissonance between a bright creative personality and a faceless crowd. The feeling of life's discord with reality is explained by the fact that, in the end, it is realized that the ideal is impossible, unattainable.
Late romantics are skeptical about the ideal. Action imposes heavy fetters, from which it is impossible to escape. - P. romanticism is skeptical, ironic, devoid of initial optimism. - The late romantics have an actualization of modernity.
The principle of romantic irony was borrowed from y.rom-ma, which was embodied as fully as possible in Hoffmann's TV.
Ideas and thin principles of Hoffmann rendered influence on the last li-ru both realistic (O. Balzac, C. Dickens, F. M. Dostoevsky), and symbolist(irrational and mystical motives). The democratic ideas of the late R found their expression in the works of A. Chamisso, the lyrics of G. Müller, in the poetry and prose of Heine, who rightly called himself "the last romantic" (he goes beyond the scope of Romanticism proper and subjects its legacy to critical revision).
The duality inherent in Hoffmann is also found in Adelbert von Eichendoff.
Ernst Theodor Amadeus HOFFMANN 1776-1822
The brightest representative of not only the late R, but also the most popular German romantic.
a lawyer by education, but he realized himself creatively in music (Hoffmann - the author of the first romantic opera, the creator of a number of singspiel, a music critic); he is an artist, a creator of cartoons; decorator, created murals in the church; stage director of performances, conductor; writer.
He entered li-ru already at a mature age. His first pr-e was printed in muses. newspaper. His main character is a musician. In many works - the hero Kapellmeister Kreisler- the alter ego of Hoffmann himself, his unrealized musical talents and dreams.
The use of the technique of "synesthesia" shows talent in many types of art. "Synesthesia" - the perception of the outside world by atypical channels of communication.
G's work is fantastic, even phantasmagoric. Frequent reception - grotesque. Most often, everyday life, the world of philistines. Their existence is sharpened to the point of absurdity.
Influenced Edgar Allan Poe - psychologism, tragic pressure. Dickens, Musset, Balzac, Odoevsky, Pogorelsky, Gogol, Dostoevsky, Bulgakov, Kafka, Zegers (+ short story "Meeting on the Road"), Suskind.
"Cavalier Gluck" 1809 / "Memories from 1809" - subtitle.
Debut G on the cast path. Manifestations of the main worst features of TV G.
The principle of duality. G creates two layers:
Real. Events in Berlin, detailed descriptions of the life of the city, the perception of music by Berliners, a casual conversation, a walk. Three random meetings related to the discussion of music.
Surreal. The stranger calls himself in closing words - Christoph Gluck, but the composer died long before the event - 1787. The main theme is music. The problem of true TV-va. Musical life in Berlin is active, but music-making is reduced to schoolchildren's reproduction of notes. There is no truth, no real music. But Gluck is able to create real music based on improvisation, novelty.
novel mysticism. Hoffmann's desire to realize what the spiritual life of a chela is - a continuation in other short stories. The explicit presence of the author: - first-person narration (for believability)
Identification with Hoffmann himself. The choice of Gluck as the main character is not accidental. To him belongs the merit of the reform of the opera, he strove for the conformity of the musical language and content.
The short story was published in a musical newspaper, later included as a title in the collection "Fantasy in the manner of Callo" "Golden Pot" - "a fairy tale from modern times" - subtitle.
Composition, architectonics. 12 parts - vigil. Vegilia - night guard (from Roman times.) - night time of narration, author's time. The meaning - in the fourth vigil - night is a special time of day, darkness. Darkness awakens creativity, looking beyond the lines of mystery. Sleep is a confirmation of the existence of the world of spirits.
Dvoemirie: The main events in Dresden / surreal in the mysterious country of Atlantis. The characters belong to both reality and fantasy. Archivist Lenghorst - an eccentric, associated with spiders, an alchemist = Prince of salamanders, prince of spirits. Shooting gallery of the daughter, snakes: Serpentine (middle) - enchanted Anselm.
The means for penetrating the world of nature is love. Anselmo understands the language of nature: the elder bush, the wind, the sun's rays. A story about Atlantis, about events: the story of a fiery lily. Actors - plants, spirits, chemical elements - the idea of the inseparability of all things. Mutual relations m / y real and irreal - through the heroes-enthusiasts, Anselmo. He is naive, receptive, impressionable, clumsy as a child, funny.
The world of philistines - Veronica. A young lady, cheerful, attractive, respectable. The dream is a happy marriage with Anselmo.
At the beginning - emotional attachment between Anselmo and Veronica. In the finale, Veronika becomes the lady court adviser with Geebrandt. G's relationship to the family. For the townspeople: marriage is a means of increasing social status, no lyric feelings, no love. For "true musicians": Anselmo and Serpentina - deep feelings. A real spiritual marriage is only in a fantasy world.
The final: wedding gift - a golden pot with a lily. Evil pot - counterweight to the blue flower of Novalis. Ordinariness breaks all human aspirations, brings us back to earth, disappointment due to late romanticism.
The world of Hoffmann's fairy tale has pronounced features romantic duality, which is embodied in the work in various ways. The dual world is realized in the system of characters, namely, in the fact that the characters are clearly distinguished by belonging or inclination to the forces of good and evil. In The Golden Pot, these two forces are represented, for example, by the archivist Lindhorst, his daughter Serpentina
Novella "Sandman" 1818
The story "The Sandman" was first published in the 1st part of the Sat "Night Stories", which combines works reflecting Hoffmann's interest in the "night side of the soul", in the subconscious, irrats in the human psyche, saturated with "nightmares and horrors." Hoffmann is attracted by the theme of madness, crime, mysterious, pathological states of mind. The image of the Sandman, who frightens children and who in the evenings pours sand into their eyes so that they fall asleep faster, is borrowed from folk tales. The motif of selling eyes is also borrowed from German folklore. The story uses real facts and faces. The alchemical experiments described by Hoffmann were actually carried out in Germany at the beginning of the 19th century. The prototype of the lawyer Coppelius was a real person - military adviser I.-G. Shefner (1736-1820).
The protagonist - Nathanael. He is sure that demonic forces rule over him. He was told the tale of the Sandman. Identification of the sandman from the fairy tale with lawyer Coppelius, who communicated with Nathanael's father. Later, a meeting with a trader in barometers and optics Coppola, who resembled the lawyer Coppelius. The merchant was connected to the creator of the mechanical doll.
The image/motif of the eyes are related to the main event. Olympia is beautiful, but she has a lifeless look. The image of the eyes takes on a demonic meaning. Female images: Olympia is perfect, but she has a lifeless, cold look. Clara is not a beauty, but the look of her bottomless blue eyes is attractiveness, love of life. Aesthetics of horror: the image of the automaton - Olympia, replacing a person with an automaton.
Literary process in 1830-1850. in Germany. Biedermeier. Group "Young Germany".
LITERATURE 1820 -1850
The victory over Napoleon in 1815 led to the creation at the Congress of Vienna of a new state formation - the German Union. Prussia and Austria gained a dominant position in it, but in general, the 38 German states that entered it retained their independence. A policy of stability began to be pursued, which, after the military devastation, received enormous support among the people. 1815-1848 - epoch Restorations. Ideologist of the new order - Austrian Chancellor Clemens Wenzel Nepomuk Lothar von Metternich (1773–185 9).
In the 1830s, at the time of the liberation movements in Poland, Greece and other countries, the German opposition found hope for democratic change, but in reality there was a tightening of censorship. So, since 1835, a ban on the works of Young Germany, Heine, Berne, and others has been introduced in Germany. Emigration is increasing: Buchner, Heine, Herweg, Freiligrath, Marx are forced to flee. On the whole, intellectual activity is being politicized (theories of "scientific communism" appear, which also influenced li-ru).
1848 - the "spring of nations", a wave of revolutionary uprisings throughout Europe. In March 1848, an attempt was made to carry out a revolutionary coup in Germany, but by the end of the year, the main centers of the uprising were suppressed. The authorities made minor concessions: the most radical ministers (including Metternich) were removed, the so-called all-German Frankfurt parliament was convened, a semblance of a constitution was introduced in a number of lands, and some restrictions on censorship were lifted.
The main literary phenomena of the era of 1820-1850 - Biedermeier and Young Germany- represent 2 variants of reaction to the social situation of their time. as well as the previous era romanticism. bieder- simple-hearted; Biedermeier- layman, philistine.
The concept of "Biedermeier" originates from the name of a fictional character from the collection of Ludwig Eichrodt and Adolf Kussmaul "Poems of the Swabian school teacher Gottlieb Biedermeier and his friend Horace Troicherz". The poems of this caricatured hero, a limited and self-satisfied philistine, were a parody of the works of the Swabian romantics. Thus, the word "Biedermeier" initially acquired a parodic meaning. By 1900, the concept had already lost its negative connotations and began to be used in the sense of "the good old days." At the same time, the chronological scope of the use of the term expanded: the word was used to denote style in the art of the Restoration era, characterized by convenience and practicality. Biedermeier is moving away from romantic passions and abstractions into the sphere of private life, desire for comfort and stability in the circle of loved ones. Hence - apathy, local patriotism, loving attention to details, faith in goodness and harmony, self-restraint, resignation to fate, observance of the middle in everything, appeasement. The fu-iya of art and the role of the artist are rethought in comparison with romantic perception: the idea of messianism is being replaced by the idea that art is called from the inside to harmonize the relationship between man and the surrounding (natural and social) world. These features are reflected in the work of the following writers.
In Germany: Annette von Droste-Gülshof (Hülshof), Eduard Moerike, Paul Heise;
In Austria: Ferdinand Raimund, Franz Grillparzer, Nikolaus Lenau, Johann Nepomuk Motley, Adalbert Stifter and others.
