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Byron's poetry. George Gordon Byron. Love lyrics. "Innovation in Byron's love lyrics"

George Byron occupies a place of honor in English romanticism, and his gloomy selfishness, which filled his poems, gave his personality special fame. One of the main characters, Childe Harold, led to the fashion for Byronism as a new movement throughout Europe. This continued even after Byron's death.

Themes of George Byron's poems:

The writer's early years were very productive - several hundred pages of a novel, a poem of more than 350 verses, as well as many short poems. With such a flow of works, criticism could not break the young writer, and he continued to write further.

After traveling around Europe and returning back to England, the poem “Childe Harold’s Pilgrimage” was written, which brought unprecedented fame to the writer and sold 14,000 copies in 1 day. This work was very relevant at that time and touched upon many social problems that went beyond the borders of England.

Most of Byron's poems are autobiographical, which is not typical for other romantics. However, this makes his works especially useful for connoisseurs of the poet’s work.

Byron began his journey into literature with lyric poems. During the years of study at Cambridge University Byron published poetry collections: “Poems for Occasion” (1806), “Leisure Hours” (1807). The first collection was published anonymously, and the second with the author's name, which was completely demolished by criticism. In response, Byron created a satire called “English Bards and Scottish Reviewers” (1809) in which he not only sarcastically ridiculed his critics and entered into polemics with representatives of the first generation of Volyn romantic poets who belonged to

The so-called “Mischievous School”, regarding the principles according to which modern literature should reflect life. By the way, the critics were right about many things: the poet’s early lyrics were immature and inconsistent, although they were not spared the brilliance of poetic genius.
The artistically perfect images of Byronic lyricism include; a cycle of love poems addressed to Mary Chaworth, with whom the poet was in love during his student years: the poems are addressed to his half-sister Augusta (from his father’s first marriage); a cycle of poems dedicated to the historical figure of Napoleon, whom the poet, like many other Europeans, first idolized, and with whom he later became disillusioned, outraged by his aggressive policy; the poetic cycle “Jewish Melodies” containing 23 poems written on biblical motifs and at the same time full of echoes of modernity.
Byron's lyrics have already become for his contemporaries a vivid embodiment of new, definitely romantic poetry. Perhaps Byron's main artistic discovery was that he made his own soul the main character of his story. His spiritual openness and sincerity is amazing. The lyrics also define the main ideological and artistic priorities of the poet: on the one hand, this is the motive of fatigue, disappointment, loneliness, which begins the pathos of “world sorrow”, and on the other hand, these are god-fighting and rebellious motives imbued with freedom-loving pathos, which are best reflected and continued in the image of a Byronic hero.
One of the poet’s outstanding lyrical poems was “My spirit is like night” and the poem is based on ancient Greek myth"Prometheus". In the latter, Byron's poem emphasizes not only the suffering and betrayal of the protagonist, but also raises the patriotic spirit.

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Byron's lyrics

In the formation of Byron's artistic method, "oriental poems" along with "Childe Harold" played a decisive role. Perceived by contemporaries as a great poetic discovery, they laid the foundations of Byronism in all its genre varieties, primarily the purely lyrical. Of course, the rich area of Byron's lyrics is chronologically connected not with individual periods of the poet's activity, but with his entire creative path. However, its basic artistic principles were developed in parallel with the poems of 1812-1815, and their internal connection is undeniable. Despite the fact that, by the nature of its immediate content, Byron's lyrical legacy can be divided into two groups: intimate-psychological and heroically rebellious, in essence it represents a single whole. Its different thematic aspects connected by a commonality of the lyrical “I”. Although the lyrical hero of Byron's poetry evolved along with his author, the main features of his spiritual appearance: world sorrow, rebellious intransigence, fiery passions and freedom-loving aspirations remained unchanged. The richness and diversity of these psychological shades determines the sonority of the resonance that was caused by Byron's lyrics and did not cease throughout the 19th century, causing responses in world poetry. Each of Byron's European poets-fans and successors found in him motives that were in tune with his own thoughts and feelings, and, using Byron's poems as a form of self-expression, simultaneously reproduced both the English poet and himself. Thus, Russian readers are given a vivid idea of the nature of Byron’s psychological lyricism by his poem “My Soul Is Gloomy...”, which became the property of Russian poetry thanks to the translation by M. Yu. Lermontov, whose perception is especially close to the sentiments embodied in this example of the English poet’s lyrical creativity. Inspired by a biblical legend (King Saul, overcome by madness, calls upon the young singer David to dispel his master’s melancholy), this poem with enormous tragic power reproduces the state of a deep, gloomy, harsh soul, tormented by some mysterious sorrow. The impression of the bottomless depth of this soul and the unbearable weight of the sadness that oppresses it is enhanced by the poetic structure of the poem. Its main theme, set already in the first line (“My soul is gloomy”), is revealed according to the principle of increasing drama, which reaches its culmination in the last two stanzas:

Let your song be wild. Like my crown

The sounds of fun are painful to me!

I tell you: I want tears, singer,

Or your chest will burst from pain.

She was full of suffering,

She languished for a long time and silently;

And the terrible hour has come - now it is full,

Like a cup of death, full of poison.

The confessional, deeply personal nature of this unique lyrical monologue, only formally connected with the Bible (the only word “crown”, going back to the biblical source, belongs to M. Yu. Lermontov and is absent in the original), is also inherent in Byron’s political lyrics. Its distinctive feature is the fusion of intimate, personal emotions with civic feelings poet.

The inseparability of this single lyrical complex is manifested with particular clarity in poems dedicated to Greece, a country whose dream of liberation became a running motif in Byron’s poetry. An excited tone, heightened emotionality and a peculiar nostalgic shade, born of memories of the past greatness of this country, are already present in one of the early poems about Greece in “Song of the Greek Rebels” (1812):

O Greece, arise!

Glow of Ancient Glory

He calls the fighters to fight.

A great feat.

Per. S. Marshak

In Byron's later poems on the same topic, the intimate coloring increases. In the last of them, written almost on the eve of his death (“Last lines addressed to Greece”, 1824), the poet addresses the country of his dreams as a beloved woman or mother:

Love you! don't be harsh with me!

The imperishable foundation of my love!

I am yours - and I can’t cope with this! Transl. G. Shmakova

The poet best characterized his perception of civic issues in one of his lyrical masterpieces, “From a Diary in Kefalonia” (1823):

Alarmed dead dream, - can I sleep?

Tyrants are crushing the world - will I give in?

The harvest is ripe - should I delay reaping?

On the bed there is a thorn; I don't sleep;

The trumpet sings in my ears throughout the day.

Her heart echoes her... Transl. A. Blok

The sound of this fighting “trumpet”, singing in unison with the poet’s heart, was audible to his contemporaries. But the rebellious pathos of his poetry was perceived by them differently.

Consonant with the sentiments of the progressive people of the world (many of them could say about Byron together with M. Yu. Lermontov: “We have the same soul, the same torments”), the revolutionary rebellion of the English poet led him to a complete break with bourgeois England. The hostility of its ruling circles towards Byron especially intensified due to his speeches in defense of the Luddites (workers who destroyed machines in protest against inhuman working conditions). Incited by all this, the British "zealots of morality" took advantage of the poet's personal drama - his divorce proceedings - in order to settle scores with him. By making Byron an object of persecution and bullying, reactionary England brought its greatest poet to the position of exile.

The turning point in Byron's personal life coincided with a turning point in world public life. The reign of reaction associated with the fall of Napoleon and the establishment of the power of the Holy Alliance, which opened one of the most joyless pages of European history, at the same time marked the beginning of a new stage in the poet’s activity. His creative thought rushes into the mainstream of broad philosophical conclusions. The idea of the vicissitudes of life and history, already present in previously created works, now becomes the subject of his intense thought. This tendency clearly emerges in the last two songs of Childe Harold, where the desire for generalization historical experience humanity, and previously characteristic of the poet, takes on a much more purposeful character. Reflections on the past, clothed in the form of various historical reminiscences (Ancient Rome, from which ruins remain, Lausanne and Ferneuil, where the shadows of the “two titans” live - Voltaire and Rousseau, Florence, which expelled Dante, Ferrara, which betrayed Tasso), included in the third and The fourth song of Byron's poem indicates the direction of his quest. Key way The second part of Childe Harold is an image of the field at Waterloo. The sharp turning point in the destinies of Europe, which took place at the site of Napoleon's last battle, pushes Byron on the path of summing up the results of the just-dead era and assessing the activities of its main character, Napoleon Bonaparte. This assessment this time is more objective than before.

Considering Napoleon in a “retrospective” light, the poet notes the duality of his historical role. In the fate of the great Corsican, Byron sees a direct result of the internal fragmentation of this “too great and too small” son of his age. A victim of “himself,” of his individualistically contradictory consciousness, “the strongest, but not the worst” of modern people, Napoleon simultaneously became a victim of the fatal laws of history.

“The Lesson of History” prompts the poet not only to draw conclusions about individual events and figures, but also about the entire historical process as a whole, which is perceived by the author of “Childe Harold” as a chain of fatal fatal catastrophes. But this pessimistic point of view is not maintained with complete consistency. Contrary to his concept of historical “fate,” the poet comes to the conclusion that “after all, your spirit, freedom, is alive!”, and still calls on the peoples of the world to fight for it.

“Rise up, rise up,” he addresses Italy (which was under the yoke of Austria), “and, having driven away the bloodsuckers, show us your proud, freedom-loving disposition!”

Having merged together, these “polar” moods will enter the system of philosophical and philosophical-historical views of Byron. This system, as always with Byron, was built under the sign of the adjustments he made to the rationalistic doctrine of the Enlightenment. In accordance with this, one of the main places in it was occupied by the problem of the capabilities of the mind, its consistency as a factor in life and historical development.

The first period of creativity (1807-1809). The collection of poems "Leisure Hours" (1807) is Byron's first literary experience. In this collection, the young poet is still under the spell of his favorite images of English poetry of the 18th century. Either he imitates the elegies of Gray (the poem “Lines written under an elm tree in the cemetery in Garrow”), or the poetry of Burns (“I want to be a free child...”); but the influence of the didactic poetry of the classicists (the poem “On the Death of Mr. Fox” and others) is especially strongly felt in Byron’s early works. At the same time, in some early poems the poetic individuality of the future creator of “Cain” and “Prometheus” is already beginning to show itself. This is evidenced by the sometimes manifested passion of tone and the deep lyricism of some lines. The author of “Leisure Hours” speaks contemptuously of the “secular mob”, of “swaggering nobility” and wealth. Lyrical hero the collection wants to escape from the hypocrisy and falsehood of respectable society to the mountains of his native Scotland. In communication with nature, he tries to find healing from the spiritual wounds inflicted by the heartless world of noble hypocrites.

Byron's poems were noticed by the public. However literary critic from the Edinburgh Review, an influential liberal magazine, gave them a negative review. The poet responded to it with the murderous satire “English Bards and Scottish Observers” (1809), which is considered to be Byron’s first mature work, although not entirely free from imitation of classicist poetics. This satire was also the first literary and political manifesto of revolutionary English romanticism. Byron subjected all recognized literary authorities to evil ridicule in it. He mercilessly ridiculed the reactionary romantics - Southey, Wordsworth, Coleridge, the author of numerous mystical-adventurous novels Lewis and others. However, Byron not only criticized contemporary English literature; he spoke with praise of Sheridan (the creator of a wonderful satirical and everyday comedy), of the democratic poets Rogers and Campbell (for their loyalty to the civic ideals of the 18th century Enlightenment), as well as of the realist poet Crabbe.

Byron demanded that writers become “closer to life” and discard antisocial, religious and mystical sentiments that cover only “naked selfishness and arbitrariness.” Byron called for creative use of folk poetry, speaking in a language understandable to ordinary people:

Achaean golden horsetail

Leave it and remember your dear one!

12. The reasons for the emergence and originality of the cycle of “oriental poems”

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1.Introduction……………………………………………………………………..3

2.Byron's lyrics………………………………………………………. .5

3. The innovation of Byron’s lyrics………………………………………………………7

4. Conclusion…………………………………………. ………………..15

5. List of used literature…………………………………..16

Introduction

Dissatisfaction with the results of the French Revolution and the strengthening of political reaction in European countries following it turned out to be suitable soil for the development of romanticism. Among the romantics, some called on society to return to the previous patriarchal way of life, to the Middle Ages and, refusing to solve the pressing problems of our time, went into the world of religious mysticism; others expressed the interests of the democratic and revolutionary masses, calling for the continuation of the work of the French Revolution and the implementation of the ideas of freedom, equality and fraternity. An ardent defender of the national liberation movement of peoples, an exposer of tyranny and the policy of wars of conquest, Byron became one of the leading founders of the progressive trend in romanticism. The innovative spirit of Byron's poetry, his artistic method of a new type of romanticism was picked up and developed by subsequent generations of poets and writers of various national literatures.

Byron's work was innovative, it contained ideas that excited both his contemporaries and subsequent generations. What was left unsaid and not understood by Byron was explained or gave rise to new disputes, but his work always disturbed minds and awakened imagination. And the poet, as if foreseeing this, said:

I didn’t live in vain!

Although, perhaps, under a storm of adversity,

Broken by the struggle, I will fade away early,

But there's something in me that won't die

What neither death nor time flight,

Neither slander will destroy enemies,

What will come to life in a multiple echo...

Byron's lyrics

The name of Lord George Gordon Byron is associated with the English language and English literature. It is perhaps difficult now to imagine what this mysteriously disappointed pilgrim, chosen one and exile, idol and demon rolled into one, meant to his contemporaries. His charm bordered on magnetism, his image was legendary. Under the sign of Byron, literature, music and the art of romanticism developed, beliefs, way of thinking, and behavior were formed. He was, along with Napoleon, the idol of his era, being the most prominent personality among the great poets of England at the beginning of the 19th century.

With the exception of Shakespeare, Byron, of all English poets, is the one whom Russian readers know best. But in his own country his position is not so secure for a number of reasons.

First, there was a protest against Byron's brutal war against the tyranny and hypocrisy of the Church and Estate (which was thinly disguised as a protest against the poet's supposed immorality). Then, in the second half of the 19th century, during the dominance of the “Arts for the benefit of art” program, Byron’s poetry, as N. Dyakonova writes, “was declared technically limited, unmusical and old-fashioned.” The complete injustice of this opinion is all too obvious. The prejudice of aesthetes - poets and critics - was rooted against all poetry with a clear meaning, a direct exhibition of social and ethical concepts. In addition, the poets of the second half of the century, especially the aesthetic school, followed the example of Byron's romantic contemporaries more than his. The subsequent development of much of English poetry continued in the opposite direction to that taken by Byron. Therefore, in England his art was and is still criticized as belonging to an era of the past and different from modern trends. No one in England caused such an explosion of conflicting feelings as Byron. He was idolized - and cursed, exalted to heaven - and mixed with dirt, proclaimed a genius - and mediocrity. In relation to Byron, a number of evaluative epithets have developed - deep, dark, strong, powerful, and at the same time - monotonous. One of the first in Russia (in an article in 1824) was V.K. Kuchelbecker contrasted “the huge Shakespeare and the monotonous Byron.” Pushkin saw the primary source of this widespread opinion about Byron’s monotony in English criticism, which more than once testified to the one-sidedness of Byron’s talent, even while marveling at the strength of the poet, who, according to W. Scott, was able to “bring the same character onto the public stage again and again.” , which does not seem monotonous only thanks to the powerful genius of its author." In Byron's art, romantic individualism struggled with his taste for classical poetry, whose harmony, symmetry and correctness he considered as a variant of the construction of his rationalist ideals. Despite great amount There is not much literature devoted to critical literature devoted to Byron's work, to the analysis of his purely lyrical theme, its features and linguistic analysis. Byron's love lyrics were partly obscured by the great shadow of his dramatic works and poems, of which they were a part. As I. Shaitanov noted, “the replication of the Byronic hero created Byronism, from which it is still difficult to separate Byron. The hero overshadowed the author. In relation to creativity, the same formula can be expressed as follows: the poem overshadowed the lyrics. And within the genre of the poem: the narrative, plot principle prevailed over lyrical assessment." Seen this way, Byron looked monotonous. Therefore, it seems an urgent task to try to fill this gap by proving the innovation, modernity and specificity of the love theme in the lyrics of the English classic. “To read Byron again today is to a large extent to see him as a lyricist.”

Innovation in lyrics

Byron's innovation, which was reflected with such force in his poems, manifests itself in these years in the field of lyric poetry, in particular in love lyrics. With the end of the Renaissance, English lyric poetry for a long time lost that feeling of the inextricable unity of the spiritual and carnal principles, without which love lyrics cannot convey the living voice of human passion. The loss of this integrity was facilitated by both the influence of Puritanism, under the banner of which the bourgeois revolution of the 17th century was carried out, and the cynical licentiousness that was opposed to Puritanism by the aristocratic literature of the Restoration. In the 18th century, this gap was legitimized by literary tradition and consolidated by the division of lyrical genres. “High” passion, speaking in the lofty language of classicist abstractions, is poured out in rhetorical, pompous and cold elegies and messages. And the earthly joys of love turn out to be primarily the subject of “comic”, frivolous, and often naturalistically crude poetry. Burns, the great poet of the Scottish people, was the first to overcome this gap and return to written poetry that unity of spiritual and physical that has always lived in oral folklore. Byron, who highly valued Burns, follows his example in the natural expression of lyrical feeling. The sensual fervor" of his poetry, noted by Engels, does not exclude, but presupposes sincerity and depth. Inherited by Byron from Enlightenment materialism, contrary to the idealistic reaction of his time, respect for the earthly natural man, recognition of the legitimacy of all his natural rights and aspirations, forms the ideological subtext of his love lyrics. In contrast to the poetry of reactionary romanticism, where love was presented as a melancholic and even, by its very earthly nature, fatal and tragic feeling, Byron's love lyrics reveal a bright, beautiful ideal of man.

At the heart of Byron's love lyrics is his passionate defense of the human right to the fullness of this generous earthly happiness.

Byron's lyrics owe much to folklore; the poet loved folk songs and willingly translated them. The closeness to folk songs is manifested in the artlessness, simplicity and power of expression of feelings, and in the melodiousness of his love lyrics. Many of his stanzas are set to music.

It is in Byron's lyric poetry - in the "Jewish Melodies" and in the so-called "Napoleonic" lyrical cycle - that in these same years the ways of overcoming the individualistic rebellion of the "Eastern poems" are most clearly outlined. "Jewish Melodies" was written by Byron at the turn of 1814-1815. The copyright was given by Byron to the young composer Isaac Nathan, who, together with another composer, I. Bram, set “Hebrew Melodies” to music.

One of the most famous works This cycle is the work “My Soul is Gloomy”. In his work, the author touches on the theme of suffering, bitterness, sadness accumulated in the soul. Before us stands the image of a hero, killed by his grief, but nevertheless, not completely despairing. He still hopes that “the sounds of heaven will awaken in his chest.” The lyrical hero does not come to terms with the fact that “the terrible hour has come.” On the contrary, he sees the meaning of his life in confronting the “terrible hour.” He longs for tears only because this is the only way he can awaken hope in his chest and get rid of suffering.

The lyrical hero pronounces a call that expresses his desire to get away from unbridled fun, in which he sees only torment and suffering. It sounds like a riot of life, which emphasizes his masculinity and the nature of a true fighter.

"Song for the Luddites." Luddites in England at the beginning of the 19th century were workers who fought for better life for myself. Ordinary people in England at that time lived very poorly. They worked a lot (twelve to fourteen hours) and received very little money. There were a lot of women and small children in factories at that time. I especially feel sorry for the children. They could not study and often could not even read or write. WITH early childhood they had to work just like adults so that they could survive.

The Luddites opposed such orders, against the owners of factories and factories. They disabled cars and organized demonstrations to protest their hard lives. They were called Luddites because they had a legendary leader named Ludd. Nobody knows if he really existed. But, like another folk hero Robin Hood, he was a symbol of the struggle for freedom. George Byron wrote his poem about these people. It begins with these words:

As once for freedom in an overseas land

The blood ransom was paid by the poor people,

So we will buy our will.

We will live free or we will fall in battle!

Death to the lords! Hail Ludd!

In these lines, George Byron reminds the workers of how their brothers in North America fought for freedom. Then, at the end of the 18th century, the inhabitants of the North American colonies rebelled against the power of the English king and won freedom with arms in their hands. The king sent troops against them, but they won and founded an independent country - the United States of America.

So Byron calls on the workers of England to follow the example of the colonists: take up arms and go into battle against the oppressors.

He believed that people must be free or die fighting for freedom. But you cannot live as slaves. We need to fight our oppressors:

We will weave linen for the tyrant's shroud,

We'll take up arms later.

Death is destined for the oppressors!

And we will fill up our dye vat,

But not with paint, but with blood.

Byron believed that only with arms in hand can a person win freedom. And the blood that people shed, fighting for their will, is not shed in vain:

This stinking blood is like life-giving ooze,

He will fertilize our soil, and on that glorious day

Renewed, filled with strength

The Liberty Oak that Ludd once planted,

And it will spread its canopy over the world.

Byron spoke and wrote extensively in support of Greece. At that time this country was under the rule Ottoman Empire, but the Greeks often rebelled against the Turkish yoke. For them, Byron wrote his famous “Song of the Greek Rebels.”

In this poem, he calls on the Greeks to bravely fight for their freedom and reminds them of the heroes of Ancient Greece. For example, he talks in it about the feat of the Spartans under the leadership of King Leonidas. They all died in the Thermopylae Gorge, defending the road to Greece. The Persians promised them life and wealth if they surrendered, but they proudly refused. They preferred to die free than to live as slaves. So Byron calls on the Greeks of his time to be the same:

Discard with contempt, Greeks,

Turkish yoke,

Blood of the enemy forever

Wash away the slave stigma!..

To arms! To victories!

Heroes know no fear.

Let him follow us

The blood of tyrants flows.

The poem “Prometheus” was also written on this topic. Here Byron used the ancient legend of Prometheus, a fighter against the tyranny of the gods, for the happiness of mankind. The image of this titan was one of the favorite images of Byron and his friend Shelley. Prometheus “always occupied my thoughts,” Byron admitted. He turned to his image in his youthful translations from Greek and in such mature works as “The Bronze Age” and “Don Juan”. The poem “Prometheus” calls for resistance to tyranny, exalting the noble feat of the titan - the protector and patron of people.

Northern Italy languished under the heel of Austria; its central and southern parts were fragmented into a number of despotic states in which feudal orders prevailed. Byron gets close to the dicks secret society Carbonari, with whose participation an armed uprising was being prepared. “Italy is loaded, and many are itching to pull the trigger,” Byron says in one of his letters. He takes an active, practical part in the Carbonara movement, helps Italian patriots with money, and weapons are hidden in his house in preparation for an uprising. The liberation of Italy for Byron becomes a “great thing.”

Short description

The work of the great English poet Byron entered the history of world literature as an outstanding artistic phenomenon associated with the era of romanticism. A new direction in art that emerged in Western Europe at the end of the 18th and beginning of the 19th centuries was a reaction to the French Revolution and the Enlightenment associated with it.
Dissatisfaction with the results of the French Revolution and the strengthening of political reaction in European countries after it turned out to be suitable soil for the development of romanticism. Among the romantics, some called on society to return to the previous patriarchal way of life, to the Middle Ages and, refusing to solve the pressing problems of our time, went into the world of religious mysticism; others expressed the interests of the democratic and revolutionary masses, calling for the continuation of the work of the French Revolution and the implementation of the ideas of freedom, equality and fraternity.

George Gordon Byron (1788-1824) is the largest and most prominent figure of English romanticism on a pan-European scale. “The poet of pride,” according to Pushkin’s definition, blinded and puzzled his contemporaries. Creative person Byron, the “living flame” of his poems and his dramatic fate met with an ardent and wide public response, sometimes enthusiastically and sympathetically, sometimes maliciously hateful, sometimes filled with confusion. Simultaneously with romantic poems Byron created love and heroic lyrics , to which the cycle “Jewish Melodies” belongs. The poet knew and loved the Bible well from childhood and in “Jewish Melodies”, turning to biblical motifs in the poems “On the Sacred Harp...”, “Saul”, “Jewthai’s Daughter”, “Vision of Belshazzar” and in a number of others, maintaining imagery and the plot basis of the episodes taken from this monument of ancient literature conveyed their epicness and lyricism. The cycle contains poems that are inspired by the poet’s personal memories and experiences, such as “She walks in all her glory,” “Oh, if there is beyond the heavens,” “She passed away,” “My soul is gloomy.” The whole cycle is united by a general mood, mostly sadness and melancholy. "Jewish Melodies" were written for the composer Isaac Nathan, who, together with the composer Breghem, set them to music. It was during this period, after Napoleon’s defeat at Waterloo and the subsequent political events in England and France, that Byron wrote a number of works about Napoleon - “Napoleon’s Farewell”, “From the French”, “Ode from the French”, “Star of the Legion of Honor” . References to the French source were made by the author in order to ward off accusations of disloyalty to the government from the newspapers where these works were published. In the cycle about Napoleon, Byron took a clear anti-chauvinist position, believing that England, waging war with France and Napoleon, brought many disasters to its people. Byron's love lyrics of 1813-1817 are distinguished by their extraordinary richness and diversity: nobility, tenderness, and deep humanity constitute its distinctive features. This is lyricism, devoid of any mysticism, false fantasy, asceticism, or religiosity. In the collection “Jewish Melodies” Byron creates his ideal of love. When speaking about the humanism of Byron's lyric poems, one must first of all keep in mind the spirit of freedom and struggle with which they are filled. In such pearls of his poetry as “Imitation of Catullus”, “To the Album”, “The Athenian Woman”, “To Thirza”, “I Decide”, “On the Question of the Beginning of Love”, “Imitation of the Portuguese”, “Separation”, “Oh, if there, beyond the heavens”, “You cried”, “Stanzas to Augusta”, etc. - he expressed the liberating ideals of the new time. Deep sincerity, purity and freshness of feeling, thirst for freedom, high and genuine humanity of the lyric poems awakened the consciousness of society, set it against the customs and mores implanted by the church during the period of reaction. The biblical stories developed by the author of the cycle serve as a conventional form, a tribute to the national revolutionary traditions coming from Milton, Blake and others. It’s interesting that the theme of individual heroism is addressed in a new way in this cycle. The poem “You have ended the path of life” tells about a hero who deliberately sacrificed his life for the good of the fatherland. The poet emphasizes that the hero’s name is immortal in the minds of the people.

^ Question 39. Eastern poems: the originality of the chronotope, composition, problematics, evolution of the hero.

George Gordon Byron (1788-1824) is the largest and most prominent figure of English romanticism on a pan-European scale. “The poet of pride,” according to Pushkin’s definition, blinded and puzzled his contemporaries. Byron's creative personality, the “living flame” of his poems and his dramatic fate met with an ardent and wide public response, sometimes enthusiastically and sympathetically, sometimes maliciously hateful, sometimes filled with confusion. Oriental poems of Byron (1813 - 1816) The result of Byron's travels were his poems. Beginning in 1813, from the pen of Byron one after another came out romantic poems, which later became known as “oriental”. The following poems belong to this cycle: “The Giaour” (1813), “The Bride of Abydos” (1813), “The Corsair” (1814), “Lara” (1814), “The Siege of Corinth” (1816) and “Parisina” (1816) . This definition in full, if we mean color, applies only to the first three; in “Lara,” as the poet himself pointed out, the name is Spanish, and the country and time of the event are not specifically indicated; in “The Siege of Corinth,” Byron takes us to Greece, and in “Parisina” to Italy. There is a certain logic in the desire to combine these poems into one cycle, suggested by common features characteristic of all the named poems. In them, Byron creates that romantic personality, which later, mainly in the 19th century, began to be called “Byronic.” The hero of Byron's "oriental poems" is usually a renegade rebel who rejects all the legal orders of a proprietary society. This is a typical romantic hero; it is characterized by the exclusivity of personal destiny, extraordinary passions, unbending will, tragic love, fatal hatred. Individualistic and anarchic freedom is his ideal. These heroes are best characterized by the words Belinsky said about Byron himself: “This is a human personality, indignant against the general and, in his proud rebellion, relying on himself.” The celebration of individualistic rebellion was an expression of Byron's spiritual drama, the cause of which should be sought in the death of the liberating ideals of the revolution and the establishment of a dark Tory reaction. This Byronian individualism was subsequently assessed very negatively by the English poet's advanced contemporaries. However, by the time the “eastern poems” appeared, this contradiction between them was not so striking. Much more important then (1813 - 1816) was something else: a passionate call to action, to struggle, which Byron, through the mouth of his frantic heroes, proclaimed as the main meaning of existence. The most remarkable feature of the “Eastern poems” is the spirit of action, struggle, daring, contempt for all apathy, the thirst for battle that is embodied in them; Contemporaries were deeply concerned about the thoughts scattered throughout the “eastern poems” about the destruction of the treasures of human strength and talents in the conditions of bourgeois civilization; Thus, one of the heroes of the “eastern poems” is sad about his “unspent gigantic powers,” and another hero, Conrad, was born with a heart capable of “great good,” but he was not given the opportunity to create this good. Selim is painfully burdened by inaction; In his youth, Lara dreamed of “goodness,” etc. The triumph of reaction gave rise to sentiments of cowardice and renegadeism. Reactionary romantics sang “obedience to providence,” shamelessly glorified the bloody war, and threatened “heavenly punishment” for those who grumble about their fate; In their work, the motives of lack of will, apathy, and mysticism sounded more and more strongly. A mood of depression has infected many the best people era. To the weak-willed, faceless heroes of the reactionary romantics, Byron contrasted the powerful passions, the gigantic characters of his heroes, who strive to subjugate circumstances, and if they fail, then they proudly die in an unequal struggle, but do not make any compromise with their conscience, do not make any the slightest concession to the hated world of executioners and tyrants. Their lonely protest is futile, and from the very beginning this casts a tragic shade on their entire appearance. But, on the other hand, their incessant desire for action, for struggle, gives them an irresistible charm, captivates and excites them. “The whole world,” Belinsky wrote, “listened with hidden excitement to the thunderous peals of Byron’s gloomy lyre. In Paris it was translated and published even faster than in England itself.”

The composition and style of "oriental poems" are very characteristic of the art of romanticism. It is unknown where these poems take place. It unfolds against the backdrop of lush, exotic nature: descriptions are given of the endless blue sea, wild coastal cliffs, fabulously beautiful mountain valleys. However, it would be in vain to look in them for images of the landscapes of any particular country. Each of the “oriental poems” is a short poetic story, the center of the plot of which is the fate of one romantic hero. All attention is aimed at revealing inner world this hero, to show the depth of his stormy and powerful passions. The poems of 1813 - 1816 are distinguished by their plot completeness; the main character is not only a connecting link between the individual parts of the poem, but represents its main interest and subject. But there are no large folk scenes, political assessments of current events, or collective images of ordinary people from among the people. The protest sounding in these poems is romantically abstract. The construction of the plot is characterized by fragmentation, a heap of random details; there are many omissions and significant hints everywhere. You can guess the motives driving the hero’s actions, but often you cannot understand who he is, where he came from, what awaits him in the future. The action usually begins with some moment snatched from the middle or even the end of the story, and only gradually does it become clear what happened earlier. Before all the “eastern poems”, “The Giaour” saw the light. The story was written in May - November 1813. Muslims called non-believers "giaur". The plot of this poem boils down to the following: The giaur confesses to a monk on his deathbed. His incoherent story is the delirium of a dying man, some fragments of phrases, the last painful flash of consciousness. It is only with great difficulty that one can catch the thread of his thoughts. Gyaur passionately loved Leila, she reciprocated his feelings. Joy and light filled the giaur’s entire being. But Leila’s jealous and treacherous husband Gessan tracked her down and villainously killed her. The giaur took terrible revenge on the tyrant and executioner of Leila. Gessan died a painful death at his hands. The poem "The Corsair" is a masterpiece of English poetry. The passionate power of a romantic dream is combined in it with the comparative simplicity of the artistic development of the theme; the formidable heroic energy of the verse in “The Corsair” is combined with its subtlest musicality; the poetry of the landscapes - with depth in depicting the psychology of the hero.

^ Question 40. Problems and genre features of the mystery “Cain”.

^ Question 41. The novel “Don Juan”: rethinking of previous problems and images, change in genre form.

^ Question 42. The work of W. Scott.

(1771–1832), English poet, prose writer, historian. At the request of his father, Scott chose a career as a lawyer, from 1786 he helped his father in business, and in 1792 he became a barrister. Although over time literary work became the main source of his well-being, he himself considered it a hobby. Scott's first publications were translations from G. A. Burger (1796) and J. W. Goethe. Many of his works are influenced by the Gothic school with its “horror novels,” but fortunately, in the 1790s, Scott became interested in Scottish ballads. In 1802 he published selected ballads under the title Songs of the Scottish Borders. This book brought him fame. In 1805 the poem own composition – Song of the Last Minstrel, which met the tastes of the time and quickly won the sympathy of the public. Behind Song poems followed Marmion (1808), Maiden of the Lake (1810), Vision of Don Roderick (1811), Rokeby(1813) and Scott's last great poem Lord of the Isles(1815). With the publication of Scott's first novel Waverley(1814) came in his life new stage. All novels were published without his signature, even after 1827, when Scott announced his authorship. Partial success Waverley determined by the same qualities that distinguished Song of the Last Minstrel, – the novelty of the style and vivid descriptions of Scottish customs. Scott's poetry- this is also an important initial period of its development, covering a total of about twenty years, if we consider that Scott’s first experiments were published in the early 1790s, and Waverley, conceived in 1805, was completed only in 1814; this is the important side of everything creative development Scott in general. The aesthetics of Scott's novels is closely connected with the aesthetics of his poetry, develops it and incorporates it into the complex structure of his artistic means. That is why this collection of Scott's works devotes such attention to his poetry. There is every reason to assume that Scott’s interest in national poetic antiquity also developed under the influence of German poetry late XVIII century, under the influence of Herder's ideas. In 1802-1803 it was published in three issues. big Book Scott's Songs of the Scottish Border. Another name has been added to the glorious galaxy of English and Scottish folklorists who collected and studied folk poetry. Scott's book, equipped with a meaningful introduction, a number of interesting notes and a detailed commentary, and sometimes also a recording of the melodies to which this or that ballad was performed, became an event not only in European literature, but also in science early XIX century. Poems. he, in essence, finally defeated the old classicist epic, represented in English literature of the late 18th century by the boundless production of artisan poets. Nine poems by Scott "The Song of the Last Minstrel"; "Marmion"; "Maiden of the Lake"; "The Vision of Don Roderick"; "Rokeby" "Wedding in Triermen"; "Lord of the Islands"; "Field of Waterloo"; "Harold the Fearless") is a whole epic world, rich not only in content and poetic skill, stanza, bold rhyme, innovative metric, enriched by folk verse, but also in genres. For example, the poem “The Song of the Last Minstrel” embodies the genre of a chivalric tale, saturated with the trends of European courtly poetry, of which Scott was a great expert. The poem "Maiden of the Lake" is an example of a historical poem, full of realities and true facts. It is based on a real event, the end of the house of Douglas, broken after a long struggle by the harsh hand of King James II, the main character of Scott's poem. This genre of historical poem, rich in realistic pictures and vivid landscapes, is most fully embodied in the poem "Marmion", which, like "Lord of the Isles", tells the story of the struggle of the Scots against the English conquerors, and especially in the poem "Rokeby". From "Rokeby" a direct path opens to Scott's historical novel. Several interpolated songs from this poem are included in this volume and give an idea of the polyphonic, deeply poetic sound of "Rokeby". In 1830 Scott republished his collection Songs of the Scottish Border with a lengthy preface entitled "Introductory Remarks on the Poetry of the People and on the Various Collections of British (Principally Scottish) Ballads."

^ Question 43. Historical novel by W. Scott: concept of history, connection between people. And the outside world.

Scott created a new art. thinking literature of modern times. The branch of history has moved forward. S. made a turning point, revealed to Europeans their own history, past, and the world of the Middle Ages. The creative method is a complex combination of the prevailing principles of romanticism with pronounced tendencies of realism. Fantasy in novels is associated with the beliefs of peoples and the peculiarities of their worldview in each of the eras described. The advantage of Scott's historical novel is the method of combining description privacy with historical events. S. never put the individual above society, emphasizing the dependence of the fate of an individual on the course of development of history. “Ivanhoe” (1819), the novel takes place at the end of the 12th century, the struggle between the Anglo-Saxons and the conquering Normans. The Normans win, which is historically natural; victory means the victory of the new general order. Paints a realistic picture of cruel feudal orders and morals. The Middle Ages in the novel are a bloody and gloomy period. The image of King Richard is idealized, this is Scott's conservatism, this led to romanticization. The people and their leaders - Robin Hood (Loxley) - are realistically conveyed. But against the masterfully recreated historical background, when compared with the gallery of original and brilliant images, the central characters - Ivanhoe and Rowena - lose out. Lots of history. Details, details - historical flavor. Walter Scott is characterized by a special composition of his novels - he brings to the fore the life of the people, shows a real picture of life. Reproduces the picture more vividly historical events. Ivanhoe is a multi-faceted, action-packed novel with many characters representing different strata of the time. Involved in the novel fictional characters and real historical figures. The descriptions of the setting, clothing, and folklore add credibility. Realism is combined with a romantic beginning, which manifests itself in interest in the Middle Ages.

Ivanhoe is a novel about the Middle Ages during the time of Richard the Lionheart. The narration moves slowly, the characters of the novel are described in detail, detailed details. Richard the Lionheart appears in the novel as the Black Knight, but his secret is only revealed at the end. The characters are described quite romantically. In any situation, Ivanhoe acts according to a sense of duty, remains faithful to his beloved Rowena. He took pity on Isaac, gave him a place at the hearth, wins several duels of the knights-templars, saves the beautiful Reveka, without betraying the knightly concepts of honor. Those. Ivanhoe is presented as an ideal romantic hero, with virtually no flaws. Love Ivanhoe. He is in love with Rowena, but fate decreed that he met Reveka, who is perhaps superior to Rowena, she is more courageous and noble. But because Ivanhoe is an ideal romantic hero; he cannot forget his beloved, despite the fact that he thinks about Rebekah. There is another romantic hero - Richard the Lionheart. The romantic Richard is more attracted to the glory of a wandering knight than to victory at the head of a hundred thousand army. The true Richard the Lionheart, as a historical figure, was not a romantic hero at all, but Walter Scott introduced him as another romantic hero who follows the concepts of knightly honor. In those days, knightly concepts forbade committing violence against a helpless knight. It is difficult for a knight to remain inactive when valiant deeds are being performed around him. Ivanhoe, despite his wounds, followed Richard to help him. The most terrible crime is betrayal of honor and duty. Construction of the novel. As a result, the author punished the criminals with death because they did not act according to the rules of chivalry. The female images are very bright. The image of Rebekah is more striking than the blond Lady Rowena, who is a typical image of a beautiful lady. And the image of Rebekah is more complex, sent to a special position due to her origin, she is more proud, bold, and courageous. She evaluates the battle under the castle walls differently. Ivanhoe believed that knights should rush into battle, but for her this was scary. She is secretly in love with Ivanhoe. She heals wounds and heals the sick. She has her own concepts of honor, and it is she who, in a situation of choosing between life and death, argues with the templar about fate. She is able to objectively and poetically evaluate the character of her captor Boisguillebert. She is not destined to be happy. She embodies the author's idea that self-sacrifice cannot be rewarded. The image of Rowena is a little blurry compared to Reveka, she does not endure all difficulties so steadfastly, when she found out that she would have to marry someone she doesn’t love, she begins to cry. And Reveka acted more boldly in a similar situation - she wanted to throw herself from a great height - she is more courageous and her image is more multifaceted. Briand de Boisguilbert. A very bright image. He appears as a stern, tough person. You can see his attitude towards the church, his faith. Despite his title as a clergyman, he speaks rather vulgarly about the Saxon princess Rowena, not at all like a clergyman. And we don't see him as a positive character. But then he falls in love with Reveka, his internal struggle is visible. He is ready to give up his title, name, he is ready to abandon himself, disgrace himself for the sake of his passion. At the tournament, when Reveka’s life is being decided, he approaches her and makes a last attempt to run away with her, but she refuses and, which may not be very plausible, then dies from emotional distress, which clearly shows a romantic line (he dies). As a result, Richard received the memory of his descendants, Ivanhoe received the love of his beloved, and Reveka received a clear conscience.

^ Question 44. French romanticism. Main representatives.

The uniqueness of the fate of romanticism in France lies primarily in the fact that it was in the country that created at the turn of the 18th-19th centuries. socio-historical and spiritual prerequisites for the emergence and development of this pan-European movement, romanticism as a worldview and artistic system acquired complete forms later than in other major European literatures - German and English. In any case, it became a national phenomenon only in the 20s, and only from the end of them and during the 30s does it demonstrate a wide palette of specific artistic means of expression inherent in this method. The reasons for this are rooted in the peculiarities of the national destiny of romanticism in France. The romantic concept of personality as an absolute truth gravitates towards the ideal of a genius personality, and the sign of genius becomes, first of all, a creative gift, making the individual potentially omnipotent, in fact, an analogue and true deputy of the creator on earth. Next, talk about the French Revolution ( Romanticism- not just the first in time and one of the most important artistic movements and styles of the 19th century. This term can define an entire culture, a general attitude historical era which began after the Great French Revolution. In this sense, romanticism manifests itself not only in literature and in art in general, but also in all spheres of social consciousness: science, philosophy, religion, politics, even in everyday life.) At the beginning of the century, the pre-romantic and romantic geniuses of France, in fact, even and do not allow thoughts about the opposition between art and social life. Quite in the spirit of the Enlightenment tradition, Stael, Chateaubriand, Constant, Ballanche, and even the most “unsociable” of them, Senancourt, write treatises on politics, on public morality, on literature “in relation to social institutions.” French romantics carry this interest in the topic of the day through subsequent decades; she performs in different aspects(for example, in the 20s, French romanticism will appear historical, i.e., apparently “not modern,” but in essence will remain acutely political and relevant), the layout of political sympathies and antipathies is changing (the characteristic “leftward movement” of romanticism in the 30s - Hugo, Lamartine), but increased excitability in political matters remains unchanged. And in this case we mean not only that, say, the “seraphic” Lamartine comes to politics or that Hugo and George Sand constantly appear as political and social artists. No less significant is how the other, so to speak, anti-political attitude is expressed. Creation Germaine de Stael(1766-1817) represents the strongest connecting link between the Enlightenment and Romantic systems. Steel reproaches French, “classical” literature for being alive with “transplanted” ideas borrowed from the ancients, for being “in no way national” and therefore accessible only to “educated minds”, but not to the general public. popular public. Romantic literature grew on national soil, “out of our beliefs and institutions.” For the classics, literature is primarily a technique and a “profession”; for romantics - “a religious hymn of the soul.” Steel asserts the priority of inspiration over imitation, “genius” over “taste,” and a passionate impulse of spirit over “rule.” The signs of romanticism as a new poetic system appear even more clearly in the works of Francois -René de Chateaubriand (1768-1848), and here they grow on a slightly different traditional basis than in Steel. Chateaubriand, like Stael, owes a lot to sentimentalism, and in his later work classicist features become more active. But Chateaubriand, an aristocrat by birth and conviction, is deeply hostile to the Enlightenment tradition itself and the bourgeois-revolutionary ideology associated with it; he, in fact, from the very beginning firmly chose for himself the role of a zealous defender of the restoration-monarchist principle and Christian religion. Victor Hugo, author of the novel "Cathedral Notre Dame of Paris ", one of the most famous works of world literature, as a writer and as a person - this is a separate bright page XIX history century and above all the history of French literature. Moreover, if in French culture Hugo is perceived primarily as a poet, and then as an author of novels and dramas, then in Russia he is known primarily as a novelist. However, despite all such “discrepancies”, invariably against the backdrop of the 19th century he rises as a monumental and majestic figure

^ Alphonse de Lamartine(1790-1869) The first collection Lamartine published, “Poetic Reflections” (1820), contains only a small part of the poems he had previously written. Poetic Reflections certainly contains a lyrical meditation on this topic. But the poet was more successful in poems that revealed to the reader the early 20s of the 19th century. the world of feelings, the experience of the soul. He created true impressions - pictures, closer to painting than to drawing, full of trembling, movement, and sounds. Alfred de Vigny(1797-1863) poem " A cheating wife"(1819), "Jephthah's Daughter" (1820), "Trouble" (1820), "Moses" (1822), "Eloah, or Sister of the Angels" (1824), "The Flood" (1826). George Sand(1804-1876) "Consuelo".