Thеmе: english romanticism and its development content introduction chapter I. Romanticsim in english literature

The present course paper is devoted to analyze characteristic attitudes of the topic: a deepened appreciation of romanticism’s literature, a general exaltation of emotion over reason and of the senses over intellect; a turning in upon the self and a heightened examination of human personality and its moods and mental potentialities; the hero, and the exceptional figure in general, and a focus on his passions and inner struggles.
The topicality of research work is learning necessary importance and development of Romanticism and its development.
The aim of research work is to give some main information about English Romanticism, its influence on history, a new view of the artists as a supremely individual creator, whose creative spirit is more important than strictness formal rules and traditional procedures.
The object of research is based on detailed emphasis upon imagination as a gateway to experience and spiritual truth, an obsessive interest in folk culture, national and ethnic cultural origins, and the medieval era; and a predilection for the exotic, the remote, the mysterious, the weird, the occult, the monstrous, the diseased in romanticism’s literature.
The subject of research work is clarifying that Romanticism’s literature and learning these contributions, writing styles as the best way of learning English Romanticism.
The structure of the work consists of introduction, main part, conclusion and bibliography.
In conclusion all important deductions Romanticism in English literature and its development have been summed up and formulated.
Bibliography contains of English, Russian and Britain literatures, and information from the Internet devoted to the information romanticism’s literature in English countries as such.


CHAPTER I. ROMANTICSIM IN ENGLISH LITERATURE

1. 
   The importance of Romanticism in English literature
   

Romanticism was an imaginative and scholarly development that began in Europe towards the finish of the eighteenth 100 years. It reached its peak in most of Europe between about 1800 and 1850. Romanticism was characterized by its emphasis on individualism and emotion, secret literature, and paganism. Romanticism was partly a reaction to the Industrial Revolution and the prevailing ideology of the Age of Enlightenment, particularly the scientific rationalization of Nature. It was embodied most strongly in the visual arts, music, and literature. Romantic thinkers were frequently suspicious of industrialization and rationalism. They also frequently glorified the Middle Ages (and other, earlier periods) by depicting them in moralistic, idealized forms. It also had a significant and complicated effect on politics, which included historiography, education, chess, the social sciences, and the natural sciences. Conservatism, liberalism, radicalism, and nationalism were all influenced by romantic thought. The movement emphasized intense emotion as an authentic source of aesthetic experience. It conceded another significance to encounters of compassion, stunningness, marvel, and fear, to a limited extent by naturalizing such feelings as reactions to the "wonderful" and the "sublime".[3,45] Sentimental people focused on the respectability of society workmanship and old social practices, yet additionally supported revolutionary governmental issues, unpredictable way of behaving, and valid immediacy. Romanticism revived medievalism and juxtaposed a pastoral conception of a more "authentic" European past with a highly critical view of recent social changes, such as urbanization, brought about by the Industrial Revolution. This was in contrast to the rationalism and classicism of the Enlightenment.
Heartfelt works were a response to the Period of Edification and the progressing Modern Age, a period wherein science and justification started to take firmer hold in the public cognizance. By depicting stories rooted in emotion, nature, idealism, and the subjective experiences of common men and women, romantic literature posed a challenge to this new wave of ideas.
It is essential to keep in mind that romance novels as a literary genre and romanticism are not the same thing. Romance novels of today may have been influenced by Romanticism, but they typically lack many of the essential characteristics of Romantic literature. Additionally, romantic love is not the sole focus of the term "Romantic." The term "romaunt" comes from the medieval French and means "epic, chivalrous quest told in verse."
The Origins of Romanticism Romantic literature was written at a time when the world was going through a complete paradigm shift. The Time of Edification delivered another variety of scholars and researchers who tested long-held thoughts regarding people's thought process, lived, and became. Naturally, the Enlightenment came soon after the Industrial Revolution. In the latter, the concepts and theories developed came to life in exciting new inventions that altered how people lived and worked.

When new ways of living become popular, there is always a certain amount of nostalgia for "the old days," and this phenomenon is what started romanticism. The development harkened back to when things were easier and more clear. Science, theory, and open religiosity were no substitute for the heart and one's most basic emotions in literature.

Germany was where the romantic movement began. The Sorrows of Young Werther by Johann Wolfgang von Goethe was a pivotal early romantic work that was infused with a sense of nationalism that later became a hallmark of German romanticism. However, romanticism did not explicitly focus on nationalist tendencies as it spread throughout Europe and beyond.
The rise of English poets like Wordsworth, Samuel Taylor Coleridge, Lord Byron, and Percy Bysshe Shelley marked the beginning of English romanticism in Great Britain. The English movement was launched with the publication of Lyrical Ballads in 1798, which included works by Wordsworth and Coleridge. The works of Jane Austen took center stage during the height of the English romantic era in the 1810s.

A subset of romantic literature known as dark romanticism originated in Germany as well. These works include components of the ghastly, odd, or satanic. They are similar to gothic literature, but unlike gothic works, which tend to focus more on horror, dark romanticism's scarier aspects do not overshadow romantic traits. E.T.A. Hoffmann, Edgar Allan Poe, and Nathaniel Hawthorne are among the dark romantic authors.

The ideals of American romanticism and English romanticism were generally the same: individualism; a life that is full of emotion and alone; the natural splendor; and moral decency. In 1818, William Cullen Bryant wrote the poem "To a Waterfowl," which became one of the first well-known romantic works in America. Emily Dickinson, James Fenimore Cooper, and Washington Irving were among the subsequent romantic American authors.
The Six Elements of Romanticism The majority of romantic works share six elements: the everyday person, the admiration of ladies, distinction, disengagement, nature, and wretched false notion.
The authors of the Common Man/Woman Romantic movement held the belief that the average reader ought to be able to comprehend and enjoy their works. This sentiment frequently extended to their characters' relatability. Heathcliff Linton from Emily Brontë's Wuthering Levels, for instance, is a worker; Jane Eyre's titular protagonist is a governess, according to Charlotte Bront. The majority of Jane Austen's heroines were typical young women seeking love. Romantic characters may have unique adventures or experiences, but they are not imposing personalities with towering intellect or might.
The Glorification of Ladies
The special case for the everyday person in heartfelt writing was the romanticized lady. Romantic writers would portray certain female characters as perfect, innocent, and naive bundles that required protection and, in some cases, worship. They possessed their admirers to the point of haunting them. Take the poem "Annabel Lee" by Edgar Allan Poe:
Because the moon never shines without giving me visions of Annabel Lee's beauty;
Even though the stars never rise, I can still see the beautiful Annabel Lee's sparkling eyes;
Thus, all the night-tide, I rests by the side
Of my sweetheart — my dear — my life and my lady of the hour,
In her tomb there by the ocean —
In her burial place by the sounding ocean.
The narrator of Poe's story places his lover on a pedestal because he is enamored by her beauty and because he was obsessed in many ways with their "love that was more than love." Not even demise can hold Poe's storyteller back from adoring and extolling Annabel; He even implies that angels murdered Annabel because they were so in love with him.
Characters and their inward lives were vital for Heartfelt journalists. They gave perusers admittance to the characters' deepest contemplations and wants, underscoring the particulars that made them tick. This hyper-center around emotional considerations and encounters opened the entryways for an expanded impression of the otherworldly — and, once in a while, the heavenly.
Heathcliff in Wuthering Heights is a classic example of Romantic individualism. He is an illustration of a Byronic legend — a figure in Heartfelt writing who is hopeless yet friendly, surly yet pleased and rebellious. Heathcliff is so energetically infatuated with Cathy that even after her passing, he can imagine of being with her:
You are aware that I was irrational after she passed away; and forever, from dawn to dawn, pleading with her to return her spirit to me! I have areas of strength for an in phantoms: I have a conviction that they would be able, and do, exist among us! A snowstorm arrived on the day she was buried. I went to the churchyard at night. It blew grim as winter — all round was singular. I didn't worry about her fool of a husband sneaking up the glen at such a late hour; also, no other person had business to bring them there. Being separated from everyone else, and cognizant two yards of free earth was the sole obstruction between us, I told myself — "I'll have her in my arms once more!"
A significant portion of Wuthering Heights is devoted to Heathcliff's development from a solitary youth to a besotted young man to a bitter, heartbroken individual as a result of his loss.
Isolation Isolation and the melancholy that comes with it were important parts of the experiences of romantic characters and, frequently, their authors. This dejection and alienation from the remainder of humankind gives the person a method for communicating the uniqueness of their encounters and contemplations.
John Clare, frequently called the quintessential heartfelt writer, expounded on the magnificence of segregation and nature on the ranch where he consumed his time on earth in the sonnet "I'm!":
I am, but no one cares or knows what I am;
I am abandoned by my friends like a lost memory:
Clare describes himself as a long-forgotten entity that only receives respect from himself—I am the self-consumer of my woes—they rise and disappear in oblivious host, like shadows in love's frenzied stifled throes As a result, it almost seems as though he doesn't even exist—his feelings vanish to nothing because no one is around to feel them.
The Sturm und Drang movement, which emphasized intuition and emotion over Enlightenment rationalism[3,52], was also directly influenced by the events and ideologies of the French Revolution. Many Romantic ideals were first articulated by German thinkers in this movement. numerous early Sentimental people all through Europe identified with the goals and accomplishments of French revolutionaries.[3,63] Sentimentalism lionized the accomplishments of "chivalrous" people - particularly specialists, who started to be addressed as social pioneers (one Heartfelt illuminator, Percy Bysshe Shelley, portrayed writers as the "unacknowledged administrators of the world" "With all due respect of Verse"). Romanticism also put the artist's individual, one-of-a-kind imagination ahead of classical form. In the final part of the nineteenth hundred years, Authenticity arose as a reaction to Sentimentalism, and was here and there a response against it. Overshadowed by new cultural, social, and political movements, many of which were hostile to the Romantics' perceived illusions and preoccupations, this period saw a general decline in Romanticism. However, it has had a long-lasting effect on Western civilization, and numerous "Romantic," "neo-Romantic," and "post-Romantic" artists and thinkers produced their most lasting works after the Romantic Era ended.
The fundamental characteristics of Romanticism are as follows: Romanticism emphasized the artist's right to freely express their thoughts and feelings. Romantics, like the German artist Caspar David Friedrich, believed that an artist's formal approach should be determined by their feelings; William Wordsworth, a Romantic poet, wrote that poetry should begin with "the spontaneous overflow of powerful feelings," which the poet then "recollect[s] in tranquility," enabling the poet to find a suitably unique form for representing such feelings. The Romantics never doubted that emotionally motivated art would find suitable, harmonious modes for expressing its vital content—if, that is, the artist steered clear of stale conventions and distracting precedents. Friedrich went as far as declaring that " These "natural laws" could support a wide variety of different formal approaches, as was the belief of Samuel Taylor Coleridge and others that the imaginations of born artists naturally followed when they were, so to speak, "left alone" during the creative process. as some, maybe, as there were people making actually significant show-stoppers. William Blake, The Little Girl Found, from Songs of Innocence and Experience, 1794 According to Isaiah Berlin, Romanticism embodied "a new and restless spirit, seeking violently to burst through old and cramping forms, a nervous preoccupation with perpetually changing inner states of consciousness, a longing for the unbounded and the indefinable, for perpetual movement and change, an effort to return to the forgotten sources of life, a passionate effort at self-assertion both individual "[3,67]
Heartfelt specialists likewise shared areas of strength for an in the significance and moving characteristics of Nature. Romantics were suspicious of social conventions and cities. They condemned Rebuilding and Illumination Time craftsmen who were generally worried about portraying and scrutinizing social relations, consequently disregarding the connection among individuals and Nature. Romantics were of the opinion that having a close relationship with nature was good for people, especially for those who left society to explore the natural world on their own.
Heartfelt writing was oftentimes written in a particular, individual "voice". As pundit M. H. Abrams has noticed, "a lot of heartfelt verse welcomed the peruser to distinguish the heroes with the actual writers. "[3,73] This quality in Heartfelt writing, thus, affected the methodology and gathering of works in different media; It has permeated everything from the auteur movement in contemporary filmmaking to critical evaluations of individual style in music, fashion, and painting.
Etymology The group of words that all share the root "Roman" in various European languages, such as "romance" and "Romanesque," have a long and complicated history. Romanticism's founders, critics August Wilhelm Schlegel and Friedrich Schlegel, began to speak of romantische Poesie ("romantic poetry") in the 1790s, contrasting it with "classic" but in terms of spirit rather than merely dating. This usage derived from the term "Romance languages," which referred to vernacular (or popular) language in contrast to formal Latin.[3,74] The majority of such novels took the form of "chivalric romance," tales of adventure, In his 1800 essay "Dialogue on Poetry," Friedrich Schlegel penned the following: I look for the romantic in older modern writers like Shakespeare, Cervantes, and Italian poetry from the era of chivalry, love, and fable, which is where the phenomenon and the word originate. "[3,75] The modern sense of the term spread more widely in France thanks to Germaine de Stal's recurrent use of it in her novel De l'Allemagne (1813), in which she describes her travels in Germany. In England, Wordsworth wrote of the "romantic harp" and "classic lyre" in a preface to his poems of 1815. However, in 1820, Byron could still write, perhaps Literature says it happened "roughly between 1770 and 1848"[3,81] according to Margaret Drabble, but there are few dates much earlier than 1770. M. H. Abrams placed it in English literature between 1789 or 1798, the latter being the most common view, and about 1830, possibly a little later than some other critics[3,82]. Other authors have proposed 1780–1830. In other fields and countries, the Romantic period can be very different; For instance, musical Romanticism is generally thought to have ended as a major artistic force as late as 1910. On the other hand, the Four Last Songs of Richard Strauss are referred to stylistically as "Late Romantic" because they were written between 1946 and 1948.[3,84] On the other hand, most fields believe that the Romantic era ended around 1850 or earlier.
The early time of the Heartfelt period was a period of battle, with the French Transformation (1789-1799) trailed by the Napoleonic Conflicts until 1815. These conflicts, alongside the political and social strife that accompanied them, filled in as the foundation for Romanticism.[3,95] The vital age of French Sentimental people brought into the world somewhere in the range of 1795 and 1805 had, in the expressions of one of their number, Alfred de Vigny, been "considered between fights, went to class to the moving of drums".[3,116] As per Jacques Barzun, there were three ages of Heartfelt specialists. The first one appeared in the 1790s and 1800s, the second one in the 1820s, and the third one appeared later in the century.
Romanticism proper was preceded by several related developments from the mid-18th century on that can be termed Pre-Romanticism. Among such trends was a new appreciation of the medieval romance, from which the romantic movement derives its name. The romance was a tale or ballad of chivalric adventure whose emphasis on the exotic and the mysterious was in clear contrast to the elegant formality and artificiality of prevailing classical forms of literature, such as the French Neoclassical tragedy or the English heroic couplet in poetry. This new interest in relatively unsophisticated but overtly emotional literary expressions of the past was to be a dominant. Actually, romanticism began in Germany and migrated across Europe. Romanticism was largely a reaction against the strictures of classicism. It prized nature over the industrialized city, emotion over reason, and the individual over institutions like the church and state. Writers associated with Romanticism, including William Wordsworth, Samuel Taylor Coleridge, William Blake, and John Keats, did not see themselves as a unified school of poetry. “Romanticism in America was the representation of what was buried in the human soul since the Americans were suffering from the issue of slavery, capitalism, industry crisis in addition to many other problems that make it hard for them to live. In literature as other arts, it deciphered man’s life; it represented nature as a source of instruction, delight, and nourishment for the soul. Novels, short stories and poems transmitted the suffering of individuals, wilderness and savageness whether implicitly or explicitly. The Romantic era in America lasted from about 1830 to 1870; it was a time when America witnessed the industrial revolution, a period of a great and huge development and expansion in all fields of life” [1; 12].
There is an intensive search for national artistic traditions, the main themes and issues are outlined.
“The images of strong, noble, and courageous people, as opposed to avaricious bourgeois businessmen and money-grubbers, were of great positive significance. The poetization of the man who lives in the bosom of the virgin and mighty nature of America, the poetization of his courageous struggle with it, is one of the characteristic features of early English romanticism. One of the first representatives of romanticism in American literature was Washington Irving (1783-1859). In his early humorous novels and essays, Irving criticized bourgeois acquisitiveness and the contradictions of bourgeois progress ("the Devil and Tom Walker", "treasure Hunters"); he spoke out against the extermination of Indian tribes. For Irving's early work, it is very characteristic to contrast the idealized antiquity with the pictures of modern American life ("Rip van Winkle", "the Legend of sleepy valley"). We will also look at some aspects of Romanticism that were uniquely understood by the writers in the United States. There will be a brief discussion of “bright” and “dark” Romantic writing and it is there that we will look at the lives, and one poem each. So, first of all we will look the basic characteristics of Romanticism in American literature. The first characteristic that differentiates the American Romanticism from the English one is “imagination”. The American society at that time was experiencing the industrial revolution; people were living in a time of great progress. People started to migrate through big cities, trying to imagine what would happen next. And as the country continued to develop cities started to be “dirtier” which led people to escape the bad situation they were living in.
That is why, authors also were affected by affects of revolution and it was clear in their work in which they could escape their unsatisfying reality into a better world.” [9; 44]
Characters in the Romanticism in English literature escaped the civilization and modern life and went to nature looking for freedom and purity. “Rip Van Winkle” by Washington Irving (1783–1859) can be considered as one of the best examples of using of imagination. The main character in this short story escapes civilization and responsibility and goes to the woods in which he falls asleep for a long time. When he wakes up and goes back to his old life, he discovers the death of his wife and the change of society. Irving through this short story is representing the hopes of the Americans that one day they would be able to change their lives. In "Rip Van Winkle" this connotative meaning is the secret of its hold upon our imaginations; in it are all the implications. In retrospect or in prospect, Rip's free youth, prolonged sleep, fanciful dreams, and disillusioning return are all ours. The fragile piece deserves study for its debt to German literature, to American legend, to Thomas the Rhymer, to Walter Scott, and to Irving's own boyhood; for its arresting adaptation in the theater, in song, or in Spanish or Russian translation, for its revolution of a great stylist. But its soul lies in the symbolic distillation of a universal mood.
“All of Irving's literary manipulation of his reading, his wandering life, and his melancholy were concentrated in a passion which made him compose the tale during a single night, pouring into it all that he had ever felt concerning man's ceaseless enemy, 'time': stories heard from the lips of Dutch friends, memories, familiarity, and parody, "Rip Van Winkle" still belongs to the indestructible literature of all peoples. Even when he talked through the mouth of Diedrich Knickerbocker Irving was accused of plagiarism. "Rip Van Winkle’s story was shameless theft. From Irving’s passages and those from the old German tale of "Peter Klaus", taken one after the other, there emerges such imitation that most of Rip’s unfortunate adventures seem almost a direct translation. But if on studying Irving’s books we only limit ourselves to this detective job, we run the risk of missing greatly the true intention of the author, who once stated: "Of all things I do, I wish I could write in a way that my work might be recommended for something different then the mere interest of the story; for something hard, something to which, if you allow me to say, I would call a ‘classical value’; that is to say, dependent on style…, which gives the work the chance of lasting beyond the fad or the fashion of the day”…” [ 4; 55 ].
There has been not just the style, however, that has maintained “Rip Van Winkle” alive in print, on the screen, in the mind and in the hearts of his fellow countryman. Rip has become their “muse of memory”. Hart Crane once said that Rip was his “guardian angel in a journey into the past”, and still today he remains his conscience, a conscience which, at the same time accuses them and amuses them.
By the 1840s, romanticism in the United States was maturing and the original nativist enthusiasm was giving way to other moods, but nativism as such did not disappear at all, and remains one of the important traditions of American literature.
The second stage is Mature English romanticism (1840s-1850s). This period includes the work of Hawthorne, Edgar PoE, Melville, Longfellow, and Simms. The complex and contradictory reality of America in these years caused noticeable differences in the attitude and position of the romantics of the 40s and 50s. Most writers of this period are deeply dissatisfied with the progress of the country. In the United States, slavery persists in the South, in the West, hand in hand with the heroism of the pioneers is the barbaric destruction of the native population of the continent - the Indians and predatory plundering of natural resources. The gap between reality and the romantic ideal deepens, turns into a chasm. It is no accident that among the romantics of the Mature period there are so many misunderstood and unrecognized artists rejected by bourgeois America: Melville, Thoreau, and later - the poet E. Dickinson and so on.
“Romanticism as a literary revolution is typically defined as a: “ Literary and philosophical theory that tends to see the individual at the center of all life, and it places the individual, therefore, at the center of art, making literature valuable as an expression of unique feelings and particular attitudes and valuing its fidelity in portraying experiences although romanticism tends at times to regard nature as alien, its more often sees in nature a revelation of truth… and a more suitable subject for art then those aspects of the world sullied by artifice. Romanticism seeks to find, the absolute, the ideal, by transcending the actual” [ 6;33].
The third stage is late English romanticism (60s). It is a period of crisis in the romanticism of the United States. Romanticism as a method is increasingly unable to reflect the new reality. Those writers of the previous stage who still continue their way in literature enter the period of severe creative crisis. The most striking example is the fate of Melville, who for many years went into voluntary spiritual isolation. During this period, there is a sharp division within romanticism, caused by the Civil war between the North and South. On the one hand, there is the literature of abolitionism, which, within the framework of romantic aesthetics, protests against slavery from ethical, General humanistic positions. On the other hand, the literature of the South, romanticizing and idealizing "southern chivalry", stands up for the historical way of life. A romantic Outlook - already beyond the chronological framework of romanticism - permeated the work of Dickinson. Romantic motives are organically included in F. creative method. Bret Garth, M. Twain, A. Bierce, D. London and other us writers of the late XIX - early XX century.
“A study of Twain provides an excellent opportunity to develop an understanding of the nature and effects of the Romantic imagination identified by Babbitt. This article will both explore Twain’s critical portrayal of romanticism and uncover the romantic. Twain offers valuable insight into romantic influences on human behavior, it will be shown that he nevertheless fails to possess the kind of classical or moral imagination which characterizes the "spirit of Burke" and that an uncritical reading of Twain’s literature can lead the reader to a moral and philosophical dead end. In addition to offering insight into the role romanticism can play in politics, the study of Twain is important because of the likelihood that he has influenced, and continues to influence, American politics and society through the role that literature plays in shaping the imagination.” [5; 15]
1. 2. Characteristics of Romanticism in English Literature
A romantic work is characterized by a special emotional atmosphere of high feelings and passions, sincerity and spontaneity of emotions, and a free composition.
It is believed that romantic art is not characterized by humor. Indeed, the comic among romantics gives way to tragic themes. However, you can note the humor in the essays of Charles lamb, in a number of poems by Byron and Shelley. Romantic art always reflects modern life, responds to the problems of time. There are the main characteristics of romanticism in English literature:
Writers of the romantic period emphasize the imaginative and subjective side of human nature, according to Carol Scheidenhelm, an English Professor in Chicago. Thoughts, feelings, internal struggles, opinions, dreams, passions and hopes of the characters reign Supreme. For example, in William Wordsworth's poem "prelude", the narrator is disappointed by his experience of crossing the Alps and imagines unlikely natural phenomena on his way, such as powerful waterfalls. Romantic authors do not allow facts or truths to prevent them from expressing creative ideas, especially when it comes to nature. The poem "Prelude" was created and polished for several decades, the fabric of its narrative has a complex pattern. It describes how the spirit of the time and mentality changed in England at the end of the XVIII — early XIX centuries. Against this background, the formation of a person of an artistic mindset, who sensitively perceives all the events of our time. Wordsworth shows what philosophical models dominated at one or another stage of its formation. The poet describes his childhood using models of associative philosophy of the XVIII century (D. Hartley), his youth passes under the sign, and his creative development is directly connected with the development of a romantic aesthetic of “imagination”, which we will mention in particular.
“Romantic literature explores the intense beauty of nature, and romantic writers endow natural events and objects with a divine presence, suggests Lilia Melani, a Professor of English at Brooklyn College. For example, in Walt Whitman's poem "Song of self", the poet calls the grass "hieroglyph" and"handkerchief of the Lord". What is the "self" that the speaker sings in Walt Whitman's Song of self, in a poem” The song of self "Whitman describes the" I " as that part of us that is separate from society (or at least from its miseries and rules), but at the same time it is connected to all that is natural and rhythmic in nature, society, and its diversity. Basically, it creates a road map on "how to find yourself" and describes the calmness of understanding these connections". The influence of the Song of self on American poetry is indescribable. "For every atom that belongs to me belongs to You." author) - these words have led countless poets to their own Word. Indeed, without Whitman, you can hardly imagine William Carlos Williams discovering " the purest product of America," Theodore embarking on" the long journey beyond himself, "or Alan Ginsberg writing" the Scream, " let alone modern poets like S. K. Williams or Rogers. In fact, we all look at life with the eyes suggested by the pioneer, who wills in the final lines of the "Song" to look for it "under their shoes." Romantic authors understood progress and the changing trend toward industrialization, but they prioritized and glamorized natural beauty over urbanization, commercialism, and materialism”[8;55 ].
Romanticism appeals to individualism, and not to generally accepted standards, or collectivism. For example, in Mary Shelley's Frankenstein, the monster is a romantic hero because it symbolizes individuality and nonconformity. Shelley addresses the traditional romantic opposition of good and evil, when the hero dramatically reveals their ambivalence, and the situation of "God within man" or lack of it, as well as the problem of the painful genius of a person who professes the idea of unlimited personal freedom, which, with complete and deliberate separation from society, willingly or unwittingly generates evil. At the same time, the author "believes" the human thinker for good and evil on the "touchstone of rationality", questioning the boundless faith in the human mind . Very characteristic of romanticism (recall Byron's Manfred), the image of a person who" conceals the meaning of his being " (I. F. Volkov), receives from M. Shelley a tragic coloring almost of the Shakespearean type — so psychologically and morally deep is the tragedy of a hero who is acutely individually aware of the abyss into which he falls. This allows you to feel the critical position of the author in relation to the hero, who violated the balance between personal freedom and the objective necessity of social existence. It is represented in the novel by the family of Victor Frankenstein, most of all suffering from the evil brought to the world by his genius, given, as he thought, to glorify them. Here it is important to remember about two sources of the novel-Ovid's "Metamorphoses", where the image of Prometheus is interpreted as the image of the Creator, and Milton's" Paradise Lost", where the idea of a "fallen angel" is brilliantly played out. Shelley wanted readers to sympathize with the monster's plight and praise it for its simplicity, originality, and originality. Even if Frankenstein lives alone and is rejected, readers see him as the true embodiment of humanity. Romantic authors valued independent thinking, creativity, and independence.

Heroes of novels and poems of the romantic era experience deep, emotional, passionate love. As a rule, they do not enter into a marriage of convenience or enter into a stagnant romantic relationship and are extremely unhappy if they decide to do so. Romantic love is very thoughtful and full of humor. For example, Heathcliff-the main character in the Emily Bronte film "Wuthering heights" - tears open the coffin of his late lover to lie next to her. The film was shot very beautifully, this special atmosphere of Wuthering heights, the beauty of the surrounding nature, wild rocks and Moors... I really liked the selection of actors, Heathcliff looks as it should — a little wild, but at the same time attractive, and yet not too crazy, which pleases) Charlotte Riley as Katie-sweet, beautiful, real… Personally, I liked her a lot more than Juliette Binoche in the 1992 film. This is not just a movie about love. Everything is intertwined here — love, hatred, mad passion, cruelty…What struck me most was the way in which Heathcliff's emotions were conveyed, his desire for revenge, which yet brings no relief, his passion, which brings only suffering, his pain, which he can do nothing to stifle, and love, except for which nothing exists for him… A good movie about a real, almost insane passion. This heartbreaking display of love and devotion, according to Melanie, demonstrates the unbridled passion of romantic characters.