Revolutionary romantics

The purpose of this study is to study the originality of V.A. Zhukovsky, the study of the development of the ballad, the formation of students' ideas about romanticism, and the identification of the features of the poetics of this genre in the work of V.A. Zhukovsky.
The main tasks of the work : based on the study of scientific literature on the topic of research, define the concepts of "poetic word", "romanticism", "ballad"; to study the originality of V.A. Zhukovsky; identify the features of the poetics of ballads
. Achieving the set goals and objectives involves the use of the following research methods used in the analysis of practical material:
1) the method of scientific description with the totality of its techniques;
2) comparative historical method;
3) cultural-historical method; 4) sampling method.

1. METHODOLOGY STUDYING ROMANTIC WORKS IN THE WORKS OF V.A.ZHUKOVSKY
The etymology of the concept of "romanticism" refers to the field of fiction. Initially, the word romance in Spain meant a lyrical and heroic song - a romance; then great epic poems about knights; later it was transferred to prose chivalric romances. In the 17th century the epithet "romantic" (fr. romantique) serves to characterize adventurous and heroic works written in Romance languages, as opposed to those written in classical languages. In the 18th century this word begins to be used in England in relation to the literature of the Middle Ages and the Renaissance. At the same time, the concept of "romance" began to be used to refer to a literary genre that implies a narrative in the spirit of chivalric novels. And in general, in the second half of the same century in England, the adjective "romantic" describes everything unusual, fantastic, mysterious (adventure, feelings, environment). Along with the concepts of “picturesque” (picturesque) and “gothic” (gothic), it denotes new aesthetic values that are different from the “universal” and “reasonable” ideal of beauty in classicism[1]. Although the adjective "romantic" has been used in European languages since at least the 17th century, the noun "romanticism" was first coined by Novalis at the end of the 18th century. At the end of the 18th century in Germany and at the beginning of the 19th century. in France and a number of other countries, romanticism becomes the name of an artistic movement that opposed itself to classicism. As a designation of a certain literary style as a whole, it was conceptualized and popularized by A. Schlegel in lectures that he read in the late 18th and early 19th centuries. Jena, Berlin and Vienna ("Lectures on Fine Literature and Art", 1801-1804). During the first two decades of the 19th century. Schlegel's ideas are spreading in France, Italy and England, in particular, thanks to the popularization activities of J. de Stael. Of course, the work of J. Goethe "The Romantic School" (1836) contributed to the consolidation of this concept. The term "romanticism" acquired at that time both a broader philosophical interpretation and a cognitive meaning. Romanticism in its heyday created its own trend in philosophy, theology, art and aesthetics. Especially clearly manifested in these areas, romanticism also did not bypass history, law, and even political economy. Of course, being such a comprehensive current, romanticism is very diverse. Perhaps the fundamental anti-universalism of romanticism and the accentuated freedom of expression explains the fact that among the romantics there was an unusually high proportion of prominent figures. In turn, the great ones, in contrast to the epigones, are more difficult to standardize. And as a result, romanticism contains so much (not to mention so many) that it provokes directly opposite interpretations. It is practically unproductive to qualify it according to stylistic and even ideological versions; rather, one can speak of differences across countries (national characteristics) and the closely related "specialization" in areas of knowledge. Western Europe at that time was already a fairly integral cultural area, and the interaction of romantic schools turned out to be very whimsical. In spatial coordinates, we would single out the German, French and English variants of romanticism as fundamental. Setting the tone for European art and social thought, these national versions manifested themselves in different ways in different fields of knowledge. Thus, in Germany philosophers were "more romantic" than others, while in France a brilliant galaxy of romantic historians arose. In the field of literature, painting or music, it is difficult to single out a "national" leader. As for architecture, in this area, in addition to the revival of previous styles, it seems that only the aestheticization of ruins should be recognized as a purely romantic innovation. The “diversity” of romanticism is largely due to the fact that this trend was formed from the very beginning under the influence of fundamentally different ideological and political factors. On the one hand, romanticism was the quintessence of the anti-Enlightenment movement that swept through at the turn of the 18th and 19th centuries. across all European countries. In this sense, the classic country of romanticism was Germany. The anti-Enlightenment spirit of German romanticism is largely associated with the specifics of German philosophical and scientific thought, which was strikingly different from the main ideological tradition of the 18th century. in Western Europe. Not philosophical materialism, rationalism and empiricism of the Enlightenment, but symbolism, organology, mysticism attracted a new generation of German thinkers. On the other hand, “in the phenomenon of romanticism we find people re-establishing relationships with their past after the shock of the French Revolution”, which radically determined its nature and dynamics. However, it should not be forgotten that the Romantics went through not only revolutions, but also restorations, their “century” was a rather short but unusually dynamic period of 1789-1848. with violent upheavals of the European order, wars, national liberation movements and short pauses in political calm. If at the first stage romanticism was inspired by the pathos of the revolution, then at the second stage it reacted violently to its consequences.