7 5 Aesthetics of German Romanticism

At the turn of the XVIII-XIX centuries, a broad social and cultural movement was unfolding in Europe that influenced all spheres of spiritual life - romanticism. It consisted as a peculiar cultural phenomenon, a scale similar to the Renaissance and the Enlightenment. The principle of universalism is a characteristic feature of romanticism, which combined art, philosophy and science As an aesthetic phenomenon, romanticism is characterized by a synthesis of artistry and philosophical reflection. The use of the concept of romanticism in science is ambiguous. So, in the Age of Enlightenment it was more often used. to characterize knightly literature, Schlegel identified it with new poetry, unlike classical (ancient) Novalis considered the concept of romantic to be the same poetic Zagalo; Totozhny poetic zagal.

The late F. Schelling’s spirit of romanticism deeply defined that, when he was young, he was recognized as the spiritual head of the Ensk romantics school: The human spirit was wonderful when it was relaxed, found it justifiable about its true freedom about everything that exists, and ask not what it is, but that is possible [1, C 6quot; [1, p. 6].

Founded Romanticism in Germany, although the first romantic is considered to be J. Rousseau - an eminent critic of the contradictions of free competition society, which was asserted on the ruins of feudalism, and about the head building and singer of freedom of spirit. The romantic movement in Germany is reflected in literature, and later - in music, painting, philosophy, philology, etc. To the most famous before the romantics , who combined educational and new romantic ideas in their work, belonged to IG Hamann (1730-1788), young IV-Goethe (1749-1832) and F. Schiller ( 1759-1805) eminent theorist om movement Stürmer (movement Storm and onslaught in formed in the 70s of the eighteenth century) was And G Herder (1744-1803) - the ideological inspirer of the movement and creator of its aesthetic principles Aesthetic ideas in philosophy And Herder significantly influenced the worldview of the romance ikiv He advanced the principle of a historical approach to art The last philosopher considers the achievement of the culture of the people, not individual refined natures The spiritual experience of the people appears to be the subject of art And Herder sees the source of all poetry [6, p 4 47], paying great attention to bringing the historical role of the people in the creation of a national language to the historical historical role of the people in the creative nation.

In art, And Herder asserts realistic principles, in particular, he is highly elevated by genius W. Shakespeare, whose dramaturgy, according to the critic, most consistent with the requirements of the new time. The main problems of his aesthetics include the question of the essence and source of beauty. And Herder substantiates the ontology of beauty: it should be in the living nature. He defines the essence of beauty as “translucency, form, in a sense of revealing perfection” [8, pp. 566-567] Perfection, which is considered as understood by Herder in aesthetics e, identical to the notion of regularity , is achieved through generalization, that is, it is real in the dialectic of a special and general ability of aesthetic perception, experience and comprehension of expressive forms of reality, as the ability to form perfect works of art, the philosopher notes, - inherits a historical the formation of humanity. The process of formation of creative skills is valid as a dialectical unity of the individual and the universal, personal and generic in the sense of spiritual experience and media and CSOs that priobreteniidosvіdu zasobah Yogo nabuttya.

In aesthetics and Goethe (works: On the anniversary of Shakespeare (1771), About the German architecture (1773), Simple imitation of nature, manner, style (1789), About truth and believability the art of (1798 ir - and there is no end to it (1813-1816), etc.) launched the theory of romantic creativity, the idea of the veracity of art associated with the concept of imitation of nature for la Goethe aesthetic is art based on the calm affirmation of being, on his contemplation of love However, the artist does not copy reality He irritates imitated I am the alphabet of nature, reading nd by syllables, he invents his own way, creates a language for himself to convey in his own way what he perceived with his soul in order to provide an object, which he re-depicts, his own form, without having before himself and not remembering it with precision [8, p 85]. The above opinion is important for an in-depth understanding of imitation in art, because it notes the unity of nature forms and the idea of forms, a certain fate of the artist and is realized in the work as a unity of nature and spirituality, designated talent mittsya і is realized in the creation of the natural and spiritual.

For the development of the aesthetic theory of the late 18th - early 19th centuries, particularly for the aesthetics of representatives of German classical philosophy (Schiller, Schelling, Hegel) ideas of the representatives of the early go or Ensk of literary romanticism were important (brothers August and Friedrich Schlegel, Novalis, Wackenroder, Tick) and Heidelberg romanticism (Kleist, Brentano, Arnim, the Grimm brothers), and also the work of F. Gelderly on and E. Hoffmann. Ensk's circle also included F. Schelling as an independent aesthetic direction. In the middle of the last decade of the 18th century, one of the founders of the movement Ensk Romantics F. Schlegel: French Revolution , Naukvchennya Fichte and Master Goethe were expressive trends of the era [N 12, p. 196] Unlike the Enlightenment, who considered rational knowledge to be the dominant sphere of spiritual experience, romanticism proclaims the value of the sphere of the irrational and subjective in spiritual experience: feelings, fantasies, experiences, inspirations, romantic aesthetics focusing Em focuses on the problem of the internal world of the subject Program in the named sense an anonymous treatise Systematic program of German idealism , published in 1796. In it in the sense of unifying, the idea of beauty in its Platonic understanding was considered. The highest act of reason covering all ideas is The act of aesthetic truth and good are joined by kindred bonds only in beauty. The philosopher, like a poet, must possess an aesthetic gift [3, t 2, p. 212] We trace the closest ideas in the work of Schlegel A." General overview of the modern state German literature (lectures delivered in Berlin 1801-1804) Recall that this idea is reflected in the aesthetics of F. Schillerc, read in Berlin 1801-1804 p.). Nagadaєmo, scho cia іdeya is depicted in the aesthetics of F. Schiller.

The object of criticism of the romantics is the excessive rationalization of spiritual experience inherent in particular Enlightenment, And Schlegel notes to the enlighteners that they "pursue primary irrationality as impassive enisty." Romantics begin to consider the aesthetic unifying basis of sensual and rational experience in the sense of enlighteners, which they considered morality was morality.

If classical canons are beautiful canons of the beautiful, then for romantic poets they only appear as obstacles and conventions. "In his striving for an absolutely expressive form, which certainly and to end his experience, he (poet - VM) destroys an already produced form for A new, minimalist and individual [13, p. 136]. The goal of the artist is an absolute manifestation that has survived the manifestation of Anne, free from any conventions. The main subject of the display of romance is the inner world of the personality in all the richness of its nuances. ovlivaet syncretism of different types and genres of romantic art: poetry and music; musical poetry, musical painting, musical drama and poetic dramas and under.

The formation of aesthetic ideas Ensk romantics significantly influenced the idea of an empirical absolute I , appears in philosophy and Fichte impersonation without conscious creative beginnings, concentrated in creative action. Accordingly, the meaning of life of a real person should be directed to activity, is - in the infinite pursuit of higher , the final goal Romantics, following the ideas of philosophy and Fichte, saw the concentrated personification of the creative possibilities of man’s individual I of the artist. Natural creativity, in particular, poetic, reflecting the inner world of the artist, was considered the highest activity. The spiritual world was the only true one in contrast to the real, ordinary world order, to a real, everyday life.

Romantic aesthetics synthesizes philosophy and aesthetics on the basis of aesthetic, as all the transmissive beginnings of the world Romanticism reconstructs the very concept of philosophy , because it becomes poetic philosophy or phylosophical poetry , because in it the language of concepts merges together with in the language of feelings, conceptual thinking is with a sensual-poetic perception [2, p. 264] Romantic philosophy is characterized by symbolic downloads enisty, and poetry is the saturation of metaphysics and poetry is the ultimate metaphysics.

The interest of romanticism in the sphere of the irrational is also due to the spiritual opposition of the post-revolutionary (Great French Revolution 1789-1794) society, claimed the pragmatic Ideas of the Enlightenment to be replaced with spiritual values, translated into a purely practical plan, compromising the mind. The reaction of the romantics mentioned social processes appeared in the form of anti-rationalist the spiritual position of the Epoch in the objectively beautiful art, F Schlegel represented as the great aesthetic revolution , was to lead humanity to a common to equal perfection. The art of romance was considered not a specific type of aesthetic activity, but gave it universal significance as a possible means of creating a new aesthetic reality on the ruins of the old culture. Accordingly, aesthetic motives of aesthetic motives should rely on morality.

According to romantic notions, art is significant only when it turns into reality in a certain way. After all, a romantic artist feels not only a poet, but also actively involved in creating aesthetic reality: a priest, leader, prophet. Poetry for him is a religious act, theurgy [7 , from 137] F. Schlegel considers romantic poetry to be a special kind, the only thing that is the more art and poetry as such; since all poetry in a certain sense must be romantic [12, from 195] Is Investigators point out aestheticism of romanticism, the desire for artistic design, the introduction of order in the AOC, the creation of a new world within one’s own ego "[13, p 877in_ of the powerful ego" [13, p. 877].

Striving for the lost integrity of being has a distinct direction in the search for the ideal of integrity. Such is the ideal of romance sought in the past - in the art of Greek antiquity F. Schlegel in the works O in the study of Greek poetry (1707), Talk about poetry ( 1800) and the publications of the magazines Athenaeum and Lyceum substantiated the theory of romantic poetry as a source of harmonization of the world, and ancient Greek art is considered to be a specific model Romantic poetry is progressive universal poetry to be the mirror of the whole world, the image of the epoch ", says Viy [12, 194]. The interest in poetry was also due to the fact that it saw the predecessor of philosophy, religion, art and a certain concentrated expression of the connection between spirit and being ( Holderlin, Schelling) Novalis, in search of the ideal of spirituality, turned to a closer past — medieval antiquity, in particular, mythology and folklore — middle age, the zokrem of folklore and folklore.

Romanticism has an interest in mythology, is considered by the world of primordial images, undifferentiated unity of consciousness and being In connection with the problems of mythology and poetic language, the problems of language and culture as a special way of being human being are also solved. Schlegel raises the question of the historical development of national literatures, distinguishing literature as a certain whole and at the same time direction of its development times in the most important nations The thought of the philosopher was of particular importance for understanding the place and role of literature in the system of spiritual experience, teratura is the totality of the intellectual life of a nation [2 p. 133] On the basis of understanding literature as the embodiment of the nation’s spirit, a philosopher brings literature history closer to philosophy of history, he begins to analyze the problems of the philosophy of history (Lectures on the history of philosophy ) Romantic aesthetics reveals the value of folk art for the knowledge of the national spirit. Interest in folklore and folk art, which, as we have shown above, can be traced in early romanticism in works, in particular, Herder, and becomes the subject of special attention of the Heidelberg romantics (Arnim, Brentano, the Grimm brothers, etc.). They are inclined to consider folk art (songs, fairy tales) more valuable than professional art (psni, kazki) more tsynnisty, not all professional mist.

Romantics are looking for ways to create a new mythology as a means of overcoming reflexive culture they are inspired by all the unusual: the majestic, amazing, terrible, that can raise feelings over the ordinary course of events Romanticism prefers elevated over the beautiful just considering the aforementioned foundation Comparing art and scientific knowledge, romantics prefer the first as a source food feelings, and to the knowledge of a rather negative, because they believe that it destroys the mystery of the world And Schlegel in the work General review of the German state of literature, "notes that the Enlightenment made a rose and a servant of feelings, which, in their opinion, should not be sensual, but clever. According to the critic, this approach works to satisfy the" ultimate "practical needs of man, but beyond comprehension the irrational sphere is full of feelings, where the senses enjoy the mind They didn’t recognize the rights of fantasy and, perhaps, would willingly completely cure people of it [12, with 169 or b people away from it "[12, p. 169].

The subject of criticism in the aesthetics of romanticism is de romanticization of nature, understanding it only as a subject of knowledge, pacification of nature by the human mind. Representative of the mystical romance Novalis in the essay Christy drunkenness or Europe , a romantic compilation Hymn of the night , unfinished novel Heinrich von Oterdingen, "an unfinished philosophical story Students with Caica and others developed the concept of magical idealism as a synthesis of nature, spirit and soul. He sought to return the lost integrity of a person (unity of spirit and soul) and nature, looking for a sample of such integrity in the days of the European Middle Ages. Philosophy of nature acquires from Novalis an organic connection with the philosophy of man, and the chain of their connection is history. The unifying basis he considers ontological unity - divinity, nature and man's spirituality. only by rational means, but also the mystical experience is not deprived of rationalistic habits, but also by mystical dosvid.

Oppositionally referring to rational philosophy and science, Novalis notes the values of a poetic attitude to nature: The poet comprehends nature better than the mind of a scientist [12, p 324] Restoring a lost golden age is achievable on the basis of coordinated human relations with nature, the thinker sees through the active work of poets, because it is their work that most fully reflects the spirit of nature, its inner life for an aesthetic theory, an important idea of Novalis about the role of feelings in the knowledge of nature, i.e. spiritual comprehension of the secrets of the natural world ogazhnnn tānmitsi natural light.

Relationship with nature in the aesthetics of romanticism has a different meaning. Romanticism sees the inner world as the main subject of artistic knowledge; we can only compare the spiritual life of a person to nature’s life without the serpentine diversity and grandeur of its manifestations due to the kinship of the human world and the natural world - the divinity of both began.

The sustainable interests of romantic aesthetics include the problem of creative genius and talent. In Novalis, poetic creativity is the creation of the world in its natural manifestations. Therefore, the poet, according to an objective basis, Ava is the bearer of the philosophical spirit He creates according to the objective logic of life, unfolds through contradictions in order to get his harmonious conclusion There is nothing romantic for the fact that the name is called peace and destiny. We live in a huge (both in the sense of the whole and in the sense of particulars) novel [12, p 828] X In the romantic conception of creativity, the artist appears as a figure that provides events, in the basics of internal logic, expediency, and aesthetic completeness, which makes them human, that is, spiritual, tobto spiritual.

Important in Novalis's reasoning is the understanding of the historical content of poetic thinking. Analyzing the work of Shakespeare, he emphasizes: the poetics of his works has absorbed the entire diversity of aesthetic manifestations of life, and even the opposite. They alternate poetry with the antipoetic, harmony with disharmony, the ordinary, low, ugly with the romantic, high, beautiful, the real with the imaginary. This is the difference between his TV cows and Greek tragedy. The artist's ingenious intuition is akin to nature, therefore art is nature, which would contemplate itself. On this basis, works of art can be considered akin to nature, because they are symbolic and polysemantic, simple and inexhaustible, like the creation of nature. A work of art appears as a product of the artist's genius, finds behind the surface of things and the relationships of their arrival, transcendental meaning. Therefore, the concept of beauty of the romantics was associated with creativity - the source of the creation of something new, unusual and, in turn, the new, unusual was seen as the source of creativity, which is nadikhachosti, I need something.

The achievements of brilliant artists served as a compelling argument for philosophical Romanticism in favor of the value of creative intuition, capable of penetrating the hidden depths of life and creating a holistic, internally vital image of it. This was a unique argument for the Romantics against science's analytical approach to the natural world, which was subject to dismemberment and the destruction of its inherent integrity. Therefore, the Romantics of the VBA sought in art not only a mediator between the worlds of freedom and necessity, but also granted it the status of a certain supreme reality and a universal symbolic language that eliminates the limitations of conceptual expression [13, p. 878].

Of great importance for aesthetic theory were the hermeneutic works of F. Schleiermacher (1768-1834). The ideas of his aesthetics are set out in the works On Religion: Speeches to Educated People, Among Those Who Despise It (1799) and Lectures on Esthetics, read at the University of Berlin in 1819, 1825, 1832. In the first of the works, the inner experience of the romantic personality is comprehended and asserted as a new religion [12 pp. 210-305]. In Lectures on Esthetics, the philosopher puts forward the idea of the existence of artistic abilities in every person, but does not consider them to be something identical, calling their differences in depth and completeness. This approach is all Livy introducing into the circle of the creative process the world of the perceiving subject, capable of empathy, and therefore, creating his own image of the perceived works. Therefore, the concept of creativity is expanding, which is not limited only to the work of brilliant artists. Actually, we are talking about the hermetic-unethical problematic that It was in the aesthetics of F. Schleiermacher that it was first considered a universal methodological tool for analyzing culture and history, including artistic textural and historical texts, and in the context of artistic texts.

The philosopher identifies the following elements of texts: style, construction of phrases and the work as a whole. This allows us to trace the individual style of the artist and the features of the time of creation of the work. In connection with the problem of interpretation of the text, the issues of the connection between intuition and intellect, conscious and unconscious are considered. In the receptive aesthetics of F. Schleiermacher, the connection between the conscious and unconscious in the creative process is revealed. The philosopher emphasizes the differences in the activity of the spiritual structures of the creator of art and the perceiving subject. If the artist in the act of artistic creation relies mainly on intuition, on the unconscious, then the interpretation of the work is mostly a conscious process. No less valuable for the theory of aesthetics is the idea of the intrinsic value of art as a free expression of the creative spirit. The philosopher introduces a criterion for the value of a work of art, using the concepts of perfection, completeness, i.e. Artistic persuasiveness, which forms the concept of a beautiful work. The treatise "Aesthetics" also explores the specificity of individual arts, taking into account the peculiarities of artistic language. The philosopher considers poetic speech to be a means of the hidden manifestations of the human soul, in contrast to ordinary language, which is incapable of reflecting the movements of the soul (therefore, it does not unite, but rather connects people). In his analysis, the philosopher combines the method of intuitive and productive assumption with the comparative method.

An important problem among those studied by philosophical romanticism is the problem of romantic irony, which was developed by F. Schlegel, as well as other representatives of Jena romanticism (for example, A. Schlegel, Tieck, Novalis). Its main source was the philosophy of I. Fichte, transferred by F. Schlegel to the sphere of aesthetics. The essence of irony is the idea of the originality of thinking about things. Romantic irony is a manifestation of the contradiction between the visible and the existing in the process of aesthetic judgments about phenomena. F. Schlegel considers philosophy to be the true homeland of irony, which could be

Irony in the process of thinking about phenomena brings out their internal contradictions, and the internal contradictions of judgments about phenomena also turn out to be Paradoxicality, notes F. Schlegel, is an indispensable condition, the soul and principle of Irony and the principle of irony.

Important for understanding the aesthetic characteristics of irony is its spiritual gradation, carried out by the philosopher, the identification of its types. The first (and most important) F. Schlegel considers crude irony, which exists in the very nature and things, its true home is the history of mankind; The following are elegant and sophisticated ironies (the latter found in poets). In addition to this classification, conditioned by the objective qualities of the subject of judgment, types of irony are also distinguished by the aesthetic method and nature of expressing judgments about phenomena: dramatic and double. In addition, the author distinguishes a special type - the irony of irony - and cites a large number of its modifications. Schlegel considers the process of constantly unfolding thought through a series of objections to be an aesthetic phenomenon. Socratic irony emerges as an example of aesthetically perfect irony. For it, the character is not simultaneously casual and fully thought-out pretense, but rather a completely thought-out conceit.

The dialectical development of the theory of irony was also carried out in the works of K. Solger (1780-1819) and Jean Paul (Johann Paul Friedrich Richter, 1763-1825), who considered irony a central principle of creativity. Irony opposes all opposites that form artistic integrity, a work of art. This is the objective and subjective, reality and idea, life material and ideal. The use of irony is characteristic of the artistic creativity of German (Tieck, Novalis, Hoffmann, Brentano), English (Byron), French (Musset), Russian (Pushkin, Lermontov), and Ukrainian (Shevchenko) romantics.

Romanticism emerged as a broad spiritual phenomenon in all European countries and the United States and influenced all spheres of life until the mid-19th century. Artistic Romanticism, which emerged as a special artistic movement, developed in the uniqueness of national cultures and was distinguished by a variety of artistic styles, trends and schools, was of great importance for the development of ideas of Romantic aesthetics. It was clearly manifested in various types and genres of art. Romanticism also arose at the origins of the philosophy and aesthetics of irrationalism in the 19th-20th centuries.