Definitely, the romantic hero is a literary prototype of a person who refuses to accept any fixed social norms or orders. It is the one who does not accept any mutual agreements with society because was rejected by it. The most important trait of a romantic hero is his utmost devotion to himself, perceiving himself as the center of being. Among the features, a romantic hero should have is the introspection or ability of self-examination. Of course, there also are melancholy, sometimes misanthropy, and wanderlust apparent to the romantic hero. There is hardly a literary work with a romantic protagonist who does not travel anywhere. Presenting a wonderful capacity to analyze himself, the romantic hero is inclined to complete isolation in order to indulge in distress. Also, the essential part of the romantic hero’s character is the regret for the previous actions.
One of the best historical examples of a romantic hero was Friedrich ‘Fritz’ Kreisler Surrounded completely by his own thoughts and ideas about composing the music for violin and orchestra he presented an amazing aggregate of romantic hero’s traits. During his entire, he has been devoted to the tries to convey his personal feelings through music to the public. This is an implementation of deep isolation and centering the self-ego beyond everything. Among his works are multiple recordings and compositions which were performed at Broadway, also operettas and musicals. Another example of the personification of a romantic comes way back from Middle Ages and was called Richard the Lionheart. The only name of his among people talks for himself as being a romantic historical figure. This entailed many political intrigues and poetry provided by the real English King. Also, he was the first soldier King, which reflects the trait of wanderlust and philanthropy.
The literary portrayal of a romantic hero is handsome, daring, brave, and at the same time thoughtful and considerate. Lord Byron was the one to create a perfect model of the romantic hero for his contemporaries and next centuries. His poem Child Harold’s Pilgrimage put the beginning to use the term ‘Byronic hero’ worldwide. His hero was not copied too often, though became a basis for understanding how romantics should be implemented in a hero. Byron performed his character as sophisticated, dangerous, and a bit enigmatic. And though the romantic hero is the caring one, Byron made his character a representation of a moody and arrogant man from time to time. Nevertheless, of course, women are attracted to him by his intricate personality.
A tragic play by Johann Wolfgang von Goethe’s “Faust” was composed in two parts, both of which together present a revision of the Faustus Romantic sensitiveness. It is a representation of a context of 18th century interrelations and perception of life on Earth and above. Fame, richness, scientific awareness, and mightiness were the sins to sell the soul for. This is a leitmotif of the play – selling the soul to Lucifer for the common desires. This was a clear interpretation of those days’ belief about the life after death. Goethe, however, makes the play even more interesting and modern by making the ironic figure out of devil and letting Faust’s soul to avoid damnation. The play is great and reflects the religious beliefs of 1800’s perfectly well, which is a wonderful historical and literary heritage.