The Risen Of Weirdoes

Romantic Movement is a huge and far-reaching cultural movement, and romantic literature as the most animating part in this movement has been quite fruitful:numerous wonderful works are so fascinating until nowadays, and later generations can always get the incentive from them to innovation. Through romantic period, individual became the most significant existence, and aesthetic got huge emancipation and freedom. In this thesis, I’ll try to analyze the grotesqueness aesthetic of romanticism by looking into the weird characters represented in these works, and then to talk about the aesthetic freedom problem in romanticism.In the first chapter, the parentage of romantic weirdoes, grotesqueness, grotesqueness aesthetic and the main achievements in this district so far would be expounded. Though the image of weirdoes has been existing since long long ago, but it did not stand in the spotlight until the romantic period. The theory about grotesqueness aesthetic also has a very long story, but has up to the romantic period it gotten into its blooming season, and become the magic code of multitudinous romanticism masters. From then on, the former aesthetic structure which was long quartered by gracefulness, funniness, sublimity and tragedy has been altered and largely enriched by grotesqueness aesthetic. New aesthetic vision was shown to the times, and it also meaned people were gradually walking towards aesthetic freedom.In the second chapter, some typical romanticism weirdoes such as E.T.A. Hoffmann’s dreamland weirdo Kleinm Zaches, robot-man Olympia, human-dog confused Mengdiaier etc, and Mary Shelley’s Frankenstein, Victor Hugo’s Quasimodo, Emily Bronte’s double faced Heathcliff. These characters are all their most successful creations. By the massive text analysis, it is easy to find out that though these weirdoes are not made from the same soul and are quite different in their features, personalities, living environments and so on, they truly contain some similar features of romanticism grotesqueness aesthetic.Now we come to the third chapter to explore these classical weirdoes’common features:deformity, alienation, horror and tragic. These four features have become the key features of grotesqueness aesthetic from romanticism to nowadays; they were revolt and reform towards the earlier classicism, and also opened up the aesthetic modernity for the later modernism. We can conclude that the booming of weirdoes is an expression of the booming of grotesqueness aesthetic of romanticism, an revolution achievement of private freedom to aesthetic freedom in romanticism, and an important progress for civilization’s striding into modern times.In the last main chapter, the reason of weirdoes’booming will be discussed. Their coincidental emergence, on one side, is owing to the turbulent age. People found it hard to maintain the sense of security in suffering of social instability and faith lost, they didn’t trust the government or any other organizations, but pined their hope on a single or some kind of mysterious force which was uncertain and actually non-existent, and through this kind of huge catabolic force, people dreamed to be saved. On the other hand, it was the requirement to fight with the earlier classical doctrine and to format the new regulation for the then aesthetic movement that made romanticists favor and confirm the meanings of grotesqueness aesthetic. Their pursuit for every individual’s freedom made them aspect and accept every kind of possibility even though which was so unusual. Weirdoes were no longer a lowly, nondescript species any more, but some normal human who were fairness, distinctive and full of fighting capacity instead in romanticists’ eyes.