Republic of uzbekistan ministry of higher and secondary special

Conclusion
In the conflicting minds of the heroes of Byron's romantic poems, the concepts of good and evil were mixed up, but the poet's heroes are dear to him just like that, they are close to him in spirit. Objectively, Byron the artist showed the tragedy of individualism, when the hero, having destroyed his ties with people, loses interest in his own life, and his rebellion in the name of personal freedom loses its meaning.

There were obvious similarities between Byron and the Byronic hero: high birth, an ardent and sympathetic heart in youth, disappointment, anger, despair. But the Byronic hero experienced dramas that Byron only dreamed of.

The heroes of Byron's poems act as judges and avengers for desecrated human dignity; they strive to break the shackles forcibly imposed on man by the contemporary social system. In their stormy monologues, one can feel the reflection of anger, which latently matured in those years in the mass of the people and which the poet was able to sensitively capture and express in the images of his works of art.

In the "oriental poems" Byron developed further the genre of the romantic poem. The composition and ideological concept of these poems do not fit into the classic norms.

The fragmentary nature of the "Eastern poems", the rapid dynamics in the development of the action, the lyrical descriptions of unprecedentedly bright and bold feelings, contrasted with the dullness and dullness of the philistine world - all this required new genre and stylistic forms.

Using English rhymed pentameter verse for most of the "Eastern poems", Byron saturated it with new linguistic and stylistic devices, which allowed him to achieve the greatest expressiveness for depicting the action, the hero's moods, descriptions of nature, and shades of people's emotional experiences. He freely asks the reader questions, widely uses exclamatory sentences, builds his plots not in a strict logical order, but in accordance with the character and mood of the hero. Regarding the composition of the “oriental poems”, Pushkin wrote in the article “On Olin’s tragedy The Corsair” (1828): “Byron cared little about the plans of his works or even did not think about them at all. A few scenes, weakly interconnected, were enough for him for this abyss of thoughts, feelings and pictures.

It should also be noted the evolution of Byron's hero: for the rebels of the "oriental poems" the whole meaning of life lies in action, struggle. They respond to the injustices committed by the "lawless law" of a "civilized" society with fearless confrontation, but the futility of their lonely struggle gives rise to their "proud and furious despair." The reason for Byron's spiritual drama was his lack of clear political ideals and understanding of the laws of development of society.

Romantic poems were Byron's new achievement in poetry. They are distinguished by a variety of poetic vision of the spiritual world of a person in the most stressful moments of life. The hero, his thoughts, experiences are consonant with nature and its elements. Their movement and continuous change in time give the landscapes in the poems a special beauty. Wherever the poet sees his heroes - against the background of the endless sea, wild rocks or the ruins of castles - he uses the landscape not only to emphasize their loneliness, but also to show the transience of time.

Byron's work was aimed at creating a work of the widest scale and significance. Playing with concepts and ideas, philosophical and artistic values of the past and present, Byron introduces them into the everyday life of the reading public and at the same time teaches a skeptical attitude towards the authority of traditions, brings up complete independence of thought.