Sergey chuprinin. An essay on the topic: "How interesting are Dostoevsky's thoughts and feelings to the modern reader?" based on the novel "White Nights
The theme of moral duty in the drama of Friedrich Schiller "The Robbers"
Student essay based on the drama of Friedrich Schiller "The Robbers". The outstanding German humanist Friedrich Schiller pondered the meaning of human life. He believed that contemporary man had lost simplicity and sincerity in relations with others and lived not by faith, but by calculation, and even in his neighbors he no longer saw friends, but rivals. The Robbers is Schiller's first drama. Created by a young genius, it still remains one of his most interesting works. It shows the confrontation between two brothers - Karl and Franz, sons of Count Moore, carriers of two opposite worldviews. Karl hates the squalor of life around him, treats with contempt those who obsequiously obey the rulers, oppressing the poor. He does not want to live by those laws, thanks to which hypocrites, crooks, usurers live so well. “Is it possible to squeeze my body into a corset, or are the will laced up by the law? The law makes snails crawl what an eagle should fly. " Karl Moor is a pure and kind young man at heart. Having learned about his father's decision to deprive him of his inheritance, he falls into despair, he perceives personal insult as a manifestation of injustice, which has already become the norm in human relations. He and his comrades are hiding in the Bohemian forest, becoming the leader of the robbers. Charles begins to rob the rich, noble, who have power, and helps the disadvantaged and persecuted.
His brother Franz adheres to completely opposite ideas and principles. In this image, Schiller showed a cynical person, without honor, conscience, cruel egoist. Hypocritically exposing brother Karl's student life in black colors, he dishonors him in front of his father, seeks that the entire parental inheritance goes to him. Moreover, he claims to be the hand of Karl's bride - Amalia. Franz's goal in life is to satisfy his own passions. He justifies any of his crimes, believes that honor and conscience are needed only by the common people. Franz strives for power and money and believes that there is no obstacle that would prevent him from achieving his goal. He hides his own father in the tower and condemns him to death by starvation. Meanwhile, Franz begins to be haunted by terrible visions, which can be called the torment of a humiliated conscience - the payment for cruelty and crimes. He even adorns his own coat of arms with his heartlessness: “The pallor of poverty and slavish fear are the colors of my coat of arms. Franz is unable to overcome remorse, fear of imminent punishment, and finally puts his own hands on himself. However, Karl does not win either. In the finale of the drama, he is overcome by doubt: did he choose the right path? And he understands that he went the wrong way. He pays for his crimes with the death of Amalia's father and bride and comes to the conclusion that there is no noble murder or high revenge in nature. He sees the greed, the cruelty of the robbers, who make his deed unjust, and decides to surrender to the authorities. “On the way here I happened to talk with one poor man ... he has eleven. A thousand louis is promised to the one who will bring the great robber alive. You can help the poor man. "
By portraying the disputes between brothers, between Karl and the law, Schiller violates an important question in the drama: if violence is fought against by violent methods, will the noble avenger himself not become a criminal? The author believes that retribution is inevitable for everyone who violated the moral law, regardless of the motives for which he committed the crime. In his work, Schiller showed the contradiction between the human right to protest, on the one hand, and the crime of any violent protest, on the other. This contradiction is tragic, since, according to the author, it has not been resolved in real life.
"The Robbers" was finished in 1781. Schiller had just finished his course at the Military Academy in Stuttgart, and he wrote the drama while still studying there. The young writer had to publish the drama at his own expense, because no publisher in Stuttgart wanted to print it.
But the director of the Meingham Theater, Baron von Dahlberg, undertook to stage it. The premiere took place in Meingheim in 1882. Schiller immediately became famous.
Genre and direction
Young Schiller is an ideological follower of Storm and Onslaught, an association close to sentimentalism. The Storm and Onslaught participants carried the educational ideology on German soil. Rousseau's works are very important for Schiller, especially his literary creation... The Rogues reflects the idea of a "natural man", the rejection of modern civilization and doubts about progress. Schiller shared Rousseau's religious concept (one of the qualities negative hero Franz Moor - godlessness). Schiller puts Russo's ideas into the mouths of his heroes.
The genre of the work "The Robbers" is a drama. In the finale, all of Karl's relatives die, and he himself goes to surrender to the authorities. The contradictions in his life are insoluble. He is morally broken and expects physical retribution. Some researchers concretize the genre, calling the work a robber drama.
Topics and problems
The theme of the drama is enmity and hatred between loved ones, capable of killing; the responsibility of a person for his choice and his actions, for moral obligations.
The main idea is pronounced by the priest: there is no greater sin than parricide and fratricide. Karl echoes him in the finale: "Oh, I am a fool who dreamed of correcting the world with atrocities and keeping the laws of lawlessness!"
In the foreword, Schiller admits that his goal as a playwright is "to spy on the innermost movements of the soul." The problems raised in the drama are human passions: revenge and betrayal, the slander of the eldest son, the grief of the deceived father, the choice of Amalia, the loyalty of the robbers and Charles to the word.
Social problems are associated with the omnipotence of the feudal lords (the story of Kosinsky, whose beloved became the mistress of the prince, and he took away the lands of Kosinsky and gave them to the minister). One of the epigraphs of the drama is “On Tyrants”.
Women in drama make a choice between honor and love. Amalia (Kosinsky's bride) chooses love (while losing her lover). And Karl saves his Amalia from such a choice by returning home on time.
Plot and composition
The plot is borrowed by Schiller from Shubart's story "Towards the History of the Human Heart". The plot was influenced by stories about noble robbers fighting against feudal lords. Robbery was a common social phenomenon in Schiller's time.
The youngest son Franz slandered the elder Karl in the eyes of his father, and then declared him dead. He wanted to inherit his father's wealth and marry his brother's bride. He declared his sick father dead and locked him in the family crypt.
Karl, a noble robber, but also a murderer, feeling anxiety for the bride, decides to secretly sneak into the family castle. He finds his barely alive father, who spent 3 months in the crypt, still loving him Amalia. Karl wants to take revenge on his brother for the suffering of his father, but he strangles himself with a lace. The father dies after learning that Karl is a robber, and Amalia asks to stab her, so as not to part with him again. Karl fulfills Amalia's request and surrenders himself to the hands of justice, at the same time doing a good deed for the father of 11 children.
Heroes and characters
Old Man Moore wants only one thing: that his children love each other. He is too soft, which Franz uses and pulls out of his mouth the curse directed at Karl. It was the father's refusal to accept his son in his castle that prompted Charles to become a robber. The father then curses his son, then calls him a pearl in the crown of the Most High and an angel. The old man is not ready to accept his son Karl as a robber and a murderer; he dies from this news.
Franz Moor, the youngest son, is cunning and deceitful. His goal is to take possession of his father's estate. In his own words, he was mired in all mortal sins. Franz suspects that all people are like him. Franz considers man to be dirt, and he himself is completely devoid of conscience.
The priest calls Franz a tyrant. Franz is atheist, but deep down he is afraid of meeting God. He is tormented by the sin of parricide, which is reflected in the dream of the Last Judgment. His death is correlated with sins: he strangled himself like Judas.
The elder brother Karl Moor is a noble robber. He himself does not consider himself either a criminal or a thief, calling his trade retribution, and his trade - revenge.
Charles is devout, but with contempt for the churchmen, calling them Pharisees, interpreters of truth, monkeys of the deity.
Karl, according to the father, is consumed by pride. Indeed, Karl treats robbers with contempt, calling them godless villains and the instrument of his great plans.
Karl is a natural person who acts according to common sense. Upon learning of his brother's treachery, Karl is ready to flee so as not to kill him in anger. He is generous and generous, gives Daniel a wallet. At the end of the tragedy, Karl decides not only to surrender to the authorities, but also to help the poor man by giving him money for his capture.
Moreover, Karl is a robber and a murderer. He would like to forget the screams of his victims, trying to find an excuse for his actions in his pedigree and his upbringing.
Karl has a keen sense of justice. He himself rebelles against human laws, considering them unjust, but is outraged that Franz violates God's laws when he kills and tortures his father: “The laws of the universe have been turned into dice! The connection of nature has disintegrated ... The son killed his father. "
From Karl's point of view, revenge justifies his robbery and the murder of his brother. And yet he does not consider himself entitled to be happy and to love if he has killed so many.
Daniel, a seventy-year-old servant, is exceptionally honest. He does not console Franz, who told a terrible dream about the Last Judgment, but only promises to pray for him. Franz calls this sincerity the wisdom and cowardice of the rabble. Daniel refuses to stab Franz when the hour of retribution approaches, unwilling to commit a sin.
Outlaw Skins
They are loyal to their chieftain and do not agree to hand him over to the authorities even for a signed pardon. Karl calls the robbers punishing angels. Obligation to them forces Karl to kill Amalia.
Amalia
The girl is faithful to her lover, idealizes him. Amalia is ready to go to a monastery after learning about the imaginary death of Karl and his father, but does not agree to become Franz's wife, wants to stab herself when her younger brother harasses her by force.
Amalia cannot imagine her life without her beloved. When the girl finds out that her fiancé is a robber, she calls him both a demon and an angel at once. She herself becomes a victim of the duty of her lover.
Conflict
The conflict in the drama is external and internal. External social conflict: rebellion against feudal arbitrariness. He encourages Karl to become a robber, and Franz - to plot against his father and brother. At the end of the novel, the conflict is resolved by Karl's recognition of the fallacy of his path.
Karl's internal conflict is a contradiction between the right to protest and the criminal ways of its implementation based on violence. This conflict is insoluble.
Internal conflict is inherent in every hero. Amalia resolves the conflict between her love for Karl and her sympathy for the disguised Karl. Franz's internal conflict is about the existence of God. The father cannot decide whether to forgive or curse each of his sons.
Artistic identity
For young Schiller, the main thing in the drama is to convey his ideas to the reader and viewer. The plot is not based on facts of life, but comes from ideas. Schiller's character of the hero is conditional. He builds it rationally, based on his meager knowledge of society and the world, subordinates it to the idea.
Schiller created a new type of drama. It has a political component, pathos, emotionality and lyricism.
Songs are of great importance in drama. Karl and Amalia are singing, restoring their strength by playing the lute and pouring out longing. The songs reveal the true feelings of the heroes, for example, Karl sings about Caesar and the traitor Brutus, having learned about his brother's betrayal.
8th grade
Elena KUDINOVA
Elena Aleksandrovna KUDINOVA - teacher of Russian language and literature, Komsomolsk-on-Amur, Khabarovsk Territory.
Lesson-reflection on the drama by F. Schiller "The Robbers"
For work on the play, I assign two lessons, the third is a generalizing lesson-reflection. In the first lessons, there is a detailed work on the text of the play, reading by roles.
In the process of preparing for the final lesson, the guys were divided into creative groups with assignments: the "Actors" group was preparing for staging the third scene of the second act "Bohemian Forests"; the group "Designers" prepared the playbill for the play, portraits of the main characters - Franz Moor and Karl Moor; the group "Researchers" worked on the novel by A.S. Pushkin's "Dubrovsky"; the group "Art Critics" worked on the history of the creation of the 9th symphony by L.V. Beethoven.
Registration: a theatrical screen, a portrait of a writer, a poster for a drama, illustrations for a work.
Musical accompaniment: L.V. Beethoven. 9th Symphony, Ode to Joy.
Epigraph:“I really can be amazed” (Karl Moore).
Introductory speech of the teacher
In the previous lessons, we met you with the famous classic drama of the German poet and playwright Friedrich Schiller (1759-1805) "The Robbers", a writer whom A.S. Pushkin ranked with the greatest figures of different eras - Homer, Dante, Shakespeare, Racine. Today, the last page of the play has been turned over, so there is an impromptu curtain in the classroom, since the conversation will not just be about a literary work, but about drama, where the art of speech and theater are merged together. “Let's talk about the stormy days of the Caucasus, about Schiller, about glory, about love,” we will say after A.S. Pushkin.
Today's lesson is a meditation lesson on what you have read. We will try to answer the questions: How did we, pupils of the 8th grade, understand the pages of the great work? Do we need Schiller's plays in our time, or have they become a deep history? What is a classic classic? How did you feel main character plays?
Conversation with the class
The play "The Robbers" is set in 18th century Germany. Its plot is based on the enmity of two brothers. What can you say about the main characters of the play?
Student responses
The main characters are brothers Karl and Franz Moore. One of them - the younger brother Franz - is a heartless, hypocritical, low man. He does everything to discredit his older brother in the eyes of his father - Count von Moor. Treacherous, despotic, outwardly ugly, Franz pursues only one goal - power and money.
The other - the noble, fiery, heroic, daring Karl Moor, by the will of fate, turned out to be the leader of a gang of robbers.
What is the artistic technique underlying the construction of the characters of the brothers? Justify this.
When characterizing the characters, Schiller uses the technique antitheses. The appearance of the brothers, their inner world, their actions are contrasted.
One hypocritically pretends to be a meek and loving son, although in fact he is ready for meanness to discredit Karl. The other is generous, capable of lofty feelings. In characterizing the brothers, antonyms are used: vile - generous, shameless - honest, immoral - noble.
Look at the portraits of these characters by the Artists group. How do you think they managed to convey the main character traits of the characters? Support your answers with quotes from the text. (Expanded student responses.)
“Who now dares to come and pull me to an answer or tell me in my eyes:“ You are a scoundrel! ” Now down with the onerous mask of meekness and virtue! Look at the real Franz and be horrified! .. Ironing and caressing - not in my customs. The pallor of poverty and slavish fear is the color of my livery. I will dress you in this livery! ” (Characteristic of Franz; Act 2, Scene 2.)
“Amalia. The faded colors cannot repeat the lofty spirit that shone in his fiery eyes ...
Old Man Moore. This friendly, affectionate look. " (Characteristic of Karl; Act 2, Scene 2.)
Teacher. As a result of Franz's intrigue, Karl Moor becomes a criminal, his desire for freedom turns into hatred of all mankind as a whole. Wanting to restore justice and take revenge on his brother, Karl becomes the leader of a gang of robbers. However, the life of robbers is far from the ideal of a "moral world order." One of the key scenes in the play is the scene in the Bohemian woods. Let's turn to a fragment of the 2nd scene of the 3rd act.
Group "Actors" presents a fragment of this scene from the words of the father: “So this is it - the dragon's lair! With your permission, judge me, I am a minister of the church, and there are seventeen hundred people over there, protecting every hair on my head ... "to the words of Moore:" Now we are free, friends ... "
Conversation with the class
Why is a priest brought to the camp of robbers?
Answer. The playwright takes his hero through a test of conscience.
What better helps us understand the character of the protagonist?
Answer. Schiller in "The Robbers" was able to show the most intimate movements of the soul through the monologues and remarks of the hero. Karl Moor's monologues help us understand what an internally contradictory path from hatred and revenge to the realization of the horror of death and repentance the hero goes. He takes upon himself the right to execute and pardon, but the atrocities and atrocities of the robbers do not give him the opportunity to become the same. The hero's monologue shows how deeply he experiences discord with his conscience.
“Moore. How do you know that I do not see bad dreams at night, that I will not cover myself with pallor on my deathbed? How many things did you have to do for which you were responsible? Know, ambitious youth: laurels turn green not for murderers and arsonists! Not glory meets robbery victories, but curses, dangers, death, shame! "
Teacher.“The Robbers” is a rebellious drama, and its hero is a noble robber. What a rich topic! Schiller was not the first to discover it, and in Russian literature it was continued in the novel by A.S. Pushkin's "Dubrovsky". I suggested comparing the hero of Schiller's play with the famous hero Vladimir Dubrovsky to a group of literary scholars.
What can you say about the life goals of these heroes? What qualities of the characters do you think are similar?
The answer from the "Researchers" group. The theme of rebellion and a noble robber is presented in the novel by A.S. Pushkin's "Dubrovsky", written in 1832-1833. Vladimir Dubrovsky, a Russian nobleman, fueled by a sense of revenge for the insult and death of his father, is forced to burn down the family estate and go into the forest as the leader of the robbers. The scene in the Bohemian forests resembles a scene from Chapter XIX: “In the middle of a dense forest, on a narrow lawn, stood a small earthwork, consisting of a rampart and a ditch, behind which there were several huts and dugouts ... The robbers took each of the definite places. At this time, three sentinels ran to the gate. Dubrovsky went to meet them. "What's happened?" he asked them. "The soldiers in the forest," they answered, "are surrounding us" ... "
Dubrovsky and Karl Moor are united by the similarity of destinies. Karl does not kill for robbery, but distributes his legal share of the spoils to orphans. The characteristic is suitable for both of them - noble. The actions of Vladimir Dubrovsky, his desire for revenge and refusal from it coincide with the path of the hero Schiller, only he, unlike Vladimir, surrenders to justice, and does not hide abroad. Considering these images of world literature, we see a similarity in the depiction of a rebel hero in Pushkin and Schiller. Nobility, honesty, generosity unites these heroes. Their inner world and character is incompatible with the environment (a gang of robbers) in which they both find themselves: “I am not a thief, tell them that my craft is retribution, my craft is revenge” (Karl Moor).
Teacher. For two hundred years, the finale of the play has been interpreted in different ways. The main question of the finale invariably arises before us:
What did the main character condemn himself for? Why is he surrendering to justice?
Based on the analysis of the last act, the guys show the protagonist's awareness of the fatality of his path and the desire to retaliate for the death of Amalia, father and brother. A person is responsible for his actions both to himself and to society: “Oh, I am a fool who dreamed of correcting the world with atrocities and observing the laws of lawlessness! I called it revenge and right! .. Ruined by me - ruined. Never recover a defeated one! But I can still pacify the outraged laws, heal the wounded world ... ”With bitterness and shame, Karl Moor admitted that he had gone the wrong way. With the sword, he tried to restore justice to the world, but his good intentions were accompanied by dishonorable atrocities.
Why did Karl Moore's words “Yes, I really can cause amazement” as an epigraph to the lesson?
Did the protagonist surprise you? How do you feel about his act? (Answers of students.)
Teacher. F. Schiller remains popular in Russia in the 21st century, just as he was popular in the 19th century. His plays do not leave the stages of Russian theaters: the Moscow theater named after A.S. Pushkin, Maly, BDT and others. Viewers and readers of our time continue to look for an answer to the question: is it possible to remain a person without repentance? The act of the protagonist of the play Karl Moor continues to cause controversy and judgments to this day, some of which were presented in our lesson. The thoughts of the great poet about the measure of a person's responsibility for their actions were close to the great Russian writers of the 19th century (for example, A.S. Pushkin and F.M.Dostoevsky).
The work of the great German poet did not go unnoticed by the musicians.
Group "Art Critics". In 1824, already seriously ill, Beethoven wrote the last - the 9th symphony. It was a song of freedom, a fiery appeal to posterity. The concluding part of the symphony sounded especially solemn. The composer put the music on the words of Schiller's ode "To Joy". In one impulse, the great composer and the great poet called on everyone: "Hug, millions!" (Expressive reading of an ode to students.)
Joy, unearthly flame
The heavenly spirit that flew to us,
Intoxicated by you
We entered your bright temple.
You bring closer together without effort
All scattered by enmity
Where you spread your wings
People are brothers among themselves.
Hug, millions!
Merge in the joy of one!
(Beethoven's 9th symphony sounds, an ode to Joy.)
Compare Schiller's ode-song to his "The Robbers." Could the heroes of the drama accept it? (Answers of students.)
Closing remarks from the teacher. Years pass, the director's interpretations and actor's costumes change, certain accents are shifted, but the fiery pathos of the tragedy remains unchanged. Schiller and his hero continue to passionately appeal to the human conscience, and readers and viewers continue to search for the truth to this day.
Homework. Write a small essay-reflection on the topic “What is close modern reader the drama of F. Schiller “The Robbers”? ”.
Literature
- History of German Literature: In 3 volumes.M .: Raduga, 1985.Vol. 1.
- Libenzon Z.E. Friedrich Schiller. M .: Education, 1990.
- Materials of the lessons of I. Arkin: Literature at school, 1998.
Writing
Schiller's activities took place in Germany, the heyday of his work fell on the 1790s. He died in Weimar. Schiller was a man who, with his work, marked the threshold of romanticism. His main work is his activity as a playwright. "The Robbers" (at the age of 18), "Treachery and Love", dramas of a historical nature, do not very often refer to the history of Germany, but to the European, world. "The Maid of Orleans" (Jeanne D'Arc), "Mary Stuart" (history of England), "Don Carlos" (Spain), "Wilhelm Tell" (the national symbol of Switzerland - the free shooter).
Mature drama - central theme freedom, the idea of national liberation (Jeanne D'Arc), the clash of two characters Mary Stuart - the character of the calculating Elizabeth and the spontaneous character of Mary Stuart. The reading drama Wallenstein is associated with German history. The drama "Dmitry the Pretender" is associated with Russian history (only sketches of this work). Schiller's fame was enormous until the 30s. 19th century. He is convinced and strove to convince the reader that the border between good and evil is very clearly drawn in the world. Stylistics: great monologues of heroes, enthusiastic, created for recitation.
"Mary Stuart" - Schiller knew how to create female characters and was not afraid to put them in the center. This play, in which 2 main female roles- two queens. Mary Stuart is a French princess, her father is a Scottish king, her mentor is a poet, she is educated, good-looking, charming, attractive, zealous Catholic, but she was married twice. In Scotland, strife was taking place - separation from England, the struggle of Catholics with the Anglican Church. She is drawn into conspiracies that lead to the death of one of her husbands. At this time, Elizabeth Tudor (the virgin queen) ascended the throne in England.
A woman politician, endowed with a state mind, businesslike, calculating, prone to intrigue. She had no right to the throne. Her father Henry 8 sent her mother to the chopping block, after which Elizabeth was considered illegitimate. The field of Henry's 8 sons did not remain and Mary the Bloody ascended to the throne. She sends Elizabeth to prison, but after Mary's death, Elizabeth becomes queen. She understood that if she got married, then everything would go to her husband and she would lose independence, so she became a virgin queen. For Schiller, his drama is a clash of two approaches to life: a person's natural desire for freedom and self-expression (Maria is unselfish, unambiguous, a woman created for love, self-critical, open, her servants stay with her to the end, because they love her). For Mary, the brightest scene is her meeting with Elizabeth. Elizabeth is smart, she sees Mary as a threat to the well-being of the country. She remains a woman and realizes that she does not have what Mary possesses. She envies her like a woman. There is a secret feminine rivalry in her.
The meeting of the two queens presents an introduction: Mary is allowed to descend into the garden after spending years in captivity, she is as happy as a child. The queen only dreams of Elizabeth letting her out, she needs freedom. And Elizabeth speaks down to her, she longs for Mary to obey her in everything, to recognize all the priorities. Otherwise, Elizabeth is ready for anything. When Elizabeth goes beyond the ethics of conversation, Mary loses her temper. Elizabeth rebukes Mary for being a sinner, Mary enrages and exposes the queen's hypocrisy. The splash of truth, freedom is more important to her than the future. Already left alone, realizing that there will be no liberation, I am proud that I so humiliated Elizabeth. Elizabeth decides that she will only be safe after Mary's death. She begins to prepare her lords so that they decide on the execution of Mary. Scene of Mary Stewart's farewell to those who accompany her. The queen is calm until the last moment and accepts death with great dignity.
The plot is based on a family tragedy. In the ancestral castle of the barons von Moor live the father, the youngest son - Franz and the earl's pupil, the eldest son's bride, Amalia von Edelreich. The opening is a letter allegedly received by Franz, which tells about the dissolute life of Karl von Moor, the eldest son of the Count, who is taking a course in science at the University of Leipzig. Saddened by the bad news, the old man von Moor, under pressure, allows Franz to write a letter to Karl and inform him that, enraged by the behavior of his eldest son, he, the count, is depriving him of his inheritance and his parental blessing.
At this time in Leipzig, in a tavern where students of Leipzig University usually gather, Karl von Moor is waiting for an answer to his letter to his father, in which he sincerely repents of his dissolute life and promises to continue to do business.
A letter comes from Franz - Karl is in despair. His friends are discussing in the inn Spiegelberg's proposal to gather a gang of robbers, settle in the Bohemian forests and take money from wealthy travelers, and then put it into circulation.
Poor students find this idea tempting, but they need an ataman, and although Spiegelberg himself counted on this position, everyone unanimously chooses Karl von Moor. Hoping that "blood and death" will make him forget his former life, father, bride, Karl takes an oath of loyalty to his robbers, and they, in turn, swear allegiance to him.
Now that Franz von Moor has managed to banish his older brother from his father's loving heart, he is trying to blacken him in the eyes of his bride, Amalia. In particular, he informs her that the diamond ring that she presented to Karl before parting as a pledge of fidelity, he gave to the libertine, when he had nothing to pay for the amorous pleasures. He draws in front of Amalia a portrait of a sick beggar in rags, from whose mouth he reeks of "deadly faintness" —this is her beloved Karl now.
But Amalia refuses to believe Franz and chases him away.
A plan has matured in Franz von Moor's head that will finally help him fulfill his dream of becoming the sole owner of the inheritance of the Counts von Moor. To do this, he persuades the bastard son of a local nobleman, Herman, to change his clothes and, appearing to the old man Moor, report that he witnessed the death of Charles, who took part in the battle of Prague. The heart of the sick count is unlikely to withstand this terrible news. For this, Franz promises Hermann to return Amalia von Edelreich, whom Karl von Moor once recaptured from him.
This is how it happens. Old man Moor and Amalia are visited by Herman in disguise. He talks about Karl's death. Count von Moor blames himself for the death of his eldest son, he leans back on the pillows, and his heart seems to stop. Franz rejoices at the long-awaited death of his father.
Meanwhile, Karl von Moor is robbing the Bohemian forests. He is brave and often plays with death, as he has lost interest in life. He gives his share of the spoils to the orphans. He punishes the rich who rob ordinary people following the principle: "My craft is retribution, revenge is my craft."
And in the ancestral castle, von Moor is ruled by Franz. He achieved his goal, but does not feel satisfaction: Amalia still refuses to become his wife. Hermann, realizing that Franz had deceived him, reveals to the maid of honor von Edelreich a "terrible secret" - Karl Moor is alive and old man von Moor is also.
Karl and his gang are surrounded by Bohemian dragoons, but they manage to escape from it at the cost of losing only one robber, while the Bohemian soldiers lost about three hundred people.
A Czech nobleman, who has lost all his fortune, as well as his beloved, whose name is Amalia, asks for von Moor's detachment. Story young man Shaken in Karl's soul, former memories, and he decides to lead his gang to Franconia. Under a different name, he enters his ancestral castle. He meets his Amalia and is convinced that she is loyal to "the deceased Karl".
No one recognizes the eldest son of the Count, only Franz guesses the elder brother as a guest, but does not tell anyone about his guesses. The younger von Moor makes his old butler Daniel take an oath that he will kill the newly arrived count. By the scar on his hand, the butler recognizes in Count von Br'ande Karl, he cannot lie to his old servant who raised him, but now he must hasten to leave the castle forever. Before disappearing, he decides to see Amalia, to say goodbye to her.
Karl returns to his robbers, in the morning they will leave these places, but while he wanders through the forest and in the dark he suddenly hears a voice and sees a tower. It was Herman who came stealthily to feed the prisoner who was locked up here. Karl rips the locks off the tower and frees the old man, withered as a skeleton. This prisoner turns out to be the old man von Moor, who, unfortunately, did not die then from the news brought by Hermann, but when he came to himself in a coffin, his son Franz secretly from people imprisoned him in this tower, condemning him to cold, hunger and loneliness. Karl, having heard the story of his father, can no longer endure and, despite the family ties that tie him to Franz, orders his robbers to break into the castle, grab his brother and deliver him alive.
Night. Old valet Daniel says goodbye to the castle where he spent his entire life. Franz von Moor runs in in his dressing gown with a candle in his hand. He cannot calm down, he had a dream about the Last Judgment, at which he is sent to the underworld for his sins.
Having received confirmation from the pastor that the most serious sins of man are fratricide and parricide, Franz is frightened and realizes that his soul cannot escape hell.
The castle is attacked by robbers led by Schweitzer, sent by Karl, they set fire to the castle, but they fail to capture Franz. In fear, he himself strangled himself with his hat-string
FRIEDRICH SCHILLER
Topic moral obligations in dramaF. Schiller "; The Robbers";
Friedrich Schiller once said that he knew how to keep people from falling. To do this, you need to close your heart to weakness. The depth of this saying becomes more transparent if you look at the image of the German romantic poet Friedrich Schiller. He was a famous humanist, he thought a lot about the meaning of human life. Schiller's contemporaries completely lost sincerity and openness in relations with neighbors and no longer lived by faith, but by calculation, seeing in people not friends, but almost enemies. Schiller opposed the flourishing of such blatant individualism and disbelief.
Drama "; The Robbers"; is Schiller's first dramatic work. Young genius managed to create a very interesting play, which is still relevant today. The drama shows the confrontation between the sons of Count Moore - Franz and Karl, who are carriers of two diametrically opposed worldviews. Karl is the epitome of ro-
mantic outlook on life. He hates the squalor of life around him, and with disgust and contempt he treats the hypocrites who flatter powerful rulers while at the same time oppressing the poor. Karl does not want to live by the laws that deceivers and villains take advantage of. Karl Moor says this: "; The law makes that which should fly an eagle to crawl"; But in the depths of his soul, the young man remains a kind and pure person. Upon learning that Count Moore is depriving him of his paternal inheritance, Karl falls into despair and perceives this personal insult as another manifestation of universal injustice. The young man leaves society, hides in the Bohemian forest and becomes the leader of the robbers. Karl Moor, the count's son, robs the rich and noble and helps the outcast and disadvantaged. The behavior of the young man brings to mind the heroes of folk ballads about noble robbers.
Franz Moor, Karl's brother, adheres to different principles. Schiller paints a rather unpleasant image of an egoist, a cynic, devoid of honor and conscience. It was Franz who was the reason that his father disinherited Charles. He dishonored and slandered his brother, having two secret goals: to get all of his father's property and to marry Karl's fiancée. Franz's goal in life is to satisfy his desires. This person believes that honesty is the lot of the poor. Franz Moor is hungry for money and power, believing that there are no obstacles to achieving these goals. If necessary, he is ready to doom his own father to death by starvation. But in every offense there is a punishment. Franz begins to be haunted by terrible visions, which become payback for cruelty and crime. Franz Moor cannot survive the pangs of conscience. Fearing imminent retribution, he lays hands on himself. It may seem that Karl's philosophy of life has won, but this is not entirely true.
In the finale of Karl Moor's drama, grave doubts grip. He asks the question: did he choose the right path? Karl realizes that he was wrong. For his noble robbery, he has to pay with the death of his father and Amalia. Karl realizes that high revenge and noble murder
does not exist. Finally, he sees that the robbers are greedy and cruel. Karl Moor decides to voluntarily surrender to the authorities.
Friedrich Schiller portrayed the confrontation between two brothers, Karl's clash with the law, in order to raise a serious question: if violence is fought with violence, then will a noble avenger become a noble criminal. The playwright comes to the conclusion that retribution is inevitable for everyone who breaks the unwritten moral laws and the motives of the crime do not matter. In the drama "; The Robbers"; Schiller demonstrated a sharp contradiction between the inalienable right of every person to protest and the criminal content of all violence. This contradiction is a real tragedy for many thinking people. According to Friedrich Schiller, in real life this contradiction is insoluble.
GEORGE GORDON BYRON
Features of the poetic world of Byron
(Based on the works of George Gordon Byron "; Prometheus"; and "; Belshazzar's vision";)
Byron is one of the most famous representatives of the romantic movement in the poetry of the 19th century. The life of this extraordinary man is, as it were, a word-for-word to his work, poetry. If a noble Englishman, a lord, though from an impoverished family, dies in a foreign land, tired of the struggle for the happiness of a foreign people, that already means something.
Despite the fact that Byron is considered a typical representative of the romantic direction in Western European literature, his poems differ markedly, say, from the poetry of his fellow countryman Southey or the Frenchman Hugo. Byron's romantic hero does not run away from the troubles of life, but enters into a struggle
boo with hostile the world. Yes, the poet chose heroes for himself who entered into confrontation - one on one - with the whole world,
In the poem "; Prometheus"; Byron refers to the famous mythological character - the titan Prometheus. The hero was banished by the gods for disobedience. The poet describes the titan as a fighter for the happiness of people:
The darkness of alienation, disobedience,Confrontation between misfortune and evil,When, strong by oneself,He will give battle to all black forces.
Prometheus received a terrible punishment for his generous act. Byron enthusiastically notes that Prometheus showed his own will, disdaining the instructions of the gods, for which he was doomed to torment.
Zeus the Thunderer of Byron appears as an almost blind and angry force, capable of strangling all free and living things. Let Prometheus be punished with grievous torments, but humanity does not forget about who gave people fire, taught crafts and writing. According to Byron, every conscious person should follow the example set by Prometheus in ancient times, "a proud spirit"; and whose disobedience did not break evil.
Another important feature of Byron's poetic worldview is a sincere hatred of tyrants and oppressors of all stripes. In "; Belshazzar's vision"; Byron, by means of poetic language, retells the biblical legend about the last Babylonian king - the terrible and cruel Belshazzar. During the feast on the magnificent wall of the palace, an invisible hand draws out mysterious and ominous letters. The frightened king orders the secret of these words to be explained, but neither the Magi nor the priests are able to do this. And only a stranger solves the ominous mystery: "; the grave, not the throne"; waiting for Belshazzar, and Babylon will perish.
Bora. By the way, the same theme sounds in the famous Russian revolutionary song "; Let the despot feast in a luxurious palace";
A special genius like no one else - that is how you can say about Byron. This is a genius who never found a common language with society. When enlightened Europe was read by the poetry of a rebellious lord, the ashes of Byron, who died from illness in a foreign land, was buried in a small church near Newsted on his family estate. Byron took place as one of the leading figures in European literature, but in life he was lonely and not too happy.
AMADEUS HOFMAN
Where Tsakhes are taken
(Based on the tale of Hoffmann "; Little Tsakhes";)
The most prominent representative of German romanticism is Ernst Theodor Amadeus Hoffmann. Peru of this writer owns many works that are included in the golden fund of world literature. One of the most interesting satirical works Hoffmann is "; Little Tsakhes" ;.
In this tale, Hoffmann develops a popular folk motif about miraculous hair. The good fairy out of pity gives the little freak three magic hairs. Thanks to them, everything significant and talented that happened or uttered in the presence of Tsakhes is attributed to him. But the nasty actions of the baby himself are attributed to the people around him. Tsakhes is making an amazing career. The kid is considered the most brilliant poet. Over time, he becomes a privy councilor, and then a minister. It is scary to think of what heights little Tsakhes could reach, but the timely intervention of a kind wizard puts an end to his chimeric career. Having lost three magic hairs, Tsakhes became who he was in fact
le - a pitiful likeness of a man. Now those who obeyed the baby with delight make fun of him. Fleeing from former admirers, Tsakhes falls into a chamber pot and tragically dies.
With great satirical force, Hoffmann creates the image of Tsakhes. The kid is the person who appropriates the results of someone else's work, other people's merits and honors. According to Hoffmann, three scarlet hairs donated by a fairy are a symbolic image of gold (money), their unlimited power over society. Where do people of this sort come from, who can be called Tsakhes? Hoffmann gives several of his versions of their origin: a blind society, which in complete self-forgetfulness creates an idol for itself; the power of the wallet; the intervention of otherworldly forces and just human madness. Hoffmann also traces the entire path of worship of the fake idol. From admiration and fanaticism to mortal horror in front of another tyrant. One should not think that the author makes fun of only the worthless and deceitful nature of Tsakhes. Above all, the target for satirical arrows is a society stricken with imaginary greatness. With his work, Hoffman brilliantly shows that the Tsakhes live and prosper only thanks to the worthlessness of society, which brought them to the pinnacle of life. Therefore, it is not surprising that in a country ruled by little Tsakhes, love, generosity, and morality are lacking. Of course, it is a pity that the author, having managed to make an accurate diagnosis of a sick society, does not give prescriptions for how to cure it. However, it also seems to the reader that superficial treatment cannot improve the situation - a serious surgical intervention is required.
Hoffmann also brings to the public arena the antipode of the crumb Tsakhes, a student of Balthazar. This is a typical romantic hero. First of all, he is a creative nature that opposes a rotten society. But the author sneers at this character too: Baltaear quickly ceases to be interested in social problems, being content with the easy happiness of a philistine. He marries his beloved, the young family settles in a quiet village
SKOM house, and the souls of Baltaaar and the beauty of Candida fall asleep forever.
It's time for a fairy tale "; Little Tsakhes"; sounds very harsh and sharp. In real life, there are no sorcerers and wizards, but Tsakhes hold high positions, and it's time to smoke them out. It is the Tsakhes who marry the beautiful Candids, they are the ones who buy for themselves "small"; quiet houses on other continents for public money. But Bal-Tazarov expects something completely different - contempt, shame, imprisonment, death.
Today, young people should think about "; Little Tsa-khes"; since it is she who will have to live further in our country and rule it. One thing is absolutely certain - it is better to ridicule the poor in spirit of the Tsakhes than to grovel in front of them, it is better to destroy the Tsakhes than to submit to their despicable authority.
VICTOR HUGO
Quasimodo how an example of spiritual beauty
For a long time mankind has been solving the question of the compatibility of spiritual beauty and physical perfection. The ancient Greeks came closest to solving this issue. But later on, physical perfection was somehow forgotten - the Middle Ages began.
Victor Hugo's novel "; Cathedral Notre dame de paris"; talks about Paris in the Middle Ages. With his characteristic encyclopedic knowledge and a bias towards rhetoric, Hugo creates several interesting characters, each of which can be devoted to whole volumes of research. One of the main characters of the novel is Quasimodo, the bell ringer of Notre Dame Cathedral. Translated from Latin "; Quasimodo"; means "; as if"; and indeed,
the bell ringer resembles one of the sculptural chimeras that still adorn the pediment of the Cathedral of Notre Dame de Paris, with a huge head covered with red stubble, a hump between the shoulders and terribly crooked legs. Thanks to his ugliness, Quasimodo even became "the father of fools"; during folk fun.
Quasimodo, closed in himself because of his ugliness, sometimes resembled a beast. But when he gently and purely falls in love with a girl of unearthly beauty Esmeralda, this feeling is striking and causes some kind of painful surprise. Quasimodo saved Esmeralda's life and hid her in the Cathedral. During this time, their relationship turns into a real spiritual understanding and unity, associated with the famous fairy tale "; The Scarlet Flower"; Esmeralda understood the feelings of Quasimodo the freak and involuntarily got used to her gentle and sad savior. And the ringer's craving for beauty should be sought not in external manifestations, but in the very depths of his being. Hugo could not unequivocally answer the question of why fate acted so cruelly and at the same time wisely with Quasimodo. Throughout the novel, the hunchback Quasimodo the further, the more he looks spiritually beautiful. The hunchback's devotion to Esmeralda is almost insane, incomprehensible, for her sake he could jump from the tower of the Cathedral without hesitation. The realization of his own ugliness until his death does not give rest to Quasimodo, and fate allowed him to unite with his beloved only after death.
Quasimodo is not a model of sobriety and poise. He is tormented by a variety of feelings, sometimes he is seized by anger, which can be considered a consequence of the attitude of the people around him. He could not resist his thirst for revenge on the priest Claude Frollo, whom he had thrown from the heights of the Cathedral. After the death of Esmeralda and Frollo, Quasimodo said: "This is everything that I loved"; He truly loved the beauty embodied in Esmeralda and the God that Frollo personified. It may seem that for Quasimodo there is nothing else left in the whole world. But, in my opinion, the hunchback had something that he did not understand: the Cathedral. He could become part of this magnificent structure, which-
the swarm directs the towers like hands to the empty sky. But this is just a guess.
In his novel, Victor Hugo embraced both the meaning and the cruelty of life, and death, and our addictions, and the despair of love. Quasimodo embodies the versatility of the human character. On re-reading "; Notre Dame Cathedral"; the reader discovers all new features in this most interesting hero, whose name has become almost a household name in our time.
Cathedral image
(Based on the novel by V. Hugo "; Notre Dame Cathedral";)
Notre Dame Cathedral, or Notre Dame de Paris, is probably one of the most famous monumental buildings of the Middle Ages. Such widespread popularity of the Cathedral, not least of all, should be "blamed"; Victor Hugo. The writer's contemporaries recall how Hugo spoke repeatedly, showing the Cathedral that the shape of this building resembles the first letter of his surname ("; Hugo"; - in French, it begins with the letter "; H";). And one can forgive the writer for such a rather innocent bombast, as "; Notre Dame Cathedral"; is a truly talented and interesting novel. And always, looking at the majestic towers and walls of the Cathedral, people will remember the loving freak Quasimodo and the divinely beautiful gypsy woman Esmeralda.
Notre Dame de Paris is a typical Gothic building. This architectural style has left its mark on social development. medieval Europe... The Gothic style is characterized by a striving upward, to spiritual heights, combined with the concept that the sky is inaccessible without an earthly support. Gothic structures seem to float in the air, they seem so weightless. But this seems only at first glance. In fact, the Cathedral was built
hundreds of unknown masters endowed with a truly popular, exuberant imagination. Hugo is fascinated by the amazing works of the Middle Ages, which simultaneously have originality, and originality, and unsurpassed craftsmanship. But architectural buildings in gothic style are not only the embodiment of folk genius, but, as noted by Hugo, are "; stone books of the Middle Ages, from the decorating bas-reliefs and sculptures of which illiterate commoners studied the Holy Scriptures. The most famous architectural element of Notre Dame de Paris are chimeras - three-meter sculptural figures located on the pediment of the Cathedral. Chimeras are a symbol of dark, but not always hostile forces. It is fascinating that these devilish creations have been grinning predatoryly under the domes of the Catholic Cathedral for about seven hundred years. Hugo has masterfully created the image of the ugly bell-ringer Quasimodo, who seems to be one of these sculptural monsters.
First of all, the Cathedral is the center of the religious and folk life Parisians. Commoners also gather around him, who are able to fight to improve their future. Also, the Cathedral is a traditional refuge for the exiled: no one has the right to arrest a person while he is outside the walls of the Cathedral. At the same time, Notre Dame Cathedral becomes a symbol of oppression - religious and feudal. Quasimodo appears here as the one who is oppressed by the infinite grandeur of the Cathedral, and as "; the soul of the Cathedral" ;. The hunchback bell ringer can be considered an embodied image of the Middle Ages and, naturally, of the Cathedral. The beauty Esmeralda, with whom Quasimodo is in love, on the contrary, is the embodiment of bright vitality. The girl dancer can be considered the embodiment of the Renaissance, which is going to replace the Middle Ages. It should be said that these two cultural and historical eras have passed, but Notre Dame de Paris still rises under the Parisian sky.
Victor Hugo's novel seems to flip a sheet of the calendar from the past to the present. From their positions
tion writer spoke out against political reaction and social injustice. The novel is full of echoes revolutionary events witnessed by Hugo. It was this involvement that influenced the portrayal of ordinary townspeople in the work. The people, according to Hugo, are not a dark crowd, but are filled with an unbridled will to fight and unrealized creative ideas. But the time of the commoners has not yet come. The author describes the storming of Notre Dame de Paris, which is, as it were, a rehearsal for the storming of the Bastille in 1789, when the long reign of the French monarchy was ended. When will the time of the people come? Hugo answers the question: "; When the alarm is sounded from this tower, when the cannons rumble, when the walls fall with a terrible roar, when the soldiers and the crowd rush at each other with a growl, then this time will come."
Hugo did not idealize the Middle Ages. The novel contains a high poetry, an ardent love for France, its history and art, depicts the dark sides of feudalism. Notre Dame de Paris is an eternal Cathedral, outwardly indifferent to the endless vanity of human life.
10. 800 sair. op. in Russian and peace. lit. 5-11 HA.
COMPOSITIONS ON A FREE TOPIC
Only in work is a man great
(essay-reasoning)
Not every person can feel the joy of work. Some people were simply born contemplators, not doers, and work for them is a burden that takes away strength, time, eats up strength. Others were unlucky: the type of activity chosen by them does not correspond to the abilities, inclinations, character, psychological data. For them, labor is torture, slavery, hopeless captivity without the prospect of liberation! Such people pull the strap, some docilely, some angrily, just for the sake of a piece of bread.
There are people who are not adapted to systematic work. They are impetuous, work on inspiration, periods of recovery are interspersed with periods of apathy.
Will they all agree that the greatness of man is in work? Unlikely. Even popular beliefs about happy life first of all, they presuppose idleness. Let's remember fairy tales - Russian, Ukrainian, German, French, Japanese. They often feature a self-assembled tablecloth or a cooking pot, milk rivers with jelly banks, a wonderful tree that bears fruit all year round - symbols of abundance without difficulty. Even the Bible speaks of labor as a curse of God for the sins of Adam and Eve: "In the sweat of your brow you will earn your bread"; All the legends mention the Golden Age, when people were carefree and happy, the land gave ten harvests a year, the fish itself swam in the net.
All this suggests that labor is not initially the desired share for unconscious humanity.
On the contrary, people have always looked for an opportunity to enjoy the fruits of other people's labor. With the development of civilization and the deepening of specialization, the possibility of exchange appeared: I make dishes, and you make clothes. Now it is possible to knock out
to develop a profession, to achieve mastery, to gain experience. In European countries, a master is respected, work is almost a religion.
Russia lingered for an embarrassingly long time at the prehistoric stage of development, only recently got rid of slave labor. Perhaps that is why it is so hard for our minds to taste and love for work, what is called work pride. To catch, cheat, get more than you deserve - often these desires are much stronger than the desire to work honestly, having the opportunity to account for every penny, boldly saying: everything that I have, I owe only myself. Amazing Russian literature has long sounded the alarm: - Inability and unwillingness to work ruins the country. Dostoevsky in "The Teenager"; wrote that Russia has no practical people, Leskov, like no one who knew the Russian people, noted with bitterness the loss of crafts.
And along with this, with what respect the masters wrote about the people of labor; as they knew the true poetry of activity: "; He endured restless work and resolute exertion of will; feeling that it becomes easier and easier for him as the harsh ship broke into his body, and the inability was replaced by habit ... all work was torture , requiring close attention, but no matter how hard he breathed, with difficulty unbending his back, a smile of contempt did not leave his face. He silently endured ridicule, bullying and inevitable abuse until he became in the new sphere "; his own"; .. . "; (A. Green, "; Scarlet sails";).
Bless every work, good luck. To the fisherman - so that the net with the fish, To the plowman - so that his plow and the nag Get bread for years.
S. Yesenin
Writing in sweat, plowing in sweat, We know a different zeal:
Light fire dancing over the curls, Breath - inspiration.
M. Tsvetaeva
And yet, can labor be made a measure of a person's greatness? Humanity - for sure. We all stand on an endless staircase going back into the centuries, where each step is the fruit of the labor of an artisan, farmer, scientist. Whether this staircase will continue to the future depends on our attitude to work, on how our society treats the working person - it doesn't matter whether it is a bricklayer, a philosopher, a cook, or a teacher. It is sad to think that so far we are only using what was invented and done by other people in other countries, where the price of labor has long been known.
Want, to be understood
(essay-reasoning)
I can confidently say that my classmates and I dream of being understood. By understanding l I mean the ability to hear. I can explain to my parents ten times what I want, but they cannot hear me. I can explain or prove something to the teacher - he does not hear me. My point of view may differ from theirs, it needs to be listened to, understood, and then challenged, and not categorically denied. I am learning to listen to people. This is very difficult for me. A lot of ideas, a lot of thoughts, I want to interrupt the interlocutor, I catch myself interrupting, I don't listen well, so I don't understand.
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