Romantic tragedy f. Sergei Chuprinin Who were the main characters in the drama the robbers
FRIEDRICH SCHILLER
Theme of moral obligation 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 closely at the image of the German romantic poet Friedrich Schiller. He was a famous humanist, he thought a lot about the meaning human life. Schiller's contemporaries completely lost sincerity and openness in their relationships with their neighbors and no longer lived by faith, but by calculation, seeing people not as friends, but almost as enemies. Schiller was against the rise of such flashy individualism and unbelief.
Drama "Robbers" - This is Schiller's first dramatic work. To the young genius managed to create a very interesting play, which is still relevant today. The drama shows the confrontation between the sons of Count Moor - Franz and Karl, who are bearers of two diametrically opposed worldviews. Karl is the embodiment of ro-
mantic view of life. He hates the squalor of life around him and treats hypocrites with disgust and contempt who flatter powerful rulers while oppressing poor people. Karl does not want to live by the laws that deceivers and villains use to their advantage. Karl Moor says this: “The law makes what should fly like an eagle crawl.” But deep down in his soul the young man remains a kind and pure person. Having learned that Count Moor is depriving him of his father's inheritance, Karl falls into despair and perceives this personal insult as another manifestation of general injustice. The young man leaves society, hides in the Bohemian Forest and becomes the leader of robbers. Karl Moor, the count's son, robs the rich and noble and helps the outcasts and the disadvantaged. The young man’s behavior makes us recall the heroes of folk ballads about noble robbers.
Franz Moor, Karl's brother, adheres to other 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 his father’s property and to marry Karl’s bride. Franz's goal in life is to satisfy his desires. This person believes that honesty is for the poor. Franz Moor craves money and power, believing that there are no obstacles to achieving these goals. If necessary, he is ready to condemn his own father to starvation. But in every crime there is a hidden punishment. Franz begins to be haunted by terrible visions, which become retribution for cruelty and crime. Franz Moor cannot survive the pangs of conscience. Fearing inevitable retribution, he commits suicide. It may seem that Karl’s philosophy of life has won, but this is not entirely true.
At the end of the drama, Karl Moor is overcome by grave doubts. He wonders: has he chosen the right path? Karl realizes that he was mistaken. He has to pay for his noble robbery with the death of his father and Amalia. Karl understands that high revenge and noble murder
does not exist. Finally he sees that the robbers are selfish and cruel. Karl Moor decides to voluntarily surrender to the authorities.
Friedrich Schiller depicted the confrontation between two brothers, Karl's clash with the law, in order to raise a serious question: if violence is fought against violence, then will the noble avenger become a noble criminal. The playwright comes to the conclusion that retribution is inevitable for anyone who violates unwritten moral laws and the motives for the crime do not matter. In the drama "Robbers" Schiller demonstrated the 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 Byron's poetic world
(Based on the works of "Prometheus" and "Balshazzar's Vision" by George Gordon Byron)
Byron is one of the most famous representatives of the romantic movement in poetry of the 19th century. The life of this extraordinary person is, as it were, an interlinear reference to his work and poetry. If a noble Englishman, a lord, albeit from an impoverished family, dies in a foreign land, tired of fighting for the happiness of a foreign people, this already means something.
Despite the fact that Byron is considered a typical representative of the romantic movement in Western European literature, his poems differ markedly from, say, the poetry of his fellow countryman Southey or the Frenchman Hugo. Byron's romantic hero does not run away from life's troubles, but enters into a struggle
boo with hostile peace. Yes, the poet chose his heroes who entered into confrontation - one on one - with the whole world,
In the poem "Prometheus" Byron turns to the famous mythological character - the titan Prometheus. The hero was expelled 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 trouble and evil,When you are strong by yourself,He will give battle to all black forces.
Prometheus received a terrible punishment for his generous deed. Byron enthusiastically notes that Prometheus showed his own will, disdaining the instructions of the gods, for which he was doomed to torment.
Byron's Zeus the Thunderer appears as an almost blind and angry force capable of strangling everything free and living. Let Prometheus be punished with severe torment, but humanity does not forget about the one who gave people fire and taught them crafts and writing. According to Byron, every conscientious person should follow the example set by Prometheus, the “proud spirit”, in ancient times. and whose disobedience was not broken by evil.
Another important feature of Byron's poetic worldview is sincere hatred of tyrants and oppressors of all stripes. In "Balshazzar's Vision" Byron, using poetic language, retells the biblical legend about the last Babylonian king - the terrible and cruel Belshazzar. During a feast, an invisible hand writes mysterious and ominous writing on the luxurious wall of the palace. The frightened king orders the secret of these words to be explained, but neither the magicians nor the priests are able to do this. And only a stranger unravels the ominous secret: “a grave, not a throne.” awaits Belshazzar, and Babylon will perish.
Bora. By the way, the same theme is heard in the famous Russian revolutionary song “Let the despot feast in a luxurious palace.”
A special genius, unlike anyone else - this is what one can say about Byron. This is the genius that never found common language with society. When enlightened Europe began to read the poetry of the rebellious lord, the ashes of Byron, who died of illness in a foreign land, were buried in a small church near Newstead on his family estate. Byron became one of the leading figures in European literature, but in life he was lonely and not very happy.
AMADEUS HOFFMAN
Where Tsakhes are taken
(Based on Hoffmann's tale "Little Tsakhes")
The most prominent representative of German romanticism is Ernst Theodor Amadeus Hoffmann. This writer penned many works that were 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 folklore motif about miraculous hair. Out of pity, the good fairy gives the little freak three magic hairs. Thanks to them, everything significant and talented that happened or was said in the presence of Tsakhes is attributed to him. But the disgusting actions of the baby himself are attributed to the people around him. Tsakhes is making an amazing career. The kid is considered a most brilliant poet. Over time, he becomes a privy councilor, and then a minister. It’s scary to think what heights little Tsakhes could reach, but the timely intervention of a good wizard puts an end to his chimeric career. Having lost three magic hairs, Tsakhes became who he really was.
le - a pitiful semblance of a person. Now those who happily obeyed the baby are making 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 for himself the results of other people's work, other people's merits and honors. According to Hoffmann, three scarlet hairs donated by the fairy are a symbolic image of gold (money), their unlimited power over society. Where do people of this kind come from who can be called Tsakhes? Hoffman gives several of his versions of their origin: a blind society that, in complete self-forgetfulness, creates an idol for itself; power of the purse; interference of otherworldly forces and simply human madness. Hoffmann also traces the entire path of worship of a false idol. From admiration and fanaticism to mortal horror of the next tyrant. One should not think that the author is only making fun of the worthless and deceitful nature of Tsakhes. First of all, the target for satirical arrows is a society amazed by imaginary greatness. With his work, Hoffman brilliantly shows that the Tsakhes live and prosper only thanks to the worthlessness of the society that brought them to the pinnacle of life. Therefore, it is not surprising that in the country where little Tsakhes rules, there is no love, generosity, and lack of morality. Of course, it is a pity that the author, having managed to make an accurate diagnosis of a sick society, does not give recipes on how to cure it. However, it seems to the reader that the matter cannot be corrected with superficial treatment - serious surgical intervention is required.
Hoffmann also brings into the public arena the antipode of little Tsakhes, a student of Balthazar. This is a typical romantic hero. First of all, he is a creative person who opposes a rotten society. But the author is also ironic about this character: Balthaear quickly ceases to be interested in social problems, content with the easy happiness of the average person. He marries his beloved, the young family settles in a quiet rural
in the small house, and the souls of Baltaar and the beautiful Candida fall asleep forever.
At that time, the fairy tale “Little Tsakhes” sounds very sharp and sharp. In real life, there are no sorcerers and wizards, but the Tsakhes occupy high positions, and it’s time to smoke them out. It is the Tsakhes who marry beautiful candidates, it is they who buy “small” children for themselves. quiet houses on other continents for people's money. But something completely different awaits the Bal-Tazars - contempt, shame, imprisonment, death.
Today, young people should think about “Little Tsa-khes”, since it is they who will continue to live in our country and govern it. One thing is absolutely certain - it is better to ridicule the poor in spirit Tsakhes than to grovel before them, it is better to destroy the Tsakhes than to submit to their despicable power.
VICTOR HUGO
Quasimodo How example of spiritual beauty
For a long time, humanity has been addressing the issue of the compatibility of spiritual beauty and physical perfection. The ancient Greeks came closest to solving this issue. But later they somehow forgot about physical perfection - the Middle Ages were approaching.
Victor Hugo's novel "The Cathedral" Notre Dame of Paris"; talks about Paris in the Middle Ages. With his characteristic encyclopedic knowledge and bias towards rhetoric, Hugo creates several interesting characters, each of whom can be devoted to entire 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 jesters.” during the folk fun.
Quasimodo, withdrawn into himself because of his ugliness, sometimes resembled a beast. But when he tenderly and purely falls in love with a girl of unearthly beauty, Esmeralda, this feeling amazes 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 real spiritual understanding and unity, associating 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 bell-ringer’s craving for beauty should be sought not in external manifestations, but in the very depths of his nature. 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 looks more and more spiritually beautiful the further he goes. The hunchback's devotion to Esmeralda is almost insane, incomprehensible; for her sake he could jump from the Cathedral tower without a second thought. The awareness of his own ugliness haunts Quasimodo until his death, and fate allowed him to unite with his beloved only after death.
Quasimodo is not a model of sobriety and balance. He is tormented by various feelings, sometimes he is overcome 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 threw from the heights of the Cathedral. After the death of Esmeralda and Frollo, Quasimodo said: “This is everything I loved.” He truly loved beauty, embodied in Esmeralda, and God, whom Frollo personified. It may seem that there is nothing left in the whole world for Quasimodo. But, in my opinion, the hunchback had something that he never understood: the Cathedral. He could become part of this majestic structure, which
the swarm shoots its towers like hands towards the empty sky. But this is just a guess.
In his novel, Victor Hugo captured the meaning and cruelty of life, death, our passions, and the despair of love. Quasimodo embodies the versatility of human character. When re-reading "Notre Dame Cathedral" the reader discovers more and more new features in this most interesting hero, whose name has become almost a household name in our time.
Image of the Cathedral
(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 Council is, not least, to be blamed on Victor Hugo. The writer's contemporaries recall how Hugo repeatedly said, pointing to the Cathedral, that the shape of this building resembles the first letter of his last name ("Hugo" - in French spelling it begins with the letter ";H";). And one can forgive the writer for such a rather innocent pomposity, since “Notre Dame Cathedral” is really talented and interesting novel. And always, looking at the majestic towers and walls of the Cathedral, people will remember the lovestruck freak Quasimodo and the divinely beautiful gypsy Esmeralda.
Notre-Dame de Paris is a typical Gothic building. This architectural style left its mark on social development medieval Europe. Gothic is characterized by a striving upward, to spiritual heights, combined with the concept that heaven is inaccessible without earthly support. Gothic buildings 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 truly folk, wild imagination. Hugo is captivated by the amazing works of the Middle Ages, in which at the same time there is originality, originality, and unsurpassed skill. But architectural buildings in gothic style are not only the embodiment of popular genius, but, as Hugo noted, they 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 pediment of the Cathedral. Chimeras are a symbol of dark, but not always hostile forces. It is admirable that these diabolical creations have been grinning predatorily under the domes of the Catholic Cathedral for about seven hundred years. Hugo masterfully created the image of the ugly bell-ringer Quasimodo, who seems to be one of these sculpted monsters.
First of all, the Cathedral is the center of religious and folk life Parisians. Common people also gather around him, who are able to fight to improve their future. The Cathedral is also a traditional refuge for exiles: 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 endless greatness of the Council, and as the “soul of the Council”. The hunchbacked bell-ringer can be considered the embodied image of the Middle Ages and, naturally, the Cathedral. The beautiful Esmeralda, with whom Quasimodo is in love, on the contrary, is the embodiment of bright vital forces. The girl dancer can be considered the embodiment of the Renaissance, replacing the Middle Ages. It should be said that these two cultural and historical eras have passed, but Notre Dame de Paris still towers under the Parisian sky.
Victor Hugo's novel seems to flip a calendar sheet from the past to the present. From their positions
tions, the writer spoke out against political reaction and social injustice. The novel is full of echoes revolutionary events, which Hugo witnessed. It was this involvement that influenced the depiction 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 common people has not yet come. The author describes the storming of Notre-Dame de Paris, which seems to be a rehearsal for the storming of the Bastille in 1789, when the long-term rule of the French monarchy was put to an end. When will the time of the people come? Hugo answers the question: “When the alarm bell sounds from this tower, when the cannons roar, when the walls fall with a terrible roar, when the soldiers and the crowd roar at each other, then that time will come.”
Hugo did not idealize the Middle Ages. The novel contains high poetry, a fiery love for France, its history and art, and depicts the dark sides of feudalism. Notre-Dame de Paris is an eternal Cathedral, outwardly indifferent to the endless bustle of human life.
10. 800 soyr. Op. in Russian and peace. lit. 5-11 ON.
ESSAYS ON A FREE TOPIC
Only in work is a man great
(essay-reasoning)
Not every person is given the opportunity to feel the joy of work. Some people were simply born contemplators, not doers, and work for them is a burden that takes away energy, time, and energy. Others are unlucky: the type of activity they have chosen does not correspond to their abilities, inclinations, character, and psychological data. For them, work is torment, slavery, hopeless captivity without prospects of liberation! Such people pull the strings, some obediently, some embitteredly, just for the sake of a piece of bread.
There are people who are not suited to systematic work. They are impetuous, work from inspiration, periods of uplift alternate with periods of apathy.
Will they all agree that the greatness of man lies in his work? Hardly. Even popular ideas about happy life First of all, they imply idleness. Let's remember fairy tales - Russian, Ukrainian, German, French, Japanese. They often feature a self-assembled tablecloth or a boiling pot, milk rivers with jelly banks, a wonderful tree that bears fruit all year round - symbols of abundance without labor. Even the Bible speaks of labor as God’s curse for the sins of Adam and Eve: “By the sweat of your brow you will earn your bread.” All legends mention the Golden Age, when people were carefree and happy, the earth gave ten harvests a year, the fish themselves swam in the net.
All this suggests that labor is not the initially desired lot for humanity that is not self-aware.
On the contrary, people have always looked for the opportunity to benefit from the fruits of other people's labor. With the development of civilization and deepening specialization, the possibility of exchange appeared: I make dishes, and you make clothes. There is an opportunity to select
take up a profession, achieve mastery, gain experience. In European countries, a master is a respected person; work is almost a religion.
Russia lingered shamefully for a long time at the prehistoric stage of development; only recently did it get rid of slave labor. Perhaps this is why the taste and love for work, what is called work pride, enters our consciousness so hard. To trick, deceive, 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: I owe everything that I have only to myself. Amazing Russian literature has long sounded the alarm: - inability and unwillingness to work is ruining the country. Dostoevsky in "The Teenager" wrote that Russia does not have practical people, Leskov, who knew the Russian people like no one, noted with bitterness the loss of crafts.
And along with this, with what respect the masters wrote about working people; how they knew the true poetry of activity: “He endured restless work and a decisive effort of will; feeling that it was becoming easier and easier for him as the harsh ship broke into his body, and inability was replaced by habit... all work was torture , requiring close attention, but no matter how hard he breathed, with difficulty straightening his back, the smile of contempt did not leave his face. He silently endured ridicule, mockery and inevitable abuse until he became “his own” in the new sphere... "; (A. Green, “Scarlet Sails”).
Bless every work, good luck. For the fisherman - so that there is a net of fish, for the plowman - so that his plow and nag can get bread for years.
S. Yesenin
Writing in sweat, plowing in sweat, We are familiar with a different zeal:
A light fire dancing over the curls, a breath of inspiration.
M. Tsvetaeva
And yet, is it possible to make work a measure of a person’s greatness? Humanity - for sure. We all stand on an endless staircase that goes back centuries, where each step is the fruit of the labor of a craftsman, a farmer, a scientist. It depends on our attitude towards work, on how our society treats the working man - it doesn’t matter whether he is a mason, a philosopher, a cook, a teacher - whether this ladder will continue into the future. It’s sad to think that so far we are only using what was invented and made by other people in other countries, where they have long learned the value of labor.
Want, so that they understand me
(essay-reasoning)
I can confidently say that my classmates and I dream of being understood. By understanding I mean the ability to hear. I can explain to my parents ten times what I want, but they don’t hear me. I can explain or prove something to the teacher, but he doesn’t 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'm learning to listen to people. This is very difficult for me. There are a lot of ideas, a lot of thoughts, I want to interrupt the interlocutor, I find myself interrupting, I don’t listen well, which means I don’t understand.
On a semi-free topic. The theme of these essays... a literary work. Creative composition. Essays this kind of thing most often...
Werner Sombart bourgeois studies on the history of the spiritual development of modern man
ReportLeft 600 dozen silver plates, 800 silver trays, etc. (18). The inclination... of sea robbers, of which 800 had their permanent residence in... crossed all borders. In one modernessay it is said: "Jamais on n"a tant...
Modern humanities distance education
Educational and thematic planEducational program No. 1 (C) MODERN HUMANITIES UNIVERSITY, 1999 RUSSIAN-KAZAKHSTAN... approximately from 2.5 million to 800 thousand years The next two... Kimeks in Arabic-language historical and geographical essays Reign of Mukan Kagan Establishment...
Shapovalova Irina Anatolyevna, teacher of Russian language and literature
gymnasium No. 3 in Belgorod
Romantic tragedy by F. Schiller “The Robbers”
Lesson Study
Target: help shape the social competence of students.
Tasks for developing student competencies:
Educational and cognitive (to practice the skills of independent text analysis; continue to work on developing the creative abilities of students);
Communicative (cooperate, help others, participate in group work, exchange information);
- informational (independently search, analyze and select information, structure, transform, save and transmit it);
- personal self-improvement (analyze your achievements and mistakes, detect problems and difficulties in classmates’ messages, provide mutual assistance and support in difficult situations, critically evaluate and re-evaluate the results of your activities)
During the classes
Long live the great Schiller,
noble advocate of humanity!
V. Belinsky
I.A. Good afternoon Dear guests, today we invite you to lesson - research. Our lesson will take the form of a meeting of the artistic council of the 7-B class theater, since the conversation will not just be about literary work, but about drama, where the art of words and theater is fused together. We will talk about Schiller's romantic tragedy. It was during Schiller's era that table rehearsals were first introduced into theatrical practice. We will try to adhere to the basic aesthetics of theatrical romanticism: imagination and feeling.
We will try to prove that the tragedy “The Robbers” by Friedrich Schiller can be classified as a romantic tragedy.
Here is a cluster that contains the features of romanticism and classicism. As the lesson progresses, please note those features that are inherent in the tragedy in question, make notes about the characters’ characters. During the lesson we will try to answer the questions: What is romantic work? What feelings did the main characters of the play evoke? Do we need Schiller's plays in modern times or have they become deep history?
Well, we open the impromptu curtain. A word from assistant director Kamenskaya Darina, who will remind us of the beginning of the drama. During her performance, she will be joined by actors who will try to convey the ultimate goal of their image. Please note that Schiller's tragedy is a romantic tragedy. Romanticism had a huge influence on the development of acting: for the first time in history, psychologism became the basis for creating a role. The rationally verified acting style of classicism was replaced by intense emotionality, vivid dramatic expression, versatility and inconsistency in the psychological development of characters.
Darina. The action takes place in Germany, contemporary to the author of the play. The plot unfolds over two years.
The plot is based on a family tragedy. In the family castle of the barons von Moor live the father, the youngest son, Franz, and the count's pupil, the eldest son's fiancée, Amalia von Edelreich. The beginning is a letter allegedly received by Franz from a “Leipzig correspondent”, which tells about the dissolute life of Karl von Moor, the eldest son of the count, who is at the university in Leipzig. The old man von Moor, saddened by the bad news, allows Franz to write a letter to Karl and inform him that the count, angry with the behavior of his eldest son, is depriving him of his inheritance and his parental blessing.
At this time, in Leipzig, in the tavern where students of the University of Leipzig 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.
/Reading passage/
Schwartz(Runs towards him.) Brother! Brother! Letter, letter! (hands him a letter. Moore hastily opens it). What's wrong with you? You are whiter than chalk.
Karl Moore. My brother's hand!
Moore drops the letter and runs out like crazy. Everyone jumps up.
Roller(following him). Moore! Where are you going, Moore? What happened to you?
Grimm. What about him? What about him? He is as pale as death.
Schweitzer. This must be good news. Let's see!
Roller(picks up a letter from the floor and reads it). “Unhappy brother! I must briefly inform you that your hopes have not been justified. Go, your father tells you, to where your shameful deeds lead you. Next, he tells me to tell you not to hope to beg his forgiveness on your knees if you don’t want to feast on bread and water in the basements of his towers until your hair grows like an eagle’s feathers and your nails become like bird’s claws. These are his own words. Goodbye forever. I feel sorry for you! Franz von Moor."
Schweitzer. Dear brother! What can I say! This scoundrel's name is Franz?
SPIEGELBERG (quietly approaches them). Are you talking about bread and water? A good life! I have something better in store for you. (stands in the middle of them and speaks in the voice of the caster). So, if you still have even a drop of the blood of German heroes in you, follow me! We will settle in the Bohemian forests, gather a gang of robbers and...
Roller. You are not the first fraudster to look beyond the gallows. However, your truth is that we have no choice.<...>
M o o r(enters in great excitement and rushes around the room, talking to himself). People! People! Deceitful, treacherous vipers! Their tears are water! Their hearts are iron! Lions and leopards feed their young, crows carry carrion to their chicks, and he, he...
Roller. Listen, Moore! What do you think, is being a thief better than sitting on bread and water in a dungeon?
Moore. And these are fatherly feelings? Repentance - and no forgiveness! Such gullibility, such unshakable confidence - and there is no mercy!
Roller. Listen, Moore, to what I tell you!<...>
Moore. I loved him so unspeakably! No son loved his father so much! I would lay down a thousand lives for him! (He stamps his foot furiously.) Oh, whoever puts a sword in my hands to inflict a burning wound on the human race will become my friend, angel, god! I will pray for him.
Roller. These are the kind of friends we want to become. Listen to us
Schwartz. Come with us to the Bohemian forests! We'll recruit a gang of robbers, and you...
Schweitzer. You will be our chieftain! You should be our chieftain!
Moore. It’s like a thorn has fallen from my eyes. What a fool I was, rushing back into the cage! My spirit thirsts for exploits, my breath for freedom! Murderers, robbers! With these words I violate the law. People shielded humanity from me when I called out to humanity. Away from me, compassion and human mercy! I don't have a father anymore, no more love!.. So let blood and death teach me to forget everything that was once dear to me! Let's go, Let's go! Oh, I will find a terrible oblivion for myself! It’s decided: I am your chieftain! Stand around me, everyone, and let everyone swear allegiance and obedience to me until the grave! Let's shake hands!
That's it (extending his hands to him). We swear allegiance and obedience to you until the grave.
M o o r. And my right hand will be a guarantee that I will faithfully and unfailingly, until my death, remain your chieftain!
Darina Now that Franz von Moor has managed to expel his older brother from his father’s loving heart, he is trying to denigrate him in the eyes of his fiancée, Amalia.
Franz. Are you turning away, Amalia? Am I not worth what the cursed father is worth?
Amalia. Away! Oh, this child-loving, merciful father, who gave his son to be devoured by wolves and monsters! Sitting at home, he indulges himself in expensive wines and rests his decrepit body on feather pillows, while his great, beautiful son is in the grip of need! Shame on you monsters! Shame on you, dragon hearts! You are a disgrace to humanity! Your only son...
F r a n c. I thought that he had two of them... I love you as myself, Amalia!
You think about Karl, but our brotherly hearts beat so much in agreement!
Amalia. Oh no, that never happened!
Franz. We are so similar in our inclinations! Rose was his favorite flower. What flower is dearer to me than a rose? He loved music beyond words. Heavenly stars, I call you as witnesses, in the dead silence of the night, when everything around was plunged into darkness and slumber, you overheard me playing the harpsichord! How can you still doubt, Amalia? After all, our love converged at one point of perfection; and if there is only one love, how can those in whose hearts it nests be different?
You don’t know me, Amalia, you don’t know me at all! You hate me!
A m a l i. I hate you! Leave!
Franz (stomping feet). You will tremble before me! Should I prefer a beggar?! (Leaves.)
Amalia. Go, scoundrel! Now I'm with Karl again. “Beggars,” he said? Everything has turned upside down in this world! Beggars became kings and kings became beggars. I wouldn’t trade the rags he was wearing for the purple of God’s anointed! His look when he asks for alms - oh, this proud, regal look, turning the pomp, splendor, triumph of the rich and strong into ashes! Roll in the dust, shiny necklace! (Plucks pearls from his neck.) Wear them, rich and noble! Wear that damned gold and silver, those damned diamonds! Fill yourself with luxurious dishes, pamper your bodies on a soft bed! Charles! Charles! Now I'm worthy of you!
I.A. Thank you. Romanticism also enriched the palette of staging and expressive means of the theater. For the first time, the principles of the art of the artist and decorator began to be considered in the context of the emotional impact on the viewer, identifying the dynamics of action.
Costume designer Anastasia Bereznyak will introduce makeup options and costume sketches for the characters. The actors will describe their characters. Thus, we will be able to evaluate the artist’s work by analyzing the ultimate task of the image of each hero.
/Presentation/
Old Man Moore is honest and forgiving. His house was a shelter for the orphans, a refuge for the mourning. He is about 70 years old, but he feels like an octogenarian.
Slide 3-5
Act one. Scene 2.
Tavern in Saxony.
Karl Moor received a letter from home that changed his whole life.
Act two. Bohemian forests. Moor becomes the chieftain of a gang of robbers
Charles- the embodiment of a romantic outlook on life. He hates the squalor of life around him and treats hypocrites with disgust and contempt who flatter powerful rulers while oppressing poor people. Karl does not want to live by the laws that deceivers and villains use to their advantage.
Deep down, the young man remains a kind and pure person. Karl Moor, the count's son, robs the rich and noble and helps the outcasts and the disadvantaged. Karl understands that high revenge and noble murder do not exist.
Slide 6.
Franz Moor- an egoist, a cynic, devoid of honor and conscience. He's not handsome. “It seems to me that nature took the most disgusting things from all human races, mixed them into a heap and baked me from such dough.” “I will be a ruler and I will achieve by force what I cannot achieve with a prepossessing appearance,” he says. 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 his father’s property and to marry Karl’s bride. Franz's goal in life is to satisfy his desires
Slide 7-9.
Amalia von Edelreich
An orphan, lives in the house of Count Moore. She is no more than 23 years old. Loves music, plays musical instruments, sings. She has been in love with Karl More for a long time. She does not believe Franz’s stories, she believes that her “beloved is a reflection of deity, and deity is mercy and pity!” He wouldn't hurt a fly! His soul is as far from bloody thoughts as noon is from midnight."
Slide 10
Spiegelberg was poor, traveled to Lepzig from Jordan, he was a thief. It is Shpilberg who invites young people to become robbers. Arriving in some city, the first thing he did was find out from the wardens about the beggars, from the bailiffs and watchmen about swindlers, swindlers and other rabble, looked for these thugs and recruited them into the gang. Spielberg was a coward; they say about him that there is not a single scar on his body.
Ratzman. Shpilberg's constant interlocutor. On this occasion they say to him: And you, your godless soul, you were at one with him! His motto: take the young man, yes,
so that he doesn’t have a stake or a yard left.
Slide 11
Schufterle. Poor, dressed from someone else's shoulder. I wanted to have weekly edifying talks. During a fire in the city, he went on a rampage and showed himself to be a scoundrel: he threw the baby into the fire. He admired his action. Moore kicked him out of the gang, saying that he would not escape the gallows. And so it happened: Schufterle was hanged in Switzerland.
Grimm. Weak-willed man: If everyone agrees, then I won’t contradict. Spiegelberg's friend. Participated in dirty tricks in the monastery together with Spiegelberg. His motto is: whoever gives the most, I will follow him.
Slide 12
Roller was devoted to More, and the chieftain always distinguished Roller.
Roller spent three weeks in prison, he was taken for interrogation three times, he was interrogated under torture about where the ataman was. He didn't give anyone away.
Moore trusted him. During the fight in the Bohemian forest, Roller, Schweitzer and Moor fought in
the thickest. Roller died a heroic death.
Schweitzer. Loyal to the point of recklessness. Strong, brave. He cracked the skull of a Bohemian dragoon when he raised his saber over Mor. Schweitzer gives his word to Mohr to bring Franz alive, but Franz is strangled, and Schweitzer is true to his word
shoots himself in the temple.
Slide 13
Kosinsky. Kosinsky heard about Moore and asked to join the gang. He is twenty-four years old, He is a Bohemian nobleman. Early death father made him the owner of a considerable noble estate. The young man was supposed to get married, but he is accused of treason.
He spent a month in prison. Kossinsky is trying to kill the prince because he forced his bride to become his mistress
Slide 14
Hermann“a determined fellow, a soldier’s heart. The bastard son of a nobleman, poor.
He was in love with Amalia. He committed a vile act for the sake of love for Amalia. Having recognized Franz's plans, he confesses to what he did.
Slide 15
Daniel- servant of Count von Moor. He is seventy-second years old. He always respected
Karl Moor's parents.. Didn't take a penny from anyone by deception. He held his faith honestly. Franz offers the old man to kill the count, but he refuses.
Pastor Moser has a soul-saving conversation with Franz.
I.A.Thank you. Do we approve makeup and costumes or not? Is the romantic style maintained? /Answer/
Which scenes made the strongest impression on you? Do they correspond to the romantic trend in literature?
Elena Shkuratova.
I liked the scene in which Franz persuades the bastard son of one of the local nobles And on, Herman, change clothes and, coming to the old man Moor, report that he witnessed the death of Charles, who took part in the battle of Prague. For this, Franz promises Hermann to return Amalia von Edelreich to him.
Count von Moor blames himself for his son's death, and his heart seems to stop. Franz rejoices at the long-awaited death of his father. Herman, mon I Having realized that Franz had deceived him, he reveals to Amalia a “terrible secret” - Karl von Moor is alive and so is old man von Moor. I liked this scene because there is intrigue in it, and the reader does not yet suspect what will happen next. We understand that the playwright in the image of Karl More already at the beginning of the action declares human personality complex, deep. Karl has a view of life “through the prism of the heart.”
Dasha. And I liked the scene in which Karl, under an assumed name, enters his family castle. He meets his Amalia and is convinced that she is faithful to the “deceased Karl.” In the gallery, among the portraits of his ancestors, he stops at the portrait of his father and furtively wipes away a tear. No one recognizes the count's eldest son, only the all-seeing Franz seems to recognize his elder brother as a guest.
Franz forces the old butler to swear an oath that he will kill the visiting count. The butler recognizes the count as Karl by the scar on his hand; he is unable to lie to the old servant who raised him, but now he must hurry to leave the castle forever. I enjoyed the touching conversation between Daniel and Carl. I felt sorry for the old servant. Romantic traits embodied in this scene: it reflects the “night” side of the movements of the soul, the craving for the intuitive and unconscious.
Yana. And I think that the most striking, emotional scene is the penultimate scene of the fifth act. Franz cannot calm down; he had a dream about the Last Judgment, in which he is sent to hell for his sins. The atheist begs Daniel to send for the pastor. Having received confirmation from the pastor that the most serious sins of a person are fratricide and parricide, Franz is frightened and realizes that his soul cannot escape hell.
The castle is attacked by robbers sent by Charles, they set the castle on fire, but they fail to capture Franz. In fear, he strangles himself with his hat cord. In this scene, the comic and tragic are intertwined - this is a clear sign of romanticism.
I.A. Thank you. Thank you. And now I suggest you get acquainted with the scenery sketches. Chepeleva Nastya and Shevtsova Irina sought not to recreate, but to recreate reality
/Presentation /
Slide 1.
1. ACT ONE. SCENE ONE Franconia. Hall in Moor Castle.
2. The decoration of the first stage is presented in golden and black tones. This scene involves Franz and old man Moor. We would like to emphasize the richness of the soul of Maximilian More and highlight the black thoughts, and, consequently, the black soul of Karl.
Slide 2.
1.SCENE TWO. Tavern on the border of Saxony.
2. This scene is also done in orange and black tones. Orange color clears away unpleasant feelings, helps to accept negative events in life, helps to forgive another person, and let go of an insoluble situation.
1.Karl Moor is at a dead end and is afraid of change; his condition corresponds precisely to this color.
2.Why is the color black in this scene? There is not much of it, but this color symbolizes the students’ decision to become robbers, that is, to take the wrong path.
Slide 3.
1.SCENE THREE. At Moora Castle. Amalia's room.
2. There is a lot of light in this scene: white, gold, green. There are no dark tones.
Massive wooden furniture, many paintings, an open bed without canopies - all this emphasizes Amalia’s character. She adheres to the laws of honor, pure as White color, true to ancient traditions, she is open and appreciates art.
Slide 4.
1.ACT TWO
SCENE ONE. Franz von Mohr's room.
2.Light walls are almost invisible. In the foreground is a bed in black and red tones. A four-poster bed indicates isolation, a closed character. As you know, red is the color of aggression, passion, struggle, anger, and emphasizes fear and self-doubt.
1. Dark fireplace, dark ceiling. We placed the fireplace in Franz’s room, he is cold, and the fireplace may help him thaw out, his dark deeds, like the dark ceiling, are pressing on him.
2. A conversation with Herman takes place in this room. And Herman agrees to do the mean thing.
Slide 5.
1.SCENE TWO. Old man Moore's bedroom.
2. This scene is oversaturated with colors. Old Man Moore embodies various character traits. He is soft, kind, compassionate, but also weak-willed and capricious.
Slide 6.
1. SCENE THREE. Bohemian forests.
2.The backdrop is made in light - green tones. It is known that the color green is intermediate between black and white colors, therefore it is considered a neutral color.
Slide 7.
1.ACT THREE
SCENE ONE. Garden
2. Against the background of the “Garden” backdrop, Amalia plays the lute. Lots of Lilac. Lilac is the color of inspiration, characteristic of creative individuals, helps calm the soul and nourish it with the energy of inspiration, unites the body and mind
Slide 8.
1.SCENE TWO. The robbers are located against the backdrop of the Forest.
Slide 9
1.ACT FOUR
SCENE ONE.
2.Backdrop “The area near the castle.” The predominant color is pale yellow. This color It sets your feelings in motion, frees you from negativity, and gives you confidence in your abilities. The desperate robber Moor, under an assumed name, decides to appear before Amalia and his father.
Slide 10
1.SCENE TWO.
2.The backdrop “Gallery in the Castle” is made in light gray tones. It is in this scene that the robber Moor talks with Amalia. Amalia’s inner world is expressed in white tones, but there are more gray shades, since Moor’s soul no longer contains that purity of feelings, his actions are terrible. Yes, he still loves Amalia, but his heart has become cruel and gray.
Slide 11
1.SCENE THREE. Another room in the castle.
2.Room in golden colors. Obviously, this is Karl's former room. It remains the same, it breathes the same beautiful Karl, with a heart of gold. Here there is a conversation between Karl and his old servant Daniel.
Slide 12
1.SCENE FOUR. Moore and Amalia.
2. Backdrop “Garden”. Moor, in the guise of Count von Brand, talks about his love for a girl named Amalia. Amalia confesses to an imaginary stranger that she still loves her Karl. She believes that her Karl is a reflection of deity, and deity is mercy and pity.
Slide 13
1.SCENE FIVE
2.Backdrop “Forest”. The robbers are waiting for their chieftain. They are worried and quarreling. Moore returns. He makes his confessional speech.
Slide 14
1.ACT FIVE. SCENE ONE. Enfilade of rooms.
2. Lots of blue. Blue color develops mental abilities, clears thinking, frees you from worries and fears, allows you to hear your inner voice and make the right decision.
1. This climax scene: Daniel tells Franz about God's retribution. Franz admits that there is emptiness in his heart. Franz passes away
Slide 15
1.SCENE TWO. Decoration last scene Act 4 - castle basement.
2. There is no reference to the basement in the drama, but we think that this place is most appropriate in this scene. Basement-pit, death. This pit swallows everyone. The ending is obvious.
I.A. Thank you. I think I liked the decorations. And now I want to announce the start of the game. In every literary work, the text is very important. Do you remember the text well? Now we will test your attention, memory, and intelligence.
1.Where is the castle of the Counts von Mohr? / in Franconia /
2. How long does the action take place?/ within 2 years/
3.What historical figures did Karl Moor admire?/ Julius Caesar, Alexander the Great/
4. Who said it: “The law makes what should fly like an eagle crawl.” /Karl Moor/
5. Who said it: “I will be a ruler and by force I will achieve what I cannot achieve with a prepossessing appearance” / Franz Moor /
6. Who said it: “I have the courage to go through hell barefoot.” / Schweitzer /
6.Whose motto is this: rob the young fellow, so much so that he doesn’t have a stake or a yard left. /Ratsman/
7. Who is this about: He spent three weeks in prison, he was taken for interrogation three times, he was interrogated under torture about where the ataman was. He didn't give anyone away./Roller/
8. Who was a soldier, was a member of the expedition to the East Indies / Kossinsky /
9. How many years did Daniel serve in the house of the Earls of Moor?/ Forty-four years/
10. What amount of reward was assigned for the capture of the robber More?/ One thousand louis d’or/
I.A. Let's summarize the game. Thank you. Now let's approve the scenery and costumes. Who agrees? Who's against it?
Critic./ Shpakovsky / No, of course everything is fine. But it's kind of boring. Vasily Barkhatov chose Schiller’s “The Robbers” as his debut play. As befits a modern director, he shortened, altered, and transferred the action to Europe in the 21st century, a complex romantic text. In addition, he added live music. In addition to the actors, Schubert's piano works are played by a pianist.
So, dad Maximilian von Moor, a wealthy retired soldier, has two sons, one (Karl Moor) studies at a prestigious university, the other (Franz Moor) hangs out at home. Both belong to the “golden youth” and both, out of boredom, organize art provocations that gradually turn into real crimes. “Karl and Franz are so different, but the result is the same - a mountain of corpses,” says Vasily Barkhatov. By the way, he considers himself a robber, since he behaves with old Schiller in the same way as Franz did with old Moor.
I.A. Thank you for your opinion. An unusual interpretation of the play by modern director Vasily Barkhatov separates the viewer from the classics. Yes, “The Robbers” is a rebellious drama, its hero Karl is a noble robber, and Franz is a low, vile man. Friedrich Schiller uses the technique when characterizing characters antitheses: the appearance of the brothers is contrasting, their inner world, their actions. It seems to me that you cannot treat classics the way the 24-year-old director did. He obviously had a different task. The theme of rebellion is shown, but its hero is not a noble robber, but a criminal. Of course, Barkhatov did not adhere to the laws of romanticism.
The theme of the noble romantic robber was continued in the novel by A.S. Pushkin's "Dubrovsky", whom we met in the last quarter. At home you were asked to compare the hero of Schiller's play with famous hero A.S. Pushkin - Vladimir Dubrovsky.
Voloshina Violetta: The theme of rebellion and the noble robber is presented in the novel by A.S. Pushkin "Dubrovsky". Vladimir Dubrovsky - Russian nobleman And N, fueled by a sense of revenge for the insult and death of his father, is forced to burn the family estate and go into the forest as the leader of the robbers.
Dubrovsky and Karl Moor are united by similar destinies. Nobility, honesty, and generosity unite these heroes. Karl does not kill for robbery, but his rightful share of the spoils is distributed by the sire. O there. The characteristic that suits both of them is noble. Their inner world and character are incompatible with the environment (a gang of robbers) in which they both find themselves: The actions of Vladimir Dubrovsky, his desire for revenge and refusal of it coincide with the path of Schiller’s hero, only he, unlike Vladimir, surrenders to justice, and does not hide behind border.
I.A .Thank you. So let's summarize. Pay attention to your clusters. Which features are more inherent in our tragedy: features of realism or classicism?
Yana. In my cluster, I noted more signs of romanticism than classicism. This:
proclamation of the human personality as complex, deep, affirmation of the inner infinity of human individuality;
a look at life “through the prism of the heart”;
interest in everything strong, bright, sublime;
a tendency to reflect the “night” side of the movements of the soul, a craving for the intuitive and unconscious;
a tendency to mix high and low, comic and tragic, ordinary and unusual;
painful experience of discord with reality;
the individual’s desire for absolute freedom, for spiritual perfection, for an unattainable ideal, combined with an understanding of the imperfection of the world.
Manifestations of classicism: the language is pathetically solemn.
Conclusion. Schiller's tragedy "The Robbers" belongs to the romantic movement in literature and art.
I.A. The work of Friedrich Schiller continues to cause controversy and judgment to this day, some of which were presented in our lesson. The work of the great German poet did not go unnoticed by musicians.
Burmakina Katya. In 1824, already seriously ill, Beethoven wrote his last - the 9th symphony. It was a song of freedom, a fiery appeal addressed to descendants. The final part of the symphony sounded especially solemn. The composer set the music to the words of Schiller's ode "To Joy". In unison great composer And great poet called on everyone: “Hug, millions!” (Expressive reading of a student’s ode.)
Mishustina Katya:Joy, unearthly flame,
The heavenly spirit that has flown to us
Intoxicated by you
We entered your bright temple.
You bring us closer without effort
All separated by enmity,
Where you spread your wings
People are brothers among themselves.
Hug, millions!
Join in the joy of one!
(Beethoven’s 9th Symphony, Ode “To Joy,” plays.)
I.A. Thank you. Could the characters in the drama accept the ode “To Joy”?
I.A. Years pass, directors' interpretations and actors' costumes change, certain accents shift, but the fiery pathos of the tragedy remains unchanged. Schiller and his hero continue to passionately appeal to human conscience, and readers and viewers continue to search for truth to this day.
Homework: Write a short essay-reflection on the topic “How is F. Schiller’s drama “The Robbers” close to the modern reader?”
So the curtain is closed. It's worth summing up.
Composition
Schiller's work took place in Germany, and his work flourished in the 1790s. Died in Weimar. Schiller was a man who, with his work, marked the threshold of romanticism. His main work is as a playwright. “The Robbers” (at the age of 18), “Cunning and Love”, dramas of a historical nature, do not very often refer to German history, but to European and world history. “The Maid of Orleans” (Joan of Arc), “Mary Stuart” (history of England), “Don Carlos” (Spain), “William Tell” (the national symbol of Switzerland - a free shooter).
Mature drama – central theme freedom, the idea of national liberation (Joan of Arc), the clash of two characters of Mary Stuart - the character of the calculating Elizabeth and the spontaneous character of Mary Stuart. The reading drama “Wallenstein” is connected with German history. The drama "Dmitry the Pretender" is connected with Russian history (only sketches of this work). Schiller's fame was enormous until the 30s. 19th century. He is convinced and sought to convince the reader that the line between good and evil is very clearly drawn in the world. Stylistics: large monologues of the characters, 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 there are 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, pretty, charming, attractive, a devout Catholic, but she was married twice. In Scotland there is strife - separation from England, the struggle of Catholics with the Anglican Church. She is drawn into conspiracies that contribute to the death of one of her husbands. At this time, Elizabeth Tudor (the Virgin Queen) reigned on the throne of England.
A woman politician, endowed with a state mind, businesslike, calculating, prone to intrigue. She had no rights to the throne. Her father Henry 8 sent her mother to the chopping block, after which Elizabeth was considered illegitimate. Henry's field had no 8 sons left and Bloody Mary ascended the throne. She sends Elizabeth to prison, but after Mary's death, Elizabeth became queen. She understood that if she got married, then everything would go to her husband and she would lose her 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 (Mary is unselfish, unambitious, a woman created for love, self-critical, open, her servants stay with her until the end because they love her). For Mary, the most striking scene is the meeting with Elizabeth. Elizabeth is smart, she views Mary as a threat to the well-being of the country. She remains a woman and understands that she does not have what Maria has. She envies her like a woman. A secret female rivalry lives within her.
The meeting of the two queens introduces the introduction: Mary is allowed to descend into the garden, having spent years in captivity, she is as happy as a child. The queen's only dream is for Elizabeth to let her out; she needs freedom. And Elizabeth talks down to her, she longs for Mary to obey her in everything, to recognize all her priorities. Otherwise, Elizabeth is ready for anything. When Elizabeth goes beyond the boundaries of conversational ethics, Mary loses her temper. Elizabeth reproaches Mary for being a sinner, Mary becomes furious and exposes the queen's hypocrisy. A splash of truth, freedom is more important to her than the future. Already left alone, realizing that there will be no liberation, she is proud that she humiliated Elizabeth so much. Elizabeth decides that she will only be safe after Mary's death. She begins to prepare her lords to make a decision on Mary's execution. The scene of Mary Stuart'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 family castle of the barons von Moor live the father, the youngest son, Franz, and the count’s pupil, the eldest son’s fiancée, Amalia von Edelreich. The beginning is a letter supposedly received by Franz, which tells about the dissolute life of Karl von Moor, the eldest son of the count, taking a course in science at the university in 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, angry with 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 the tavern where students of the University of Leipzig 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 arrives from Franz - Karl is in despair. His friends are discussing in the tavern Spiegelberg's proposal to gather a gang of robbers, settle in the Bohemian forests and take money from rich travelers, and then put it into circulation.
The poor students find this idea tempting, but they need an ataman, and although Spiegelberg himself was counting on this position, everyone unanimously chooses Karl von Moor. Hoping that “blood and death” will make him forget his former life, his father, his bride, Karl takes an oath of allegiance to his robbers, and they, in turn, swear allegiance to him.
Now that Franz von Moor has managed to expel his older brother from his father’s loving heart, he is trying to denigrate him in the eyes of his fiancée, Amalia. In particular, he tells her that the diamond ring she gave to Karl before separation as a pledge of fidelity, he gave to the libertine when he had nothing to pay for love pleasures. He draws in front of Amalia a portrait of a sick beggar in rags, from whose mouth he smells of “deadly sickness” - this is her beloved Karl now.
But Amalia refuses to believe Franz and drives him away.
A plan has matured in Franz von Moor's head that will finally help him realize his dream of becoming the sole owner of the inheritance of the Counts von Moor. To do this, he persuades the illegitimate son of one local nobleman, Herman, to change clothes and, coming to the old man Moor, report that he witnessed the death of Charles, who took part in the battle of Prague. The sick count's heart is unlikely to withstand this terrible news. For this, Franz promises Hermann to return to him Amalia von Edelreich, who was once taken from him by Karl von Moor.
This is how it all happens. Herman, in disguise, appears to old man Moor and Amalia. He talks about Karl's death. Count von Moor blames himself for the death of his eldest son, he leans back on his 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 trade.”
And in the family castle of von Moor, Franz rules. He achieved his goal, but does not feel satisfied: Amalia still refuses to become his wife. Hermann, who realized 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 too.
Karl and his gang are surrounded by Bohemian dragoons, but they manage to escape from it at the cost of losing just 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 to join von Moor’s detachment. Story young man stirred up old memories in Karl's soul, 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 faithful to the “deceased Karl.”
No one recognizes the count's eldest son, only Franz guesses his elder brother is visiting, but does not tell anyone about his guesses. The younger von Moor forces his old butler Daniel to swear an oath that he will kill the visiting count. By the scar on his hand, the butler recognizes Count von Br'ande as Karl, he is unable to lie to his old servant who raised him, but now he must hurry to leave the castle forever. Before disappearing, he still decides to see Amalia and say goodbye to her.
Karl returns to his robbers, in the morning they will leave these places, but for now he wanders through the forest and in the darkness suddenly hears a voice and sees a tower. It was Herman who came stealthily to feed the prisoner locked here. Karl tears the locks off the tower and frees the old man, withered like 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 his senses in a coffin, his son Franz, secretly from the people, imprisoned him in this tower, dooming him to cold, hunger and loneliness. Karl, having listened to the story of his father, is unable to endure any longer and, despite the family ties that connect him with Franz, orders his robbers to break into the castle, seize his brother and deliver him alive.
Night. The old valet Daniel says goodbye to the castle where he spent his whole life. Franz von Moor runs in in a dressing gown with a candle in his hand. He cannot calm down; he had a dream about the Last Judgment, in which he is sent to hell for his sins.
Having received confirmation from the pastor that the most serious sins of a person 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 the castle on fire, but they fail to capture Franz. In fear, he strangled himself with his hat cord.
“The Robbers” was completed in 1781. Schiller had just completed a course at the Military Academy in Stuttgart, and wrote the drama while still studying there. The young writer had to publish the drama at his own expense, because not a single publisher in Stuttgart wanted to publish it.
But the director of the Mainham Theater, Baron von Dahlberg, undertook to stage it. The premiere took place in Mainheim in 1882. Schiller immediately became famous.
Genre and direction
Young Schiller is an ideological follower of Sturm und Drang, an association close to sentimentalism. The participants of Sturm and Drang carried an educational ideology on German soil. The works of Rousseau are very important for Schiller, especially his literary creativity. "The Thieves" reflects the idea of "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 Rousseau's ideas into the mouths of his heroes.
The genre of the work “Robbers” is drama. In the finale, all of Karl’s loved ones die, and he himself goes to surrender to the authorities. The contradictions in his life are insoluble. He is broken morally and expects physical retribution. Some researchers specify the genre, calling the work a robber drama.
Topics and problems
The theme of the drama is enmity and hatred between loved ones, which can kill; a person’s responsibility for his choices and his actions, for his 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 upholding laws with iniquities!”
In the preface, 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, slander of the eldest son, the grief of a deceived father, Amalia's choice, the loyalty of the robbers and Karl to his word.
Social problems are associated with the omnipotence of feudal lords (the story of Kosinsky, whose beloved became the mistress of the prince, and he took away Kosinsky's lands and gave them to the minister). One of the epigraphs of the drama is “On tyrants.”
Women in the drama make a choice between honor and love. Amalia (Kosinski's fiancée) 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 was borrowed by Schiller from Schubart’s story “On the History of the Human Heart.” The plot was influenced by stories of noble bandits fighting against feudal lords. Robbery was a common social phenomenon of Schiller's time.
The younger 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 fiancee. He declared his sick father dead and locked him in the family crypt.
Karl, a noble robber, but also a murderer, feeling worried about his bride, decides to secretly sneak into the family castle. He finds his father barely alive, having spent 3 months in the crypt, and Amalia still loving him. Karl wants to take revenge on his brother for his father’s suffering, but he strangles himself with a cord. 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 is brought into the hands of justice, simultaneously doing a good deed for the father of 11 children.
Heroes and images
Old Man Moore wants only one thing: for his children to love each other. He is too soft, which Franz takes advantage of and pulls out of his mouth a 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 either curses his son or calls him a pearl in the crown of the Almighty and an angel. The old man is not ready to accept his son Karl as a robber and murderer, and dies from this news.
Franz Moor, the youngest son, is treacherous 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 a person to be dirt, and he himself is completely devoid of conscience.
The priest calls Franz a tyrant. Franz is an 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 his sins: he hanged himself, like Judas.
The older brother Karl Moor is a noble robber. He himself does not consider himself either a criminal or a thief, calling retribution his craft, and revenge his trade.
Karl is devout, but treats churchmen with contempt, calling them Pharisees, interpreters of the truth, monkeys of the deity.
Karl, according to the priest, is consumed by pride. Indeed, Karl treats the robbers with contempt, calling them godless scoundrels and instruments of his great plans.
Karl is a natural person who acts according to common sense. Having learned about his brother’s treachery, Karl is ready to flee so as not to kill him in anger. He is generous and generous, giving 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 murderer. He would like to forget the screams of his victims, trying to find justification for his actions in his pedigree and his upbringing.
Karl has a keen sense of justice. He himself rebels 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 fell apart... The son killed his father.”
From Karl's point of view, revenge justifies his robbery and murder of his brother. And yet he does not consider himself entitled to be happy and love if he has killed so many.
Daniel, a seventy-year-old servant, is exceptionally honest. He does not console Franz, who told him a terrible dream about the Last Judgment, but only promises to pray for him. Franz calls this sincerity the wisdom and cowardice of the mob. Daniel refuses to stab Franz when the hour of retribution approaches, not wanting to commit a sin.
Images of robbers
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. His obligations to them force Karl to kill Amalia.
Amalia
The girl is faithful to her lover and idealizes him. Amalia is ready to go to the monastery, having learned about the imaginary death of Karl and his father, but does not agree to become Franz’s wife, she wants to stab herself when her younger brother harasses her with force.
Amalia cannot imagine her life without her lover. When a girl finds out that her fiancé is a robber, she calls him both a demon and an angel. She herself becomes a victim of her lover's debt.
Conflict
The conflict in drama is external and internal. External social conflict: rebellion against feudal tyranny. He encourages Karl to become a robber, and Franz to plot intrigues against his father and brother. At the end of the novel, the conflict is resolved by Karl admitting the error of his ways.
Internal conflict Karla is a contradiction between the right to protest and criminal ways of realizing it, 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 Karl in disguise. Franz's internal conflict is the question of the existence of God. The father cannot decide whether to forgive or curse each of his sons.
Artistic originality
For the young Schiller, the main thing in drama is to convey his ideas to the reader and viewer. The plot is not based on facts of life, but comes from ideas. The character of Schiller's hero is conventional. He builds it rationally, based on his meager knowledge about society and the world, and subordinates it to an 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 sing, restoring their strength by playing the lute and pouring out their melancholy. The songs reveal the true feelings of the characters, for example, Charles sings about Caesar and the traitor Brutus, having learned about his brother’s betrayal.
F. M. is one of the most famous Russian thinkers and writers in the world. His outstanding works were loved not only by readers of the 19th century, they are no less loved and read in our time. His work has overcome many decades and remains interesting to the modern reader, and the problems that F.M. touched upon are still relevant today, which arouses even greater interest in this outstanding personality and his works.
No one will argue what is most famous work F. M. Dostoevsky - novel “Crime and Punishment”. However, the novel “White Nights” is rightfully considered the most poetic. It details the relationship of someone who fell unrequitedly in love with main character Nastenka is a man who, without counting on reciprocal feelings, helps a girl find her happiness with another person - with the one whom Nastenka sincerely loves.
This novel allows us to conclude that the feelings and thoughts of F. M. Dostoevsky, embodied in his works, including the novel “White Nights,” are unique and unique. I am sure that the originality of the plots, the wide variety of problems for which the writer seeks solutions in his works, his attitudes and thoughts towards these problems will always remain interesting to readers.
Undoubtedly, everyone has their own opinion about certain problems, but each of us can find something interesting in the works of F. M. Dostoevsky for ourselves. It is known that the great Russian philosopher and writer considered Jesus Christ to be his ideal. And no one can blame him for this, because this is his own decision and his choice, and the writer did not impose his worldview, his thoughts and feelings on anyone.
F.M. simply talks about the people who lived in his world. Therefore, everyone, young and old, believers and non-believers, is interested in reading his novels and recognizing their contemporaries in their heroes. In the darkest corners of St. Petersburg, you can always find a poor dreamer who is hiding from the sun and poverty, feeling guilty about everything, embarrassed, with stupid speech, with ridiculous manners, reaching the point of self-destruction. The author creates a generalized portrait of such a dreamer: “A crumpled, dirty kitten, who, snorting, with resentment and at the same time hostility, looks at nature and even at the handout from the master’s dinner brought by the compassionate housekeeper.”
Great connoisseur human soul, F.M. describes the characters of the heroes of his works with great skill. For example, in the novel “White Nights” he managed to fully reveal the images of the main characters of the work through their monologues. Despite the fact that the author did not give specific characteristics, we received complete portraits of the characters, assembling them from pieces of the mosaic, each of which is a masterfully polished detail of the novel, separated from everything superfluous.
For his works, F.M. chose wonderful subjects that made his books unforgettable and unique. All the events that take place in them seem as real and reliable as possible, and the ending of these works can never be predicted.
The skill and psychologism of F. M. Dostoevsky, the diversity of characters and plots, individuality, unpredictability and authenticity - all this makes the thoughts and feelings of the outstanding Russian writer, reflected in his works, interesting to modern readers.