The Theme of Moral Obligations in F. Schiller's Drama "Robbers"
8th grade
Elena KUDINOV
Elena Alexandrovna KUDINOVA - teacher of Russian language and literature, Komsomolsk-on-Amur, Khabarovsk Territory.
Lesson-reflection on the drama of F. Schiller "Robbers"
I take two lessons to work on the play, the third is a generalizing lesson-thinking. At the first lessons, there is a detailed work on the text of the play, reading by roles.
In preparation for the final lesson, the children were divided into creative groups with assignments: the "Actors" group prepared the third scene of the second act "Bohemian Forests" for staging; a group of "Designers" prepared a playbill, portraits of the main characters - Franz Moor and Karl Moor; the Researchers group worked on the novel by A.S. Pushkin "Dubrovsky"; the Art Critics group worked on the history of the creation of the 9th symphony by L.V. Beethoven.
Decor: theatrical screen, portrait of the writer, playbill for the drama, illustrations for the work.
Musical accompaniment: L.V. Beethoven. 9th Symphony, Ode to Joy.
Epigraph:“I really can cause amazement” (Karl Moor).
Introductory speech of the teacher
In the previous lessons, we got to know you with the famous classical drama of the German poet and playwright Friedrich Schiller (1759–1805) The Robbers, a writer whom A.S. Pushkin put on a par with the greatest figures of different eras - Homer, Dante, Shakespeare, Racine. Today, the last page of the play has been turned, so there is an impromptu curtain in the classroom, as the conversation will go not just about a literary work, but about a drama where the art of speech and theater are merged. “Let's talk about the stormy days of the Caucasus, about Schiller, about fame, about love,” we will say after A.S. Pushkin.
Today's lesson is a reflection lesson. We will try to answer the questions: How did we, students of the 8th grade, understand the pages of a great work? Do we need Schiller's plays in modern times, or have they become deep history? What is a classic classic? What feelings did it evoke in you main character plays?
Conversation with the class
The play The Robbers is set in 18th century Germany. Its plot is built on the enmity of two brothers. What can you say about the main characters of the play?
Student responses
The main characters are the brothers Karl and Franz Moors. One of them - the younger brother Franz - 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 artistic technique underlies the construction of the characters of the brothers? Justify it.
When characterizing characters, Schiller uses the technique antitheses. The appearance of the brothers, their inner world, their actions are contrasting.
One hypocritically pretends to be a meek and loving son, although in fact he is ready for meanness in order to discredit Karl. The other is generous, capable of lofty feelings. In the characterization of the brothers, antonyms are used: vile - generous, shameless - honest, immoral - noble.
Look at the portraits of these heroes, made 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. (Extended responses from students.)
“Who now dares to come and pull me to an answer or say to my eyes: “You are a scoundrel!” Now down with the burdensome mask of meekness and virtue! Look at the real Franz and be horrified!.. Stroking and caressing is not my custom. The pallor of poverty and slavish fear is the color of my livery. I will dress you in this livery!” (Characterization of Franz; act 2, scene 2.)
“Amalia. Faded colors cannot repeat the lofty spirit that shone in his fiery eyes...
Old Moor. That friendly, affectionate look.” (Characterization 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 for all of humanity 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 of the play is the scene in the Bohemian forests. Let us turn to the 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 the dragon's lair! With your permission, my sirs, I am a minister of the church, and there are one thousand seven hundred people standing there, guarding every hair on my head ... ”to the words of Moor:“ Now we are free, friends ... ”
Conversation with the class
Why is a priest brought into the camp of robbers?
Answer. The playwright puts his hero through a test of conscience.
What better helps us understand the character of the protagonist?
Answer. Schiller in The Robbers managed to show the innermost movements of the soul through the monologues and replicas 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 through. He takes upon himself the right to execute and pardon, but the atrocities and excesses 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.
“Moor. How do you know that I don't have terrible dreams at night, that I won't turn pale on my deathbed? How many things have you done that you are responsible for? Know, ambitious young man: laurels do not grow green for murderers and arsonists! It is not glory that meets robber victories, but curses, dangers, death, disgrace!”
Teacher."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 "Dubrovsky". I suggested comparing the hero of Schiller's play with famous hero Vladimir Dubrovsky to a group of literary critics.
What can be said about the life goals of these heroes? What qualities of the characters seem similar to you?
Response from the Research Group. The theme of rebellion and the noble robber is presented in the novel by A.S. Pushkin "Dubrovsky", written in 1832-1833. Vladimir Dubrovsky - a Russian nobleman, fed by a sense of revenge for the insult and death of his father, is forced to burn down his family estate and go into the forest as the leader of the robbers. The scene in the Bohemian forests is reminiscent of a scene from Chapter XIX: “In the middle of a dense forest, on a narrow lawn, there was a small earthen fortification, consisting of a rampart and a moat, behind which there were several huts and dugouts ... The robbers each occupied a certain place. At this time, three sentinels ran to the gate. Dubrovsky went to meet them. "What?" he asked them. “Soldiers in the forest,” they answered, “we are surrounded”...”
Dubrovsky and Karl Moor are united by the similarity of destinies. Karl does not kill for robbery, but distributes his legal part of the booty to orphans. Both of them fit the characteristic - noble. The actions of Vladimir Dubrovsky, his desire for revenge and the rejection of 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 similarities in the depiction of the rebel hero by 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 fall: “I am not a thief, tell them that my trade is retribution, my trade is revenge” (Karl Moor).
Teacher. For two hundred years, the finale of the play has been interpreted in different ways. Invariably, the main question of the finale also arises before us:
What did the protagonist 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 disastrous nature of his path and the desire to retribution 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 with lawlessness! I called it vengeance and right!.. What I have ruined is ruined. Never recover the defeated! But I can still appease desecrated 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 in the world, but his good intentions were accompanied by dishonorable atrocities.
Why did we put the words of Karl Moor “Yes, I really can cause amazement” as an epigraph to the lesson?
Did the main character surprise you? How do you feel about his actions? (Student answers.)
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 disputes and judgments to this day, some of which were presented in our lesson. The thoughts of the great poet about the measure of responsibility of a person for his 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 musicians.
Group "Artists". In 1824, the already seriously ill Beethoven wrote the last - the 9th symphony. It was a song of freedom, a fiery appeal addressed to posterity. 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 urged everyone: "Hug, millions!" (Expressive reading of the ode to students.)
Joy, unearthly flame,
Paradise spirit that flew to us,
Intoxicated by you
We entered your bright temple.
You pull together effortlessly
All divided by enmity,
Where you spread your wings
People are brothers among themselves.
Hug, millions!
Merge in the joy of one!
(Beethoven's 9th symphony, ode "To Joy" sounds.)
Compare Schiller's ode-song with his "Robbers". Could the characters in the drama accept it? (Student answers.)
Final word from the teacher. Years pass, the director's interpretations and 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 “What is close modern reader F. Schiller's drama "Robbers"?
Literature
- History of German Literature: In 3 vols. M.: Raduga, 1985. Vol. 1.
- Libenzon Z.E. Friedrich Schiller. Moscow: Education, 1990.
- Materials of the lessons of I. Arkin: Literature at school, 1998.
The Robbers was completed in 1781. Schiller had just graduated from the course of the Military Academy in Stuttgart, and he wrote the drama while still studying at it. The young writer had to publish the drama at his own expense, because not a single publisher in Stuttgart wanted to print it.
But the director of the Mingham 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 members of Sturm und Drang carried the educational ideology on German soil. The works of Rousseau are very important for Schiller, especially his literary creativity. Rogues reflects the idea of the "natural man", the rejection of modern civilization and doubts about progress. Schiller shared the religious concept of Rousseau (one of the qualities villain 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 relatives of Karl die, and he himself goes to surrender to the authorities. The contradictions in his life are unresolvable. He is broken morally and expects physical retribution. Some researchers specify the genre, calling the work a robber drama.
Topics and issues
The theme of the drama is enmity and hatred between close people, capable of killing; responsibility of a person for his choice and his actions, for moral obligations.
The priest pronounces the main idea: there is no greater sin than patricide and fratricide. Karl echoes him in the final: “Oh, I am a fool who dreamed of correcting the world with atrocities and observing the laws with iniquities!”
In the preface, Schiller admits that his goal as a playwright is "to peep into 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 connected with the omnipotence of the feudal lords (the story of Kosinsky, whose beloved became the mistress of the prince, and he took Kosinsky's lands and gave them to the minister). One of the epigraphs of the drama is "To tyrants".
The women in the drama make a choice between honor and love. Amalia (Kosinsky's fiancee) chooses love (losing her lover in the process). And Karl saves his Amalia from such a choice by returning home on time.
Plot and composition
The plot is borrowed by Schiller from Schubart's story "On the History of the Human Heart". The plot was influenced by stories about noble robbers fighting against feudal lords. Robbery was a frequent 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 desired to inherit his father's wealth and marry his brother's fiancee. He declared the sick father dead and locked him in the family crypt.
Karl, a noble robber, but also a murderer, feeling worried for his bride, decides to secretly sneak into the family castle. He finds a barely alive father who spent 3 months in a 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 string. The father dies when he finds out that Karl is a robber, and Amalia asks to stab her, just not to part with him again. Carl fulfills the request of Amalia and is given into the hands of justice, along the way doing a good deed for the father of 11 children.
Heroes and images
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 a curse addressed to 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 Most High and an angel. The old man is not ready to accept his son Karl as a robber and 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 is mired in all mortal sins. Franz suspects that all people are like him. Franz considers a person to be dirt, but 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 sins: he strangled himself like Judas.
Elder brother Karl Moor is a noble robber. He himself does not consider himself to be either a criminal or a thief, calling his trade retribution, and trade - revenge.
Karl is pious, but he treats the churchmen with contempt, calling them Pharisees, interpreters of the truth, monkeys of the deity.
Karl, according to the father, is consumed by pride. Indeed, Karl scorns the robbers, calling them godless scoundrels and an instrument of his great plans.
Carl is a natural person, acting according to common sense. Upon learning of his brother's deceit, Karl is ready to flee so as not to kill him in anger. He is generous and generous, giving Daniel a purse. 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.
At the same time, Karl is a robber and a murderer. He would like to forget the cries of his victims, trying to find justification for his actions in his pedigree and his upbringing.
Carl has a heightened sense of justice. He himself rebels against human laws, considering them unfair, 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 broke up ... 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 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 mob. Daniel refuses to stab Franz when the hour of retribution approaches, not wanting to commit a sin.
Robber images
They are loyal to their chieftain and do not agree to hand him over to the authorities even for a signed pardon. Charles calls the robbers punishing angels. Obligations to them force Carl to kill Amalia.
Amalia
The girl is faithful to her lover, idealizes him. Amalia is ready to go to the monastery, having learned about the imaginary death of Karl and his father, but she does not agree to become Franz's wife, she wants to stab herself when her younger brother harasses her by 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 at once. She herself becomes a victim of the debt of her beloved.
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 the contradiction between the right to protest and the criminal ways of its implementation based on violence. This conflict is unresolvable.
Internal conflict is inherent in every hero. Amalia resolves the conflict between her love for Carl and her sympathy for Carl in disguise. Franz's inner 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 life facts, but comes from ideas. The character of the hero in Schiller is conditional. He builds it rationally, based on his meager knowledge of society and the world, subordinates to the idea.
Schiller created a new type of drama. It has a political component, pathos, emotionality and lyricism.
Songs play an important role in drama. Karl and Amalia sing, restoring their strength by playing the lute and pouring out longing. 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.
The theme of moral duty in Friedrich Schiller's drama The Robbers
Student's essay based on the drama of Friedrich Schiller "Robbers". The outstanding German humanist Friedrich Schiller thought about the meaning human life. He believed that modern man had lost his simplicity, 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 Moor, carriers of two opposite worldviews. Karl hates the squalor of the surrounding life, treats with contempt those who obsequiously obey the rulers, and oppresses the poor. He does not want to live according to those laws, thanks to which hypocrites, rogues, usurers live so well. “Is it possible for me to squeeze my body into a corset, or is my will laced up by law? The law makes snails crawl what eagles should fly.” Karl Moor is a pure and kind young man at heart. Upon learning of his father's decision to deprive him of his inheritance, he falls into despair, perceives a personal insult as a manifestation of injustice, which has already become the norm in human relations. He and his comrades hide in the Bohemian Forest, becoming the leader of the robbers. Karl begins to rob the rich, the noble, those in power, and helps the destitute and persecuted.
His brother Franz adheres to completely opposite ideas and principles. In this image, Schiller showed a cynical person, without honor, conscience, a cruel egoist. Hypocritically exposing the student life of his brother Karl in black colors, he disgraces him in front of his father, achieves that the entire parental inheritance passes to him. Moreover, he claims the hand of Karl's bride - Amalia. The purpose of Franz's life is the satisfaction of his own passions. He justifies any of his crimes, believes that honor, conscience are needed only by the common people. Franz strives for power and money and believes that there is no such obstacle that would prevent him from achieving his goal. He hides his own father in a tower and dooms him to starvation. Meanwhile, Franz begins to be haunted by terrible visions, which can be called the pangs of a humiliated conscience - retribution for cruelty and crimes. With his soullessness, he even adorns his own coat of arms: “The pallor of poverty and slavish fear are the colors of my coat of arms. Franz is unable to overcome remorse, fear of inevitable punishment, and finally lays hands on himself. However, Karl does not win either. At the end of the drama, he is overcome by doubt: did he choose the right path? And he realizes that he went the wrong way. For his crimes, he pays with the death of his father and bride Amalia and comes to the conclusion that in nature there is no noble murder or high revenge. He sees the greed, the cruelty of the robbers who make his case unfair, and decides to surrender to the authorities. “On the way here, I happened to talk with a poor man ... he has eleven. A thousand louis is promised to the one who brings the big robber alive. The poor fellow can be helped."
Depicting disputes between brothers, between Charles and the law, Schiller violates an important question in the drama: if violence is fought against with violent methods, then the noble avenger himself will not become a criminal? The author believes that retribution is inevitable for anyone who has violated the moral law, regardless of the motives for which he committed the crime. In his work, Schiller showed the inconsistency between the human right to protest, on the one hand, and the criminality of any violent protest, on the other. This contradiction is tragic, since, according to the author, it has not been resolved in real life.
Shapovalova Irina Anatolyevna, teacher of Russian language and literature
gymnasium No. 3 in Belgorod
romantic tragedy F. Schiller "Robbers"
Lesson study
Target: help to form the social competence of students.
Tasks for the formation of students' competencies:
Educational and cognitive (work out the skills of independent text analysis; continue work on the development of students' creative abilities);
Communicative (cooperate, assist 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 the messages of classmates, provide mutual assistance and support in difficult situations, critically evaluate and reevaluate the results of your activities)
During the classes
Long live the great Schiller,
noble advocate of mankind!
V. Belinsky
I.A. Good afternoon! Dear guests, today we invite you to lesson-study. Our lesson will be held in the form of a meeting of the artistic council of the 7-B class theater, since the conversation will go not just about a literary work, but about a drama where the art of speech and theater are merged. We will talk about Schiller's romantic tragedy. It was in the era of Schiller that table rehearsals were first introduced into theatrical practice. We will try to adhere to the foundations of the aesthetics of theatrical romanticism: imagination and feeling.
We will try to prove that the tragedy "The Robbers" by Friedrich Schiller can be attributed to a romantic tragedy.
Before you is a cluster in which features of romanticism and classicism are placed. In the course of the lesson, please note those features that are inherent in the tragedy in question, make notes about the characters of the 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 an impromptu curtain. A word to the assistant director Kamenskaya Darina, who will remind us of the beginning of the drama. In the course of her performance, actors will join her, who will try to convey the most important task of their image. Note that Schiller's tragedy is a romantic tragedy. Romanticism had a huge impact 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 violent 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 ancestral castle of the barons von Moor, the father, the youngest son, Franz, and the ward of the count, the bride of the eldest son, Amalia von Edelreich, live. The plot is a letter allegedly received by Franz from the "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. Saddened by the bad news, the old man von Moore allows Franz to write a letter to Karl and inform him that the count, enraged by the behavior of his eldest son, is depriving him of his inheritance and his parental blessing.
At this time, in Leipzig, in a 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 an excerpt/
Schwartz(Running towards him.) Brother! Brother! Letter, letter! (gives him a letter. Moore hastily opens it). What's wrong with you? You are whiter than chalk.
Carl Moore. My brother's hand!
Moore drops the letter and runs out like a madman. Everyone jumps up.
Roller(after him). Moor! Where are you, Moore? What happened to you?
Grimm. What about him? What about him? He is pale as death.
Schweitzer. It must be good news. Let's see!
Roller(picks up a letter from the floor and reads it). "Unfortunate brother! I must briefly inform you that your hopes were not justified. Go, your father tells you, to where your shameful deeds lead you. Then he tells me to tell you not to hope on your knees to beg forgiveness from him if you do not want to feast on bread and water in the cellars of his towers until your hair grows like eagle feathers and your nails become like bird claws. These are his own words. Farewell forever. I feel sorry for you! Franz von Moor.
Schweitzer. Dear brother! What to say! Is this rascal called Franz?
SPIEGELBERG (quietly approaches them). Are you talking about bread and water? Good life! I've got something better 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 - follow me! We will settle in the Bohemian forests, gather a gang of robbers and...
Roller. You're not the first crook to look over the gallows. And yet, your truth - we have no choice.<...>
M o r(enters in great agitation and rushes about the room, talking to himself). People! People! False, treacherous echidnas! Their tears are water! Their hearts are iron! Lions and leopards feed their cubs, ravens carry carrion to their chicks, and he, he...
Roller. Listen, Moore! What do you think, is it better to rob than to sit on bread and water in the dungeon?
Moor. And this is a father's feelings? Repentance - and no forgiveness! Such credulity, such unshakable confidence - and there is no mercy!
Roller. Yes, listen, Moore, what I'm going to tell you!<...>
Moor. I loved him so unspeakably! No son has ever loved his father so much! I would give a thousand lives for him! (He stamps his foot furiously.) Oh, whoever puts a sword into my hands to inflict a burning wound on a human tribe, he will become my friend, an angel, a god! I will pray for him.
Roller. We want to become such friends. Hear us
Schwartz. Come with us to the Bohemian forests! We'll recruit a gang of robbers, and you...
Schweitzer. You will be our leader! You must be our leader!
Moor. Like a thorn has fallen from my eyes. What a fool I was, striving back into the cage! My spirit yearns for exploits, my breath for freedom! Assassins, robbers! With these words, I am breaking 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 for myself a terrible oblivion! Resolved: I am your chieftain! Become all around me, and let everyone swear fidelity and obedience to me to the grave! Let's shake hands!
Everyone (holding out her hands to him). We swear to you allegiance and obedience to the grave.
M o r. And my right hand will be a guarantee that I will faithfully and invariably, 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 bride, Amalia.
Franz. Are you turning away, Amalia? Am I not worth what the damned father is worth?
Amalia. Away! Oh, this child-loving, merciful father, who gave his son to be eaten by wolves and monsters! Sitting at home, he delights himself with expensive wines and rests his decrepit body on feather pillows, while his great, beautiful son is in the grip of need! Be ashamed, you monsters! Be ashamed, dragon hearts! You are a disgrace to mankind! His only son...
French I thought that he had two of them ... I love you like myself, Amalia!
You think of Karl, but our fraternal hearts beat so in unison!
Amalia. Oh no, that never happened!
Franz. We are so similar in inclinations! The rose was his favorite flower. Which flower is dearer to me than a rose? He unspeakably loved music. Heavenly stars, I call you to witness, in the dead silence of the night, when everything around was plunged into darkness and slumber, you overheard my playing the harpsichord! How can you still doubt, Amalia? After all, our love converged in one point of perfection; and if love is one, how can those in whose hearts it nests be dissimilar?
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?! (Exits.)
Amalia. Go, rascal! Now I'm back with Carl. "Beggars," he said? Everything has turned upside down in this world! The beggars became kings and the kings became beggars. I will not exchange the tatters he wears for the purple of God's anointed ones! His look when he begs - oh, that proud, regal look, turning pomp, magnificence, the triumph of the rich and strong into ashes! Wallow in the dust shiny necklace! (Tears pearls from her neck.) Wear it, rich, noble ones! Wear that damned gold and silver, those damned diamonds! Satiate yourself with sumptuous dishes, bask your bodies in a soft bed! Charles! Charles! Now I deserve 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, decorator began to be considered in the context of the emotional impact on the viewer, revealing the dynamics of action.
Costume designer Anastasia Bereznyak will introduce you to make-up options and costume designs for the characters. Actors will describe their characters. Thus, we will be able to evaluate the work of the artist by analyzing the most important task of the image of each character.
/Presentation/
Old Moore is honest, condescending. His house was a haven for the orphans, a haven for the mourners. He is about 70 years old, but he feels like an octogenarian old man.
Slide 3-5
Act one. Scene 2
Tavern in Saxony.
Karl Moor received a letter from home that turned his whole life upside down.
Act two. Bohemian forests. Moor becomes chieftain of a gang of robbers
Charles- the embodiment of a romantic outlook on life. He hates the squalor of the surrounding life and with disgust and contempt treats hypocrites who flatter powerful rulers while oppressing poor people. Karl does not want to live by the laws that deceivers and villains take advantage of.
At heart, the young man remains a kind and pure person. Karl Moor, the count's son, robs the rich and noble and helps outcasts and the destitute. 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 is not handsome. “It seems to me that nature has taken the most vile things from all human races, mixed them into a pile and baked me from such a dough.” “I will be the ruler and by force I will achieve 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. The purpose of Franz's life is to satisfy his desires.
Slide 7-9.
Amalia von Edelreich
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 Carl Mora for a long time. She does not believe the stories of Franz, she believes that her “beloved is a reflection of the deity, and the deity is mercy and pity! He wouldn't hurt a fly! His soul is far from bloody thoughts, like noon from midnight.
Slide 10
Spiegelberg was poor, got to Lepzig from Jordan, he is a thief. It is Spielberg who invites young people to become robbers. Arriving in some city, he first of all found out from the guards about the beggars, from the bailiffs and sentinels about swindlers, swindlers and other rabble, he looked for these thugs and recruited them into a gang. Spielberg was a coward, they say about him that there is not a single scar on his body.
Ratsman. Spielberg'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
Shufterle. Poor, dressed from someone else's shoulder. I wanted to have weekly edifying talks. During a fire in the city, he acted outrageously and showed himself as a villain: he threw the baby into the fire. He admired his act. Moor drove him out of the gang, saying that he would not leave the gallows. And so it happened: Schafterle was hanged in Switzerland.
Grimm. The weak-willed person: If everyone agrees, then I will not contradict. Friend of Spiegelberg. Participated in dirty tricks in the monastery with Spiegelberg. His motto: whoever gives more, I will follow.
slide 12
Roller was devoted to Mor, and the ataman always distinguished Roller.
Roller spent three weeks in prison, three times he was taken for interrogation, he was interrogated under torture where the chieftain was. He didn't betray anyone.
Moore trusted him. During the fight in the Bohemian forest, Roller, Schweitzer and Moore fought in
thickest. Roller died a heroic death.
Schweitzer. Devoted to Mora to the point of recklessness. Strong, brave. He cracked open the skull of a Bohemian dragoon when he raised his saber over Mort. Schweitzer gives Mohr the word 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. The early death of his father made him the owner of a considerable noble estate. The young man was supposed to marry, but he is accused of treason.
He spent a month in prison. Kossinsky tries to kill the prince because he forced his bride to become his mistress
Slide 14
Hermann“decisive fellow, soldier's heart. The illegitimate son of a nobleman, poor.
He was in love with Amalia. He committed a mean act for the sake of love for Amalia. Having recognized the intentions of Franz, he confesses to his deed.
slide 15
Daniel- Count von Moor's servant. He is seventy-two. He always respected
Parents of Karl Moor .. He did not take a penny from anyone by deceit. He was honest in his faith. Franz offers the old man to kill the count, but he refuses.
Pastor Moser leads a soul-saving conversation with Franz.
I.A.Thanks. Do we approve makeup and costumes or not? Is the romantic style sustained? /Answer/
What 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 natural son of a local nobleman and on, Herman, to change clothes and, having appeared to the old man Moor, to report that he witnessed the death of Charles, who took part in the battle near Prague. For this, Franz promises Hermann to return Amalia von Edelreich to him.
Count von Moore blames himself for the death of his son, and his heart seems to stop. Franz rejoices at the long-awaited death of his father. Herman, Mon I who said that Franz deceived him, reveals to Amalia a "terrible secret" - Karl von Moor is alive and the old man von Moor too. 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 Mohr, already at the beginning of the action, declares a complex, deep human personality. Carl shows a view of life "through the prism of the heart."
Dasha. And I liked the scene in which, under an assumed name, Karl enters his ancestral castle. He meets his Amalia and becomes convinced that she is faithful to the "dead Karl". In the gallery among the portraits of his ancestors, he stops at the portrait of his father and stealthily wipes away a tear. No one recognizes the eldest son of the count, only the all-seeing Franz seems to guess his elder brother in the guest.
Franz makes the old butler swear an oath that he will kill the visiting count. By the scar on his arm, the butler recognizes the Count as Karl, who 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 are also embodied in this scene: it reflects the "night" side of the movements of the soul, the craving for the intuitive and the unconscious.
Yana. And I think that the most vivid, emotional penultimate scene of the fifth act. Franz cannot calm down, he had a dream about the Last Judgment, in which he was sent to hell for sins. The atheist begs Daniel to send for the pastor. Having received confirmation from the pastor that fratricide and patricide are the gravest sins of a person, Franz is frightened and realizes that his soul cannot escape hell.
Robbers sent by Charles attack the castle, they set fire to the castle, but they fail to capture Franz. In fear, he strangles himself with a hat-lace. In this scene, the comic and the 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 sketches of the scenery. Chepeleva Nastya and Shevtsova Irina sought not to recreate, but to recreate reality
/Presentation /
slide 1.
1. ACT ONE. SCENE ONE Franconia. Hall in the castle of Moors.
2. The scenery of the first stage is presented in golden and black colors. Franz and old man Moor are involved in this scene. 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 solved in orange and black tones. Orange clears from unpleasant sensations, helps to accept negative events in life, helps to forgive another person, let go of an unsolvable situation.
1. Karl Moor is at an impasse and is afraid of change, his condition corresponds to this particular color.
2. Why is there black color in this scene? There is not much of it, but this color symbolizes the decision of students to become robbers, that is, to step on 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 the character of Amalia. She adheres to the laws of honor, pure as White color, faithful to ancient traditions, she is open, 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 of black and red tones. A canopy bed indicates isolation, closeness of character. As you know, red is the color of aggression, passion, struggle, anger, emphasizes fear and self-doubt.
1. Dark fireplace, dark ceiling. We placed the fireplace in Franz's room, it is cold, and the fireplace, perhaps, will help him to thaw, his dirty deeds, like the dark ceiling, press on him.
2. In this room there is a conversation with Herman. And Herman agrees to do meanness.
Slide 5.
1.SCENE TWO. Bedroom of old Moor.
2. This scene is oversaturated with colors. Old Man Moore embodies various character traits. He is soft, kind, compassionate, but also weak-willed, capricious.
slide 6.
1. SCENE THREE. Bohemian forests.
2. The back is made in light - green tones. It is known that green It is intermediate between black and white, therefore it is considered a neutral color.
Slide 7.
1. ACT THREE
SCENE ONE. Garden
2. Against the background of the backdrop "Garden" Amalia plays the lute. Lots of Lilac. Lilac - the color of inspiration, characteristic of creative individuals, helps to calm the soul and nourish it with the energy of inspiration, unites the body and thinking
slide 8.
1.SCENE TWO. Against the background of the backdrop "Forest" the robbers are located.
Slide 9
1. ACT FOUR
SCENE ONE.
2. Backdrop "Area near the castle." Pale yellow color prevails. This color sets feelings in motion, frees from negativity, gives self-confidence. The desperate robber Moore, 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 Moore is talking to Amalia. Amalia's inner world is expressed by 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-gray.
slide 11
1.SCENE THREE. Another room in the castle.
2. Room in golden colors. Obviously, this is Karl's former room. It has remained the same, it breathes the former beautiful Karl, with a heart of gold. Here is a conversation between Karl and his old servant Daniel.
slide 12
1.SCENE FOUR. Moore and Amalia.
2. Backdrop "Garden". Moor, in the form of Count von Brand, talks about his love for a girl named Amalia. Amalia confesses to an imaginary stranger that she still loves her Carl. She believes that her Karl is a reflection of the deity, and the 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 delivers his confession.
Slide 14
1. ACT FIVE. SCENE ONE. Enfilade of rooms.
2. Lots of blue. Blue colour develops psychic abilities, clears thinking, frees from anxieties and fears, allows you to hear the inner voice, make the right decision.
1. This scene is the climax: 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 the fourth act - the basement of the castle.
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 up everyone. The ending is obvious.
I.A. Thank you. I think they liked the scenery. And now I want to announce the start of the game. In every literary work, the text is very important. How well do you remember the text? Now we will test your attention, memory, ingenuity.
1.Where is the castle of the Counts von Morov? / 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 that which should fly like an eagle crawl.” /Karl Moor/
5. Who said this: “I will be the ruler and by force I will achieve what I cannot achieve with a disposable appearance” / Franz Moor /
6. Who said this: “I have the courage to go through hell barefoot.”/ Schweitzer/
6. Whose motto is this: take the young man, so much so that he doesn’t have a stake or a yard left. /Ratsman/
7. About whom it is: He spent three weeks in prison, he was taken to interrogation three times, he was interrogated under torture where the chieftain was. He did not betray anyone. / 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 Counts of Moor? / Forty-four years /
10. What amount was assigned as a reward for the capture of the robber Mora? / A thousand louis /
I.A. Let's sum up the game. Thank you. And now let's approve the scenery, costumes. Who agrees? Who is against?
Critic./ Shpakovsky / No, of course everything is fine. But somehow boring. Vasily Barkhatov chose Schiller's Robbers as his debut play. Complex romantic text, as befits a modern director, he shortened, altered and moved the action to Europe in the 21st century. In addition, added live music. In the performance, in addition to the actors, Schubert's piano works are played by a pianist.
So, dad Maximilian von Moor, a wealthy retired warrior, 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, arrange art provocations, which 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, because he acts with old Schiller - just like Franz - with old Moor.
I.A. Thank you for your opinion. The unusual reading of the play by contemporary 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 person. Friedrich Schiller, when characterizing characters, uses the technique antitheses: the appearance of the brothers, their inner world, their actions are contrasting. It seems to me that you can’t do with the classics the way the 24-year-old director did. He obviously had a different task. The theme of rebellion is shown, but his 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 "Dubrovsky", whom we met in the last quarter. At home, you were invited to compare the hero of Schiller's play with the famous hero of A.S. Pushkin - Vladimir Dubrovsky.
Voloshin 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, fed 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.
Dubrovsky and Karl Moor are united by the similarity of destinies. Nobility, honesty, generosity unites these heroes. Karl does not kill for robbery, but the sire distributes his legitimate part of the booty. about there. Both of them fit the characteristic - noble. Their inner world and character are incompatible with the environment (a gang of robbers) in which they both fall: Vladimir Dubrovsky's actions, his desire for revenge and his rejection of it coincide with the path of the hero Schiller, only he, unlike Vladimir, surrenders to justice, and does not hide behind border.
I.A .Thanks. So, let's summarize. Pay attention to your clusters. What features are more inherent in our tragedy: the features of realism or classicism.
Yana. In my cluster, I noted more signs of romanticism than classicism. It:
the proclamation of the human personality complex, deep, the assertion of the inner infinity of the 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 the unconscious;
inclination to mix high and low, comic and tragic, ordinary and unusual;
painful experience of discord with reality;
the desire of the individual 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 trend in literature and art.
IA The work of Friedrich Schiller continues to cause controversy and judgments to this day, some of which were presented in our lesson. The work of the great German poet did not go unnoticed by musicians.
Burmakin Katya. In 1824, the already seriously ill Beethoven wrote the last - the 9th symphony. It was a song of freedom, a fiery appeal addressed to posterity. The final part of the symphony sounded especially solemn. The composer set the music to the words of Schiller's ode "To Joy". In a single impulse, the great composer and the great poet called on everyone: “Hug, millions!” (An expressive reading of a student's ode.)
Mishustina Katya:Joy, unearthly flame,
Paradise spirit that flew to us,
Intoxicated by you
We entered your bright temple.
You pull together effortlessly
All divided by enmity,
Where you spread your wings
People are brothers among themselves.
Hug, millions!
Merge in the joy of one!
(Beethoven's 9th symphony, ode "To Joy" sounds.)
I.A. Thank you. Could the heroes of the drama accept the ode "To Joy"?
I.A. Years pass, the director's interpretations and 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 close is F. Schiller’s drama “Robbers” to the modern reader?”
So the curtain is closed. It's worth summarizing.
FRIEDRICH SCHILLER
The theme of moral obligation in dramaF. Schiller "; 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 their neighbors and no longer lived by faith, but by calculation, seeing in people not friends, but almost enemies. Schiller was against the flourishing of such flashy individualism and disbelief.
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 carriers of two diametrically opposed worldviews. Carl is the embodiment of ro-
mantic outlook on life. He hates the squalor of the surrounding life and with disgust and contempt treats hypocrites who flatter powerful rulers while oppressing poor people. Karl does not want to live by the laws that deceivers and villains take advantage of. Karl Moor says: "The law makes crawl what should fly like an eagle." But deep down, the young man remains a kind and pure person. Upon learning 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 the robbers. Karl Moor, the count's son, robs the rich and noble and helps outcasts and the destitute. The behavior of the young man makes us remember the heroes of folk ballads about noble robbers.
Franz Moor, Karl's brother, has 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. The purpose of Franz's life is the satisfaction of his desires. This person believes that honesty is the lot of the poor. Franz Moor craves money and power, believing that there are no obstacles to achieving these goals. If necessary, he is ready to doom his own father to starvation. But in every transgression there is a punishment. Franz begins to be haunted by terrible visions that become retribution for cruelty and crime. Franz Moor cannot survive pangs of conscience. Fearing imminent retribution, he lays hands on himself. It may seem that Carl'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 if he chose the right path? Carl realizes that he was wrong. He has to pay for his noble robbery with the death of his father and Amalia. Carl understands 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 the 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 the unwritten moral laws and the motives of the crime do not matter. In the drama "; Robbers"; Schiller demonstrated a sharp contradiction between the inalienable right of every person to protest and the criminal content of any violence. This contradiction is the real tragedy of many thinking people. According to Friedrich Schiller, in real life this contradiction is insoluble.
GEORGE GORDON BYRON
Features of the poetic world of Byron
(According to 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 person is, as it were, an interlinear to his work, poetry. If a noble Englishman, a lord, however, 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 trend in Western European literature, his poems differ markedly from, say, the poetry of his countryman Southey or the Frenchman Hugo. The romantic hero of Byron does not run away from life's troubles, but enters the 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,Trouble and evil confrontation,When, strong with 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, despising the instructions of the gods, for which he was doomed to torment.
Byron's Zeus the Thunderer acts 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 fire to people, taught crafts and writing. According to Byron, every conscious person should follow the example that Prometheus, "the proud spirit" set in ancient times; and whose disobedience was not broken by 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 a feast on the magnificent wall of the palace, an invisible hand draws mysterious and ominous writing. The frightened king orders to explain the secret of these words, but neither the magicians nor the priests are able to do this. And only a stranger solves the ominous secret: "the grave, not the throne"; awaits Belshazzar, and Babylon will perish.
Bora. By the way, the same theme sounds in the well-known Russian revolutionary song "Let the despot feast in a luxurious palace";.
A special, unlike any other genius - this can be said about Byron. This is a genius who never found a common language with society. When enlightened Europe 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 in 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 HOFFMANN
Where Tsakhes are taken
(According to Hoffmann's fairy tale "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 folklore motif about miraculous hair. The Good Fairy, out of pity, gives the little freak three magical hairs. Thanks to them, everything significant and talented that happened or uttered in the presence of Tsakhes is attributed to him. But the nasty deeds of the baby himself are attributed to the people around him. Tsakhes is making an amazing career. The kid is considered a brilliant poet. Over time, he becomes a privy councilor, and then a minister. It is terrible to think what heights little Tsakhes could reach, but the timely intervention of a good wizard puts an end to his chimerical career. Having lost three magic hairs, Tsakhes became what he really was.
le - a pathetic likeness of a person. Now those who obeyed the baby with pleasure are making fun of him. Fleeing from former fans, 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 that, in complete self-forgetfulness, creates an idol for itself; wallet power; the intervention of otherworldly forces and just human madness. Hoffmann also traces the whole path of worshiping a false idol. From admiration and fanaticism to mortal horror before the next tyrant. One should not think that the author makes fun of only the useless and deceitful nature of Tsakhes. First of all, the target for satirical arrows is a society struck by imaginary greatness. With his work, Hoffmann 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 a country ruled by little Tsakhes, there is no love, generosity, and there is a 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 for how to cure it. However, it also seems to the reader that superficial treatment cannot improve the matter - serious surgical intervention is required.
Hoffmann also brings to 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 nature, which opposes a rotten society. But the author is also ironic about this character: Baltaear quickly ceases to be interested in social problems, being content with the easy happiness of an inhabitant. He marries his beloved, the young family settles in a quiet village
SKOm house, and the souls of Baltaaar and the beautiful Candida fall asleep forever.
In this 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 of there. It is the Tsakhes who marry beautiful candida, it is they who buy themselves ";small"; quiet houses on other continents for the people's money. But Baltazarov expects something completely different - contempt, shame, imprisonment, death.
Today, young people should think about "Little Tsa-khes", since it is she who will continue to live in our country and manage it. One thing is absolutely certain - it is better to ridicule the Tsakhes who are poor in spirit than to grovel before them, it is better to destroy the Tsakhes than to submit to their contemptible power.
VICTOR HUGO
Quasimodo how example of spiritual beauty
Humanity has long been solving the question of the compatibility of spiritual beauty and physical perfection. The ancient Greeks came closest to solving this problem. But later they somehow forgot about physical perfection - the Middle Ages were coming.
Victor Hugo's novel "The Cathedral Notre Dame of Paris"; talks about Paris in the Middle Ages. With his encyclopedic knowledge and a bias towards rhetoric, Hugo creates several interesting characters, each of which 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"; indeed,
the bell ringer resembles one of the sculptural chimeras that still adorn the pediment of Notre Dame de Paris, with a huge head covered with red bristles, a hump between the shoulders and terribly crooked legs. Thanks to his ugliness, Quasimodo even became "the pope of jesters"; during public fun.
Quasimodo, closed in on 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 amazing 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, 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 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 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 devotion of the hunchback to Esmeralda is almost insane, incomprehensible, for which he could jump from the tower of the Cathedral without a second thought. Awareness of his own ugliness until his death haunts Quasimodo, and fate allowed him to connect with his beloved only after death.
Quasimodo is not a model of sobriety and poise. 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 towards him. He could not resist the thirst for revenge on the priest Claude Frollo, whom he threw from the height of the Cathedral. After the death of Esmeralda and Frollo, Quasimodo said: "That's all I loved." He really loved the beautiful, embodied in Esmeralda, and God, who was personified by Frollo. It may seem that for Quasimodo there is nothing left in the whole world. But, in my opinion, the hunchback had something that he never understood: the Cathedral. He could become part of this majestic structure, which
swarm rushes the towers, like hands, to the empty sky. But this is only an assumption.
In his novel, Victor Hugo captured both the meaning and cruelty of life, and death, and our addictions, and the despair of love. Quasimodo embodies the versatility of the human character. When re-reading "; Notre Dame Cathedral"; the reader discovers all the new features in this most interesting hero, whose name in our time has become almost a household name.
The image of the Cathedral
(According to 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. In such a wide popularity of the Council, not least, one should "blame"; 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 writing in French it begins with the letter ";H";). And you can forgive the writer for such a fairly innocent pomposity, since "Notre Dame Cathedral"; is a really talented and interesting novel. And always, looking at the majestic towers and walls of the Cathedral, people will remember the freak Quasimodo in love 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 aspiration upward, to spiritual heights, combined with the concept that the sky is inaccessible without 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 folk, violent fantasy. Hugo is captivated by the amazing works of the Middle Ages, which at the same time have originality, originality, and unsurpassed craftsmanship. But architectural structures gothic style are not only the embodiment of folk genius, but, as Hugo noted, they are “; stone books of the Middle Ages, according to 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 admirable that these diabolical creations have been grinning predatoryly under the domes of the Catholic Cathedral for about seven hundred years. Hugo masterfully created the image of the ugly bell-ringer Quasimodo, which seems to be one of these sculptural monsters.
First of all, the Cathedral is the center of religious and folk life Parisians. Commoners gather around him, who are able to fight for the improvement of their future. Also, the Cathedral is a traditional refuge for the expelled: 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 one who is oppressed by the infinite grandeur of the Cathedral, and as ";the soul of the Cathedral";. The bell ringer-hunchback can be considered an embodied image of the Middle Ages and, of course, the Cathedral. The beautiful Esmeralda, whom Quasimodo is in love with, on the contrary, is the embodiment of bright vitality. The dancer girl 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.
The novel by Victor Hugo seems to flip the calendar sheet from the past to the present. From their positions
tion writer opposed political reaction and social injustice. The novel is full of echoes revolutionary events witnessed by Hugo. It was this involvement that influenced the depiction of ordinary citizens in the work. The people, according to Hugo, are not a dark crowd, but 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-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 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 high poetry, a fiery 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 bustle of human life.
10. 800 sir. op. in Russian and peace. lit. 5-11 ON.
ESSAYS ON A FREE TOPIC
Only in labor is a man great
(composition-reasoning)
Not every person is given to feel the joy of work. Some people were simply born contemplatives, not doers, and work for them is a burden that takes away strength, time that eats up strength. Others were unlucky: the type of activity chosen by them does not correspond to their abilities, inclinations, character, psychological data. For them, labor is torment, slavery, hopeless captivity with no prospects for liberation! Such people pull the strap, some humbly, some embittered, just for the sake of a piece of bread.
There are people who are not adapted to systematic work. They are impetuous, they work on inspiration, periods of upsurge are interspersed with periods of apathy.
Will they all agree that the greatness of man is in work? Hardly. Even popular ideas about happy life First of all, they presuppose idleness. Let's remember fairy tales - Russian, Ukrainian, German, French, Japanese. They often feature a self-made tablecloth or a pot-vari, milky 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 God's curse for the transgressions of Adam and Eve: "In the sweat of your face you will earn your bread." All legends mention the Golden Age, when people were carefree and happy, the land gave ten crops a year, the fish swam in the net.
All this suggests that labor is not an initially desirable share for humanity that is not aware of itself.
On the contrary, people have always looked for the opportunity to enjoy the fruits of someone else's labor. With the development of civilization and the deepening of specialization, the possibility of exchange appeared: I make dishes, and you make clothes. There was an opportunity to select
to develop a profession, to achieve mastery, to accumulate experience. In European countries, the master is a respected person, work is almost a religion.
Russia shamefully lingered for a long time at the prehistoric stage of development, only recently she got rid of slave labor. Perhaps that is why the taste and love for work, what is called working pride, enters our consciousness so hard. Swindle, 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: everything that I have, I owe only to myself. Amazing Russian literature has long sounded the alarm: -The inability and unwillingness to work is ruining the country. Dostoevsky in ";Teenager"; wrote that Russia does not have practical people, Leskov, who knew the Russian people like no one else, bitterly noted 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 determined 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 unbending his back, the smile of contempt did not leave his face. He silently endured ridicule, mockery and the inevitable scolding until he became "his own" in the new sphere .. ."; (A. Green, "Scarlet Sails";).
Bless each work, good luck. To a fisherman - so that a seine with fish, To a plowman - so that his plow and nag Get bread for a year.
S. Yesenin
He who writes in sweat, plows in sweat, We know a different zeal:
Light fire, dancing over the curls, Breath - inspiration.
M. Tsvetaeva
And yet, can work be made the measure of a person's greatness? Humanity, for sure. We all stand on an endless staircase going back centuries, where each step is the fruit of the labor of an artisan, farmer, and scientist. It depends on our attitude to work, on how our society treats the working person - whether it is a bricklayer, a philosopher, a cook, a teacher - whether this ladder will continue into the future. It is 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, to understand me
(composition-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 do not 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 hard 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, which means I don’t understand.
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