Horace. Analysis of the Cornel Plays "LED Pierre Cornel Life Path

The main tragic conflict of the Cornel Cornell Pierre's tragedy is built on the collision of a personal feeling - the passionate love Rodrigo and Himena - with a debt that each of them considers to be more high, "super-sufficient", beginning. Such a "top" debt is represented by both the defense of the family ceni. In accordance with the main philosophical and moral concept of Cornel, the "reasonable" will, the consciousness of the debt triumphs over the "unreasonable" passion.
The conflict of an individual feeling and public debt is the essence of the tragic collision. And no acting person in the "Side" avoiding this fatal conflict; This leading contradiction permeates the actions and fate of heroes.
The fundamental novelty, the fundamental differences of Side from other modern tragedies were in the severity of the psychological conflict built on a large and relevant moral and social issue. This has determined her success. Significantly simplifying the Stabul of the Spanish play, selecting secondary episodes and unnecessary characters from it. Cornelel focused on the spiritual struggle and psychological experiences of heroes.
Unusually brightly all these principles manifested themselves in the form of Don Dai Urraki, Castilsk infanta.
One of the charges charged by the Cornel after the publication of Sida was that Castilskaya infanta is an extra character in the tragedy. Heraskov, the first translator of Side, generally removes the storyline, thereby significantly simplifying the problem of the work. In my opinion, such a dismissive attitude to the heroine is completely not deserved: the role of the storyline infanta is extremely important. That I will try to prove in my work.
Infanta loves Rodrigo, but the debt commands her to drown out in itself this feeling. The teacher of Infanta Leonor reminds her of a debt and blames the dust who admired the soul of the young hear of the throne:
Princess can, forget his San and Blood,
To the simple knight to fade away love?
And the fact of the king? And the whole Castille is insight?
Do you remember Ile not your origin?
And infanta responds to this speech, as is the heir of the monarch and the daughter of his absolutist century:
I remember - and mostly all the blood of the spear from the RAS,
What agreed to forget and stain my san.
It would seem that the decision is made, the feeling is suppressed and the contradiction is allowed. However, the feeling does not leave the battlefield. Infanta admits:
I am lunsed to break with him - and reluctantly ration ...
I see that the soul is twisted in me

The split of the soul, which Infanta talks about, and is a detachment of common and individual.
Infanta prefers a debt to the feeling, while she does not rebound from love, but, on the contrary, appreciates it. Let Dona Urraka understand that she is not destined to be with Rodrigo, still she respects his feeling, occasionally holds hope and still acts, as she believes its noble origin:
Do not call her shameful; above me
She is destined to reign and rule one;
Be to her respectful, she is all more expensive to me.
I am fighting with her, but I hope yet;
And the heart, coming the hope of expensive,
Flies beyond the happiness lost another.
In the "acting persons" of the heroine that interests us is marked as "Denya Urraka, Castilskaya infanta." At the same time, in the text of the tragedy, the author, indicating that the following words belong to her, calls the heroine infanta. Cornell emphasizes that, above all, the origin of the heroine is important: she is infanta. The name, as such, individually. Donya Urraka is a certain woman with his personal destiny. Happiness, love she is ready to sacrifice to her noble origin. In fact, personal inferior to the "ultra-sufficient" place, as has already been said earlier.
Infanta is not just refuses Rodrigo, she personally suits his personal life
<…> My hands worked,
To sow her to pierce the gentle flour arrows.
Rodrigo Roads her; He donated to her;
He holds my celebration to me alone.
I myself had a passion saming
And therefore must sympathize with their happiness.
This is a truly difficult solution for a girl in love - the only way to deprive the royal daughter of hopes:
I gave way to no braveness:
He, in return himself, I give Himen
And I lit their passion to fade my ...
<…>And I will see these two spouses,
My dreams will die, but the Spirit will heale.
This choice is given infanta not easy: she knows that there is no other way out, but still it is difficult to cope with spiritual experiences. It emphasizes the moral character of the heroine.
Donier Urrak has to hide its feeling. Even the teacher Leonor will find out about the love of infanta after the heroine "presented" the beloved Himene and watches the development of their relationship from.
Donya Urraka is alone. She keeps all his experiences in herself, and from this she is still unhappy: "Sorrow is doubly under the blood of the mystery of the dark."
It is noteworthy that throughout the play we are not witnessing the conversation of Infanta and the Side itself. Don Rodrigo is probably not suspected of the feelings of Donal Urraki to him. Infanta observes from the side of his beloved, while she, in fact, satisfied with his fate: first "creates" the love between Himea and Rodrigo, and then, after all the tragic events, Mitrite them.
Unusually interesting relationships of infanta and himenes. Dona Urraka "gave" his beloved another woman. In fact, her heart should worry if not hate, it certainly burning jealousy. But what do we see? For Doni Urraki Himen is not a rival, but a friend. She sincerely soothes his beloved Don Rodrigo. Of course, for infanta, this love is unusually important, the marriage of Himena and Rodrigo - the collapse of all the hopes that the royal daughter is so eager for: "My dreams will die, but the Spirit will heale." But nevertheless, jealousy had to somehow manifest itself. The hostility to Himene is completely not expressed in a conversation, it is even likely to assume that it is simply no. Dona Urraka sincerely sympathizes to a young girl:
Believe your hopes of their quarrel will not destroy:
MiG gave rise to her, and the moment will put it off.
Excessive response will put an end to it:
Their reconciliation wishes my father;
And I, so that you want to see you again,
Impossible to be ready to be ready.
Or after killing the count and committing all the feats, the Dona Urraka is again sincerely sympathizes Himene:
I do not oblivion bring to you balsam;
I want to bring my breath to your tears.
In the Himeney and Infanta dialogue (Action IV, phenomenon 2), it is not clear in what role the Dona Urraka is performing - a woman in love or a fair ruler. She tries to persuade Himen to leave Don Rodrigo alone, his life is unusually important for the state. Infanta offers Himene to deprive Rodrigo love, but not to take his life:
That was your debt yesterday; Today he is not the one.
Rodrigo us is now the only stronghold
Hope and love of ordinary people and know
Castilla is a loyal shield and horror of the Mauric Rati.
Agrees the king himself with the People's Molva,
That in the image of his risen your parent;
In short, speaking without a flattery and cunning,
In his death - the destruction of the state.
And you would decide, your defending house,
Give fatherland to enemy defeat?
For what we are subject to terrible blow
And what are we criminal to bear such a kara?
You are not obliged, of course, take into my husband
To whom your entry is justified by:
I would look at this with anxiety myself;
Lisha His love, but his life does not touch.
Only in this moment the interests of personal and state-owned are connected. But this dream is not destined to come true - Infanta understands that the love that she herself has created, did not disappear and the only thing that remains to her is to connect lovers.
Love Infanta is not a fleeting passion, but a noble feeling. At the beginning of the tragedy, she sacrifices his feeling in the name of his noble origin. Then, when Don Rodrigo becomes Sid, "the ruler of the two kings", infanta can already be with him. But she again refuses any attempts to close with Don Rodrigo, here the Dona Urraka performs a debt already moral nature:
No longer to the knight flies my dream.
That is not Rodrigo, no, not our servants are a descendant;
For my heart he is a loud way:
Then nice paladin, all above and brave,
Foreign LEDs, the ruler of two kings.
All of me I break myself: not in fear of condemnation,
But not to confuse so faithful serving;
Although b, in favor, I was given the Scepter to him
I will not take me back.
And since in the hour of the court he will win undoubtedly
Himene the same gift I will bring again.
And you, my witness in the painful struggle,
Look, I can be true to myself.
It is infanta who falls the honor to Himen Rodrigo - his girlfriend his beloved:
Forget, Himen, sorrow and, as a pledge of rest,
Accept from my hands of my happy hero.
In the last phenomenon of the play, it acts more confident, there is no more hope, only a nobility of the royal daughter is a guide star. Infanta gave the floor to his educators Leonore "to be faithful to himself" and with a truly royal exposure fulfills him.
Infanta has a stunning nobility, it gives up a feeling in favor of debt, first social, then moral nature. And this incredibly severe heroine spirit, whose moral principles are unshakable, loves Don Rodrigo. Her love is an additional evidence of the hero's nobility, his dignity.
It is not by chance that the infanta predicts the future of the greatness of Rodrigo, while nothing more accomplished:
I know it: yes; Let little I fought
The one is defeated by the count, all anything will happen
I want to dream that in a happy struggle
He kingdoms will enslave himself;
And the leiser love, the breadth of all obstacles,
Represents me his granada throne,
He makes his law to mauras
The conqueror meets Aragon,
Smint of Portuguese, and loud trips
Carry his fate through sea waters,
So that the blood of Africa is frowning his crowns;
Total than remembered the glorious fighters,
I'm waiting for this battle from Rodrigo
And I will only proud, a favorite hero.
At the beginning of the XVII century, when I began to create Cornel (1606-1684) in the economy and politics of France, the consequences of civil wars were not outlined, there was no durable unity of the country. Any weakening of the central authority made a threat to the unification of France. The image of Dona Urraki, however, as the image of Don Fernando, allows you to think that the author of "Side" is sure of the need for the royal principals to follow the laws of the mind and justice. Such absolutism will then be called enlightened. Donya Urraka is a strong person who agrees to sacrifice personal happiness in the name of the prosperity of the people. This should be the perfect monarch - noble, fair, reasonable, for whom the debt is above feeling. It was such a ruler who needed France at the time. This purely classic concept will be held red thread through all the subsequent creativity of the playwright.
The principle of contrast, the antithesis underlying the composition of the plot and the alignment of characters permeates the very structure of the Cornelev verse. In the Speech Infanta, if compared with the words of other characters, this principle was expressed as bright as possible. I will give a few examples. The state in the soul infanta was built on the antithesis: the feeling and debt - the marriage between Himea and Rodrigo "Non-free and desirable", love - "Adorable poison":
I see that the soul is twisted in me:
High courage, but the heart is all on fire.
This marriage is terrible for me: Non-free and welcome,
He does not succeed in the heart of the long-awaited;
So power it is necessary for me and my passion and honor,
What he will be or not, I do not demolish it.
But on this confrontation in the minds of Doni Urraki does not end. When infanta finds out that after the death of Count Himen and Rodrigo, they cannot be together, it mourns not only because of the resurrection of empty hopes, but also worried about a girlfriend:
What a strange thing is a whomit of an excitement!
About her (about Himene - HM) soul, and they are delighted;
The heart of the world disappeared, and passion is resurrected.
In fact, the plot did not suffer much if Cornell struck out Castilian infanta from the scoop of acting persons, but the problem would be significantly simplified. The role of Don Dai Urraki, in my opinion, accurately determined N. A. Sigal in his book "Pierre Cornel 1606-1609": "Indeed, the royal daughter has no influence on the development of events. Its role can be defined as a lyrical comment on what is happening. But her feelings and speeches are deeply meaningful. Loving Rodrigo, she hides and suppresses his passion, remembering his high San and at the same time sympathizing in love. " The nobility of Infanta is striking: at first she performs the debt of the hear of the throne, and the debt of moral nature. Doubts about minimal and hidden from prying eyes: Infant's mental suffering keeps in itself. Infanta is not just a carrier of certain ideas, it is a tragic figure. It does not blindly obey fate: in spite of everything, Dona Urraka continues to hope, Cornelel shows the severity of its spiritual experiences. It emphasizes the nobility: the strength of her spirit is known in the fight debt and feelings.
The love of such a woman is an additional evidence of the hero's nobility. She predicts Rodrigo's exaltation.
In the image of Don Dai Urraki, the features of the ideal ruler are connected: justice, rationality and honor.
A. D. Mikhailov in his article "Theater Cornel" writes that the image of infanta "is associated with poetic sadness and some kind of unobtrusive charm," because the infanta Dona Urraka, secretly, without hope and without desires, who loves Rodrigo, does not harm the opponent, And only once for some instant, she is innocently marked about his uncomfortable happiness.

The long alone Rome and Alba entered the war with each other. Until now, only small clashes took place between enemy armies, but now, when the Albanian army stands at the walls of Rome, a decisive battle should be played.

Sabina's heart, spouses of noble Romans Horace, executed confusion and grief: now in the brutal battle will be broken or her native Alba, or has become its second homeland Rome. It is not enough that the thought of defeating any of the sides is sad for Sabina, for the evil Will of Rock in this battle must be styled against each other's swords the most expensive people - her husband of Horace and the three of her brother, Albanic Curiation.

Sister Horace, Camilla, also klyats the evil rock, which launched two friendly cities in the deadly enmity, and does not consider his position with a more easy, rather than the situation of Sabina, although they are talking about it from Sabina to the girlfriend. Julia is confident that Camilla stared with the whole soul to hurt for Rome, because only her birth and related bonds are associated with him, the oath of the allegiance, which Camilla exchanged with his fiancé Albanian Kuriaqius, is nothing when the whole cup of scales are honored and the prosperity of the Motherland.

Exculsted by an excitement about the fate of the native city and the bridegroom, Camilla turned to the Greek-a dozen man, and he predicted to her that the dispute between Alboy and Rome was already over the world, and she would connect with Kuriaqius to never be separated. The dream, dreamed of Camilla for the same night, dispelled the sweet deception of predictions: in a dream she was harvested with a cruel massacre and piles of dead tel.

When suddenly, before Camilla, there was a lively unavailable chiciation, the girl decides that for the sake of love for her, the noble alban came with a debt to his homeland, and in no way condemns the in love.

But it turns out, everything is wrong: when Rati came together for battle, the leader of Albanians appealed to the Roman Tulla to Tulla with words that it was necessary to avoid fratricide, because Romans and Albanians belong to one people and are connected with numerous relative bonds; He proposed to solve the argument of a fight of three fighters from each troops with the condition that the city whose warriors will defeat, will be subject to the winning city. Romans gladly accepted the proposal of the Albanian leader.

At the choice of the Romans for the honor of the hometown to be fighting three Horace brothers. Curiations and envies the great fate of Horatiyev - to exalt their homeland or folded for her head, - and regrets that with any outcome of the fight, he will have to mourn or humiliated alba, or doubling friends. The Horace, the embodiment of Roman virtues, is incomprehensible, as you can sorrow about who accepted the death in the glory of the native country.

For such speeches of friends, the Albanian Warrior is causing the news that Alba elected three Kuriacian brothers with his defenders. Kuritii Gord, what exactly to him and his brothers fell to the choice of compatriots, but at the same time in the soul he would like to avoid this new strike of fate - the need to fight her husband and his sister's bride. Horace, on the contrary, warmly welcomes the choice of Albanians, who destroyed him even more elevated lots: It is a great honor to fight for the fatherland, but at the same time to overcome blood bonds and human attachments - few people had the opportunity to steal so perfect fame.

Camilla is striving by all means, seeks to dissuade the smoke to join the fratricidal duel, spends him the name of their love and almost achieves success, but the noble alban man still finds the strength not to change the defense for love.

Sabina, unlike relative, does not think to speak brother and husband from the fight, but only wants this fight to be a fratricidal, - for this she must die, and with death they will be interrupted by the relationships of the binders of Horati and Kuriaciyev.

The appearance of an old Horace stops the conversations of heroes with women. Honored Patricia commands the son and son-in-law, relying on the court of gods, hurry to the execution of high debt.

Sabina is trying to convert soul sorrow, convincing himself in the fact that whoever fell in the fight, the main thing - no one to bring him death, but in the name of what; She inspires to himself, which will certainly remain the right sister, if the brother kills her spouse, or a loving wife - if her husband is hitting his brother. But everything is in vain: Sabina is aware again and again, that in the winner she will first of all will see the killer of her dear man.

Silantic reflections of Sabina interrupts Julia, who brought her news from the battlefield to her: barely six fighters came to meet each other, ropotes drove on both rants: and the Romans and Albanis were outraged by the decision of their leaders, and the Horatians with the curses on the criminal fantaubium duel. Tsar Tull won the part of the people and announced that the victims should be brought in order to find out if the internships of animals find out if the gods are pleasing, or not, the choice of fighters.

In the hearts of Sabina and Camillas, hope will again settle, but not for a long time - the old Horace informs them that by the will of the gods their brothers entered into battle. Seeing what mountain was the news of women, and wanting to strengthen their hearts, the father of heroes is talking about the greatness of the lot of His sons who are learing feats in the glory of Rome; Romans - Camilla on birth, Sabina due to marriage ultrasound - both at that moment should only think about the celebration of fragile ...

Representing friends again, Julia tells them that the two sons of the old Horace fell from the swords of Albanians, the third, Sabina's spouse, flee; The outcome of the fight, Julia, did not wait, for it is obvious.

Julia's story is striking the old Horace in the very heart. Due to the two nice to the dead defenders of Rome due, he swines that the third son, whose cowardice of the immentable shame covered honest Dotola's name Horatiyev, will die from his own hand. No matter how much his sabine is asked to temily temper anger, an old patrician inexorably.

Valery, a noble young man, whose love has rejected Camilla comes to the old Horace by the messenger. He starts talking about the remaining Horace and, to his surprise, hears terrible curses from the old man against the one who saved Rome from Shame. Only with difficulty interrupted the bitter outpouring of Patricia, Valery talks about what, who prematurely leaving the city wall, did not see Julia: the flight Horace was not a manifestation of cowardice, but a military trick - running away from the wounded and tired Kuritziev, Horace thus disengaged them and beat them Each one in turn, one on one, until all three fell from his sword.

Old Horace triumphs, he is filled with pride for his sons - both the remaining alive and arms of the heads on the battlefield. Camilla, amazed by the news about the death of the Beloved, the Father comforts, appealing to the mind and the power of the Spirit, always decorated with the Romans.

But Camilla, Caverny. And just that happiness was sacrificed to the greatness of proud Rome, this most Rome demands to hide sorrow from her and together with everyone to cite the victory surplus surplus. No, we will not be, decides Camilla, and when Horace appears in front of her, waiting from the sister praise to her feat, cares for him the flow of curses for killing the groom. Horace could not imagine that at the expense of the celebration of the debris, you can kill on the death of her enemy; When Camilla begins to displacing Rome and call on the hometown of terrible curses, his patience comes an end - the sword, who was short enough to be killed by her fiance, he challenges his sister.

Horace is confident that he did the right thing - Camilla ceased to be his sister and his daughter to his father in a moment, when she cursed his homeland. Sabina asks her husband to stare and her, for she, too, despite the debt, grieves the deceased brothers, envy the fate of Camilla, which death relief from hopeless grief and connected with her beloved. Most of great work is not to fulfill the request of the spouse.

Old Horace does not condemn the Son for the murder of sister - the soul by changing Rome, she deserved death; But at the same time, the execution of Horace Camillas irrevocably thugged his honor and glory. The son agrees with his father and asks him to make a sentence - whatever he was, Horace agrees with him in advance.

In order to independently honor the father of heroes, the King Tull arrives in the house of Goraciyev. He is famous for the valor of the old Horace, the spirit of which was not broken by the death of three children, and regretfully talks about the villain, a rapid feat of the latter from his surviving sons. However, that the evils should be punished, the speech does not come, while the word does not take Valery.

Critesing to the royal justice, Valery speaks of the innocence of Camilla, who yielded to the natural gust of despair and anger, that Horace was not just unfortunately killed a blood relative, which is terribly terribly, but also abused the will of the gods, sacredly declared the glory given by them.

Horace and does not think to defend themselves or justify - he asks for the king the permissions to pierce himself with his own sword, but not to the redemption of his sister's death, because she deserved it, but in the name of salvation to his honor and glory of the Savior of Rome.

Wise Tull listens to Sabin. She asks to execute her, which will mean the execution of Horace, since the husband and wife are one; Her death is - which Sabina is looking for how to get rid of, unable to selflessly love the murderer of the brothers, nor reject the beloved - the wrath of the gods, the wife will be able to continue to bring the glory to the Fatherland.

When everyone who had something to say was spoken, Tull made his sentence: Although Horace made atrocities, it is commonly punished by death, he is one of those few heroes that they serve as a reliable stronghold of their sovereigns; These heroes are not common to the general law, and therefore Horace will live, and further jealous of the glory of Rome.

Repeated

Plot

The first novel, "Life and the amazing adventures of Robinson Cruzo", written as a fictional autobiography of Robinson Cruzo, a sailor from York, who spent 28 years on a uninhabited island after the crash of the vessel. During his life on the island, he collided with various difficulties and dangers of both natural origin and emanating from the savage-cannibals and pirates. All events are recorded in the form of memories and create a realistic picture of a pseudocumentary work. Most likely, the novel is written under the influence of a real story that happened to Alexander Selkirk, who spent four years on a desert island in the Pacific Ocean (today this island as part of the Juan Fernandez archipelago is named after the Literary Hero of DEFO).

Tragedy of P. Cornel "LED": the source of the plot, the essence of the conflict,
the image system, the ideological value of the final. Polemics around the play.

On the days of Cornel, the norms of the classic theater began to develop, in particular the rules on three units - time, place and action. Cornell accepted these rules, but performed them very relatively and, if it was caused by the need, boldly violated them.

Contemporaries were very appreciated in the poet of a historical life industry. "LED" (medieval Spain), "Horace" (the epoch of the kings in Roman history), "Qinna" (Imperial Rome), "Pompeii" (civil wars in the Roman state), "Attila" (Mongolian invasion), "Heraklius" ( Byzantine Empire), "Polyevk" (the era of initial-"Christianity), etc. - all these tragedies, like others, are built on the use of historical facts. Cornell took the most acute, dramatic moments from the historical past, depicting collisions of various political and religious systems, fate of people at moments of large historical shifts and coups. Cornelel is a political writer.

Psychological conflicts, the history of feelings, the peripetics of love in his tragedy went into the background. He, of course, understood that the theater was not a parliament that the tragedy is not a political treatise that "the dramatic work is ...- The portrait of human actions ... The portrait of the more perfect, the more he is like the original" ("reasoning about three units "). And nevertheless built his tragedies by type of political disputes.

LED tragedy (by definition of Cornel - tragicomedy), was written in 1636 and became the first great work of classicism. Characters are created differently than earlier, they are not characterized by versatility, the acute conflict of the inner world, inconsistency in behavior. The characters in Side are not individualized, it is not by chance that such a plot is chosen in which one and the same problem arises before several characters, while they all decide it equally. The classicism was typical of the character to understand one line, which, as if suppresses everyone else. The character possesses those characters who can subjugate their personal feelings. Creating such characters as Himena, Fernando, Infanta, Cornelel gives them majesty and nobility. The majesticity of characters, their citizenship pains a sense of love in a special way. Cornel dedicates the attitude towards love as a dark, destructive passion or to gallant, frivolous entertainment. He struggles with a preventive idea of \u200b\u200blove, bringing rationalism into this area, highlighting love in deep humanism. Love is possible if the lovers respect each noble person in each other. Cornell's heroes above Outline people, they are people with people inherent in people feelings, passions and sufferings, and they are a lot of will people ... (Images according to Chit DN) from numerous stories related to the name Side, Cornelel took only one - the history of his marriage. He simplified the regimen of the plot to the limit, reduced acting persons to a minimum, carried out all the events outside the scene and left only the feelings of heroes

Conflict. Cornelel reveals a new conflict - the struggle between sense and debt - through a system of more specific conflicts. The first one is a conflict between the personal aspirations and feelings of heroes and the debt to feudal family, or a family duty. The second is a conflict between the feelings of the hero and the debt to the state, before his king. The third is the conflict of the family duty and debt before the state. These conflicts are disclosed in the ODR., Sequences: first through the images of Rodrigo and his beloved Jimeau - first, then through the image of Infanta (King's daughter), overwhelming his love for Rodrigo in the name of state interests, - the second, and finally, through the image of the King of Spain Fernando - the third.

A whole campaign that lasted 2 years was deployed against the play. A number of critical articles, written by extent, Schuderi, Claver, and others, hit her, hit. In the plagiarism (apparently, with the Guillana de Castro), Schuderi disassembled a play with t. "Poetics" Aristotle. K. condemned for the fact that he did not follow 3 unity, and especially for the apology Rodrigo and Himena, for the image of Himena, for marrying his father's killer. A special "Opinion of the French Academy of Side, edited by Shamplin and an inspired Richelieu, was also formed against the play. Attacles to such an extent were focused on the playwright, that at first he was silent for 3 years, and then tried to take into account the wishes. But it also did not like the "Horace" of Richelieu either.

The reproaches, abandoned "Sid", reflected real features that distinguished him from the modern "right" tragedies. But it was these features that determined dramatic tension, dynamism, which provided a play long stage life. "LED" and today enters the world theater repertoire. The same "disadvantages" of the play were two centuries after its creation are highly appreciated by romantics that excluded the "Side" from among the classic tragedies rejected by them. The unusualness of his dramatic structure appreciated the young Pushkin, who wrote in 1825 by N. N. Raevsky: "The true genius of the tragedy never took care of the plausibility. See how Cornell deftly helped with Sidel "A, you wish to comply with the rules about 24 hours? Ensure "- and neglected events for 4 months."

The discussion about Side served as a reason for a clear formulation of the rules of the classic tragedy. "The opinion of the French Academy about the tragicomedy" SID "has become one of the program manifestes of the classic school.

5. Devega as a new drama theorist.
The originality of the genre of a love comedy in the work of the playwright.

The Spaniards created the "theater for all." His creation and approval in Rights is righteously associated with the name of Lope de Vega. It is his titanic figure that stands at the beginning of the original Spanish drama. New dramaturgical art and burdere de Vegas are almost synonyms.

Lope de Vega created a new "theatrical empire", and became, according to the expression of Servants, "her autocrat". The Empire was created with difficulty and not immediately. Lope relied on the experience of predecessors, I was looking for, improvised. The first thirds were often compromise, the usual literary consciousness faced a living sensation. It was not enough to be a supporter of traditional folk poetry, cultivate romances and confess Platonian ideas about nature. The "bringing" them in the drama mechanically did not yet solve the case.

"The new manual for the composition of the comedy in our time", which Lope de Vega wrote seven years after this Majection, is just devoted to the rationale for new principles. Its essence comes down to several main positions. First of all, you need to abandon the worship before the authority of Aristotle. Aristotle was right for his time. Apply the laws derived today - ridiculous. The legislator should be a simple person (that is, the main viewer). New laws are needed that meet the most important of them: to deliver the reader to the reader, the viewer.

Staying on the notorious three units, the law derived by scientists theoretics of the Renaissance from Aristotle, Lope leaves as unconditional only one: the unity of action. Note that the lope itself and, especially, his students and followers brought this law to such an absolute that he sometimes turned into a burden, not less than the unity of the place and time of classicists. As for the two other unity, the Spanish playwrights did come with new freedom. Although in many comedies of the unity of the place, in essence, was guarded, which was caused by partial scene technique, partially excessive observance of the unity, that is, its limit concentration. In general, it must be said that both in the time of Lope de Vega and in the controversy of romantics with classicists, the question of the "Law of the Three Unity" acquired almost paramount importance in theoretical disputes, but practically considered to be considered only on the basis of the specific needs of the other Works.

Speaks in his "leadership" LOPE and on the principal mixing of comic and tragic. As in life - both in the literature. In the era of a young burdard, the term "comedy" had a combat, a polemical value. They were denoted by plays built on the principal mixing of tragic and comic in the name of greater vital truth. There were some types of dramatic essays, intermediate between the comedy and the tragedy in the classicist of the Componimation. The perturbed keepers of scientists of traditions called these new species "monstrous hermaphrodite", and storming over their indignation of the Lope de Vegas-elegant and classical word "- Minotaur".

The goal of the playwright is according to Lope de Vega - like the audience. Therefore, the main nerve of comedy, he recognized the intrigue that should capture, captivate this viewer from the first stage and keep in suspense to the last act.

The role of Lope de Vega in the development of the Spanish theater is incomparable with the role of any other playwright. They were laid all the foundations

On the subject of the play, Lope de Vega is separated into several groups.

The largest Soviet researcher of Spanish literature K. Derzhavin believes that they are grouped around the problems of state-historical (the so-called "heroic drama"), socio-political and family-domestic nature. The latter are usually called "comedies of raincoat and swords."

In love comedies, Lope did not have equal in Spanish dramaturgy. He could give up Tirsco or Alarkon in the development of characters, in the technique of building an intrigue Calderon and Sereto, but in the sincerity and pressure of the feelings they inferior to him, all combined. According to the scheme, in all comedies of this kind, love is always "running with obstacles", where the finish is a reward.

In most cases, especially in the followers of the bobbin, interest is based on the maximum journey of obstacles. In such comedies, interest is to overcome obstacles, and not the sense itself. Otherwise, in the best comedies Lope de Vega. There interest keeps primarily on the development of feelings. It is the main subject of the comedy. In this sense, a wonderful "dog on Seine". In her, love step by step by step creams the estate prejudices, overcomes egoism and gradually, but without a remnant fills all the creatures of heroes with its highest meaning.

The burdere gave many samples for different types of love comedy: And for the comedy "Intrigue", and for the "psychological" comedy, and the "moral-asked" comedy. But in the best samples there was always a feeling as the main rod of action, literally all the varieties of comedy, which, then, under the pen of his students, were filled with the Spanish theaters with varying success, were asked by a great teacher. Over time, he turned them into a scheme. There were love comedies "without love."

6.zhanr of the religious and philosophical drama in the work of P. Calderon.
The play "Life is a dream" as "quintessence" of Baroque world carriage.

"Life is a dream" P. Calderon. Jaw and sleep, illusion and reality here lose their definition and are like to each other: Sueno is Spanish not only a dream, but also a dream; Therefore, "La Vida Es Sueno" can be translated and as a dream is a dream. " Pedro Calderon is a bright representative of Baroque literature, in particular Baroque drama. He was a follower of Lope de Vega. Pedro Calderon de la Barga (1600-1681) from the old nobility family graduated from College, University, where he studied scholastic. Potto, he began to write and gained fame, since 1625 he is a court playwright. A great influence on his worldview was the teachings of Jesuitis - life and death, reality and sleep form complex interlacing. This complex world cannot be understood, but the mind can control the feelings and suppressing their person can find a way if not to truth, then to the soul.

Features of dramaturgy: 1) Slender exposure, composition 2) intensive dramatic effect and its concentration around 1-2 characters 3) schematism in the image of characters 4) expressive language (often he refers to metaphor, transition)

Creativity can be divided into 2 periods: 1) early - up to 1630s. - Comedy genre 2) from 30 - until the end of life. Late period, adopts the san priest, changes his worldview and the focus of his work. A new genre appears - denotes a sacred effect (today it is a moral and philosophical religious drama)

Drama "Life is a dream." Written in 1635. The history of the Polish Prince Sigismund, when his father's prediction was born - the Son will be cruel. Since childhood, he sharpened his son, he had only a teacher. Time passes, father decides to check the prediction. Hits the ball, manifests his temper. Imprisoned again.

Sigismund is shown as a man as he left the climb of nature. He morally depends on nature, from his passions. Confirmation is the word Sigismund itself: "Combining a person and the beast." Man, since he thinks and his mind is torturing. Beast, as the slave of nature.

He does not believe that the animal began only from nature. He was raised from birth to such tough conditions, which turned into a man-beast. He accuses his father. It is illuminated that the animal start tried in it, bringing it to the animal state. It believes that humanity should not be approved by force. After waking up the prince's transformation. He asks the servant about what was. He says that everything was sleepy, and sleep is something transient. He woke up from sleep, where he was a prince, but did not awaken from his sleep. At this point, he comes to the conclusion: everything he lives (royal power, wealth) is a dream, but the dream of a rich man. Poverty is a dream of a poor man. All this dreams in any case. All human life is a dream. So, all this is not so important, no desire, nor vanity, realizing this prince becomes a wise man.

The topic rises, the idea of \u200b\u200bhuman self-education (which matches the mind). The mind helps the prince to defeat passion.

Theme of freedom. About this, the prince argues in the first act of drama, where he argues about the right of a person to freedom. He compares himself with a bird, a beast, fish and wonders that there is more feelings, knowledge, but it is free than them.

In the final prince wise. The king saw it, decides to choose another heir (a person of foreign). The prince became a king as a result of upbringing. The king in his power, but Sigismund was not for the restoration of his dynastic rights, but for the sake of restoring human rights. Remembering your way from the beast to a person, Sigismund pardoned his father, left him alive.

The dramatic method of Calderon is to find the vital contradictions. He spends his hero through hostile circumstances and reveals his inner struggle, leads a hero to spiritual enlightenment. This product meets the laws of Baroque. one

) The action takes place in Polonia (Poland), but this is an abstract place, there is no time to concretize, the heroes are schematically and expressed the idea of \u200b\u200bthe author, and not be a value image. 2) The hero is not static (changes and formed under external circumstances) 3) In the entry, the reflection of the idea of \u200b\u200bhostility, chaoticness of the world, about the suffering of man (MONOLOG ROSUUR)

Idean-artistic peculiarity of the tragedy of P. Cornel "Horace".

The tragedy of "Horace" (1639) Cornell devoted Cardinal Richelieu. The plot for his tragedy K. borrowed from the Roman historian Tito Libya. We are talking about the initial six-year-old events of the formation of an ancient Roman state. Two cities - Polis: Rome and Alba Long, which fled afterwards to one state still holds apart, although the inhabitants of them are already connected with each other in common interests and related bonds. To solve under whose starts of the city should unite decided to resort to the duel.

In the "Horace" (1640), the image of the main character, not a reasoning, blindly obeying the decision taken and at the same time striking his dedication. Horace causes admiration for its integrity, with confidence in its right. He is clear to him, everything is decided for him. The position of Cornell does not fully coincide with the position of Horace, closest to the coronel, but to Richelieu, to the real political practice and the ideology of absolutism. Next to Horacium in the tragedy is not by chances, a character who accepts someone else's principle is only self-made self-reliably on the right of this principle. The triumph of a sense of debt in front of the Motherland comes to the smoking only as a result of long fluctuations, doubt, during which he carefully plays this feeling. In addition, there are other characters different from him next to Hoodie, and their direct Camilla antagonist among them. The success of the tragedy during the French revolution is explained by the fact that her patriotic pathos, namely, he is obliged to play with his success in 1789-1792, it permeates not only the image of Horata, but also images of his father, Sabina, smoking. The moral and philosophical conflict between passion and duty is transferred here to another plane: the steamy renunciation of a personal feeling is committed in the name of a high state idea. Duty acquires supercine importance. The glory and the greatness of the Motherland, the states form a new patriotic heroic, which in the "Side" still outlined as the second theme of the plays.

The plot "Horace" is borrowed from the Roman historian of Tita Libya and refers to the hemalendar period of the "Seven Kings". However, the topic of monarchical power is not placed in the tragedy, and the king Tull plays an even less significant role in it than the Castilian King Fernando in Side. Cornell is interested here not a specific form of state power, but the state as the highest generalized principle, requiring uncommon-specific subordination from a separate personality in the name of the universal benefit. The classic example of the mighty Power was considered in the era of Cornelel an ancient Rome, and the source of his strength and the authority of the playwright sees in the staic renunciation of citizens from personal interests for the benefit of state. This moral and political problem Cornelel opens, by choosing a concise tense plot.

The source of the dramatic conflict is the political rivalry of the two cities - Rome and Alba Long, the inhabitants of which have long been connected with relatives and wedding bonds. Members of the same family are drawn into the conflict of two warring parties.

The fate of the cities should decide in the triple match of the fighters of the fighters - the Romans of the Romans of Horatians and Albanians of Kuriaciyev. Once in front of the tragic need - to fight for the glory of the Fatherland with close births, Cornel's heroes perceive their civil debt in different ways. Horace is proud of the proceedability of the demand presented to him, sees the manifestation of the highest confidence in the state to his citizen, designed to defend him: But the main dramatic conflict does not receive harmonious permission. The central problem of the play - the relationship between the person and the state - appears in the tragic aspect, and the final celebration of the stoic self-denial and the approval of a civic idea does not remove this tragedy. Nevertheless, throughout the long stage life "Horace", it was this citizenship of the play that determined its public relevance and success; So it was, for example, in the years of the French bourgeois revolution, when the tragedy of Cornell was greatly popular and was many times raised on the revolutionary scene. According to its structure, "Horace" much more meets the requirements of classical poetics than "LEDs". The external action here is minimized here, it begins at the moment when the dramatic conflict is already obvious and further develops its development. No extraneous, bringing phaance lines do not complicate the main one; Dramatic interest is concentrated around the three main characters - Horace, Camillas and Curiation. The symmetric arrangement of existing persons corresponding to their related relations and origins (Romans is Albanic) is attracted. Against the background of this strict symmetry, the opposite of the internal positions of the heroes appears especially clearly. Reception of the antithesis permeates the entire artistic structure of the play, including the construction of verse, as a rule of decaying two opposite in the meaning of a semi-configuration. "Horace" finally approved the canonical type of classical tragedy, and the following plays of Cornell - "Zinna" and "Polyevk" secured him.

21. Invention J. Rasin "Andromaha": the source of the plot,
conflict, system of images, psychologism.

racin's appeal to an ancient Greek mythological plot differs from "Fivaida" primarily the scale of the moral problem, the organic panel of various elements of the ideological and artistic structure of the work. The main dramatic situation "Andromaha" is drawn to Racin from the ancient sources - Euripid, Seneki, Vergil. But she also returns us to the typical storyline of pastoral novels, it would seem endlessly distant in its artistic principles from a strict classic tragedy: in the "A" ideological core stands for a clash of a reasonable and moral principle in a person with a natural passion that entails him to the crime and death .

Three - Pierre, Hermione and Orest - become a victim of their passion, which they realize as a short-term, contrary to moral law, but beyond their will. The fourth - Andromache - as a moral personality stands outside of passion and over passions, but as a defeated queen, a prisoner, it turns out to be in addition to his will of other people's passions involved in the whirlpool, playing her fate and the fate of her son. The original conflict on which the French classic tragedy has grown, primarily the tragedy of Cornel, is the conflict between mind and passion, feeling and debt - completely rethinking in this tragedy of Rasin, and in this for the first time its internal release from the tradition of tradition and samples is manifested. Freedom of choice, which was possessed by the Heroes of Cornel, otherwise - freedom of reasonable will make a decision and to carry out his at least the price of life, the heroes of Rasin are not available: the first three due to their inner powerlessness, doomed in the face of his own passion; And - because of its external cure and doomes to someone else's ruthless and despotic will. An alternative facing Androma is to change the memory of a husband, becoming the wife of the killer of all her family, or to sacrifice the only son - does not have a reasonable and moral decision. And when it finds such a decision - in suicide at the marriage altar, then this is not just a heroic refusal of life in the name of high debt. This is a moral compromise, built on the double sense of her marriage voyage, - after all, the marriage, who will be bought by the life of her son, will actually not accomplish.

Thus, if the Heroes of Cornelel knew what they would go than and in the name of which sacrificed, the heroes of Rasina were defeated with themselves and with each other in the name of the differences, exposing their true meaning too late. And even a well-adequacy for the main heroine, the salvation of the son and the proclamation of her queen of Epira - he carries a print of the image: so without becoming his wife of Pierre, she nevertheless takes into inheritance, together with the throne, the obligation to avenge the one who had to take Sitebook.

Novelty and even known paradoxicality of the artistic construction "A" not only in this inconsistency of the actions of the heroes and their results. The same inconsistency exists between the actions and the external position of the heroes. Consciousness of the spectators of the XVII century. It was brought up on stable stereotypes of behavior enshrined with etiquette and identified with universal laws of reason. Heroes "A" at every step violate these stereotypes, and the strength of their passion also appears in this. Pierre does not just cool to Hermione, but there is an unworthy game with it, designed to break the resistance of A. Hermione, instead of rejecting Pyrro with contempt, and thereby keeping his dignity and honor, ready to accept him, even knowing his love To the Trojan. Orest, dared to honestly fulfill his mission ambassador, does everything to be unrequisited.

The mind is present in the tragedy as the ability of heroes to realize and analyze their feelings and acts and ultimately make sentences themselves, otherwise, in the words of Pascal, as awareness of their weakness. Heroes "A" retreat from the moral norm. Not because they are not aware of it, but because they cannot rise to this norm, defeating their passions.

22. Moral and philosophical content of the tragedy of Rasin Fedra:
interpretation of the image of Fedra in ancient tradition and in the plays of Racina.

Over the years in the artistic globility and the creative manner of Rasin, changes occur. The conflict between humanistic and anti-humanistic forces develops more and more in a collision between the two opposing camps in the fierce martial art of a person with himself. Light and darkness, mind and destructive passions, muddy instincts and burning conscience harvests face in the soul of the same hero infected with the vices of their environment, but seeking to rise above her who does not want to reconcile with their fall.

However, the peaks of their development said trends reach in Fedre. Fedra, which constantly changed the mosted in the disinfects, feels lonely and abandoned, and in her soul there is a detrimental passion for a steppolitis. Fedra to some extent loved the Ippolitus because in his appearance, as it were, the old, once valiant and beautiful theses. But Fedra is recognized that the terrible rock is over her family and her family, that the tendency to the intentional passions in her blood is inherited by it from the ancestors. In the moral spoilness of the surrounding and is convinced by the Hippolyte. Turning to his beloved Ariza, Ippolit declares that they are all "covered by a terrible flame of vice," and calls for her to leave "fatal and deficient place, where virtue is designed to breathe contaminated air."

But Fedra, the reasoning mutual reciprocity of the stepmaking and slandering him, acts as Racin not only as a typical representative of his spoiled environment. It is simultaneously towers over this medium. It was in this direction that Rasin made the most significant changes to inherited from antiquity, from Euripid and Seneki, image. Fedra is Rasin, with all its spiritual drama, a person of a clear self-consciousness, a person in which the corrosive heart of the poison of instincts is connected with an irresistible desire to truth, cleanliness and moral dignity. In addition, she does not forget for a moment, which is not a private person, but the queen, the carrier of state power, that her behavior is designed to serve as a model for society that the fame of the name doubles the torment. The climax in the development of the ideological content of the tragedy - slander Fedry and the victory, which is then obsessed with the heroine consciousness sense of moral justice over the egoistic instinct of self-preservation. Fedra restores the truth, but life for her is not supporting, and it destroys themselves.

3. The problem of the baroque in the short-term L_teracotciousness. Character of Blook Svitospyrianity. Sustics Baroque. Tipi Baroque

Instead of a linear renaissance perspective - "Strange Baroque Perspective": Double space, mirror, which symbolized the illusion of ideas about the world.

The world is splitting. But moreover, he is also moving, only incomprehensible where. Hence the theme of the fleet of human life and time in general ("Traces of centuries, like a miga, short" - Calderon). About the same Sonet Luis de Gongor, which, unlike the above-scale Sale of the Calderon and formally baroque: the repetition of the same thought, a vintage metaphor, a bunch of historical reminiscence, which testified to the discharge of time, the moment of not only people, but also civilizations. (About this sonnet Vanchenova told on lectures, no one was obliged to read it. How to talk about him on the exam).

But it would be nice to say that the metaphor poet baroque loved. She created an atmosphere of an intellectual game. And the game is the property of all Baroque genres (in metaphors, in conjugation of unexpected ideas and images). In the drama, the game led to special theatricality and reception of the "scene on the stage" + Metaphor "Life-theater" (Auuto Calderon "The Great Theater of the World" apotheosis of this metaphor). Theater is also to identify the elusiveness of the world and the illusion of ideas about him.

And here in such conditions when everything is bad, some beginning begins to emerge, on the basis of which natural chaos is overcome - the persistence of the human spirit.

At the same time, classicism arises. Both of these systems arise as awareness of the crisis of Renaissance ideals.

Artists and Baroque, and classicism reject the idea of \u200b\u200bharmony, underlying the humanistic renaissance concept. But at the same time, Baroque and classicism clearly oppose each other.

in the drama: there is no strict normalization, there are no unity of the place and time, mixing in one product of the tragic and comic and the main genre of tragicomedia, the baroque theater - the theater of action.

I remind you that classicism opposed Baroque. Classicism as it would resurrect the style of high renaissance. The most frozen monster should be written in such a way that he gladly glad about what Boulevon writes. There must be a measure and good taste. The feature of classicism is that the rules are clearly formulated and fixed and mainly relate to the form of a work.

1670s. - "Poetic Art" buoy. Manifesto classicism. In this work B. relies on Aristotle and Horace. The work consists of three parts: 1 - about the poet. Art in general, 2 - about small poetic genres, 3 - big genres (tragedy, epic, comedy), 4 - again at all.

General Principles: Love the mind and yourself in the mentor, choose a nature.

For this, two quotes:

Love a thought in verses, let her one

They are obliged and brilliantly and the price.

You have to make sense to always go.

Who left this way - immediately dies.

The way to mind is one - the other does not happen.

Mind is clarity, the harmony of the world, the most important sign of beauty. What is unclear - unreasonable - ugly (medieval myths, for example). In drama - movement from the medieval drama to the ancient (and they called it contemporary art). B. In general, rejected all medieval art (well, the fool!).

And he denied Baroque, namely precision and burlesk (these were the varieties of French baroque). Precision was a response to sobriety, rationalism, confusion. This all she contrasted the refinement of the morals, the height of feelings and passions. Not the best variety of baroque, but at its framework an affair with his psychologism and a plot intrigue developed. Precise products were distinguished by a complicated plot, a large number of descriptions, violent metaphoricity and playing words that Boylo Balo.

Burlesque opposed precision. It was the low-level Baroque form with the desire to gross truth, the celebration of vulgar over the sublime. It was founded on the humorous overflow of the ancient pr-th and medieval heroic fairy tale. The language was, respectively, the area, which did not like B.

Another discrepancy from Baroque, this time imaginary. This is a question about imitation and imagination. Baroque artists rejected the ancient principle of imitation of nature, instead - with nothing cramped imagination. And B. It seems to be correct imitation. But he believes that in art is not reproduced, the nature of the human mind is reproduced (see about the monster). The principle of imitation is combined with the principle of imagination and a true way to imitate Nature - according to the rules created by the mind. It is they bring to the work of beauty that is impossible in reality. Quoting your favorite phrase by Vanchikova:

In the art, commemorated, and monster, and the reptile,

We are still pleased with a wary glance.

In the center of attention B. - Tragedy (along the way about the novel - the novel, entertaining fiction, he can forgive what you can not forgive the tragedy, for example, not a great hero, inconsistency). Returns tragicomedy. The tragedy of cruel and terrible, but the world of art is beautiful, because it allows such rules. The tragedy affects the horror and compassion. If the play does not cause compassion, the author in vain tried. Orientation to the traditional plot, where the poet competes with predecessors. The author is creating within the tradition of tradition. It was understood to be understood in the mirror of ancient plots.

But B. offered to interpret Antić. The plots are plausible. The truth is not equal to the likelihood! The truth may be such that the viewer does not believe in it, and it may be believable. The main thing is that the viewer believes that everything was. Such a misfortune happened to the "Sidel" of Cornel: he was reproached that the plot is implausible. And he answered that it was fixed by history. Quote from B. Regarding the truth (literal translation): "The human mind will not be excited about what will not believe." Translated non-test:

Incredible not torment us, anxious mind.

And the truth is sometimes unlike the truth.

I wonderful nonsense I will not be admired.

The mind does not care what he does not believe.

True - this is a compliance with universal laws of mind.

Classic heroes - sublime and noble nature. But heroism must necessarily connect with weakness (it is plausible and explains the errors of the hero). The requirement of the sequence of character of heroes in all circumstances (but not excluded a variety of senses and aspirations). In the tragic hero, multidirectional feelings should be faced, but those set from the very beginning.

The notorious 3 unity is also explained by the requirement of believing. They had to minimize all the conventions that the theatrical statement suggests. The main thing is the unity of action, i.e. Intrigue, which should start immediately, to develop and logically end. Unity released the theater from medieval entertainment, they suffered an emphasis from external action to the internal. The classic theater is the theater of internal action, where attention focuses on the analysis of the feelings of heroes, the intrigue does not play the dominant role. The sharp moments of the play should be behind the scene, they are unworthy of entertainment. This is what the Rasin writes in the first preface to the "British" (this is what should not be done): "Instead of a simple action, not too overloaded with events, - what should be the action, limited to one day, is supported Only in the interests, feelings and passions of characters, who gradually lead him by the end, would have to fill this most action with many incidents, for which there would not be enough for a whole month, a large number of peripetias, especially striking than less likely, the endless declamination during Which actors would be forced to speak just the opposite of what follows.

B. created his theory of tragedy in the 70s, when Cornel and Rasin have already written their plays.

Still buoyed did not write about low objects:

Alone is low, it is always a deformity.

In the simplest style, everything should be nobility.

5.Rejnisnі tradition in dramaturgії 17 Art. Theater Lope de Vegi.

Renaissance origins of the XVII century theater. At the end of the revival, the great tradition of dramatic art is consigned in two countries - in Spain and in England. The golden age of the drama will last from the middle of the XVI in the middle of the XVII century.

The memory of the past lives in conjunction with the features of new art. The most reversible they are in Spain.

Spanish influence extends throughout Europe, until the beginning of the second half of the XVII century, the Center of European Culture will not finally move to Paris. This geographical movement will be accompanied by changing the mainstream - from Baroque to classicism. Spain - sample of the first, France - the second. In England, where neither the one nor another style enthusiasm will definitely feel the entire generality of the renaissance basis. Both styles are born in the same literary circle - the younger contemporaries and colleagues of Shakespeare.

A special place was assigned to theater. In the coronation procession of Jacob on July 25, 1603, the actors of the Shakespeare Theater "Globus" were accomplished, since then they began to be called "servants of the king" and actually done by the court troupe. Theatricalization has become part of court life. The courtyard, including the monarch itself, took part in the formulation of allegorical court performances - masks. Until that time, the main authors were composer and artist, but with the arrival of Ben Johnson (1573-1637) the text begins to play a much larger role.

From Ben Johnson, there is a straight path to classicism, but he himself only outlined it as one of the opportunities. Sometimes he writes a comedy didactic, observing the rules, sometimes easily retreats from them. The rules still do not think many playwrights, as Shakespeare did not think about them. However, his younger contemporaries sometimes allow even more freedom, especially those who became acquainted with the Italian and Spanish theater. This is primarily the most popular at the viewer John Fletcher (1579-1625) and Francis Beaumont (1584-1616). Many plays they wrote together, deserveing \u200b\u200bglory of Gentry entertainers, that is, the nobility. The availability of social addresses is also a new feature: Shakespeare wrote for everyone; Now they appeared their pets from London artisans, their own - at the nobles. And in the field of art, there is an extinguishing of tastes.

Recipe for entertainment is not looking for antique authors. It is found in Italy, where for the first time at the end of the XVI century, the genre of tragicomedia arises. It is clear from the name that this genre is a combination of comic and tragic. Is it not in the tragedies of Shakespeare? There is, but it happens differently. Tragicomedia is rather reminiscent of the late Shakespeare Comedy, where the nature of the conflict changes. An evil is deeper into him, and therefore it ceases to appear, as if everything is fine, which is well ends. The happy final as a surprise is crowned with an intricate intrigue, but does not remove the feeling that the world stopped being happy and harmonious.

In the preface to one of his plays ("faithful shepherd"), Fletcher gave the definition of the genre: "The tragicomedy received such a none because there is a joy, and murder, and because there is no death, which is enough to her Do not count the tragedy, but death in it turns out to be so close that this is enough to not be considered a comedy, which represents ordinary people with their difficulties that are not contrary to ordinary life. So in tragicomedia the phenomenon of deity is also legal as in the tragedy, but ordinary people, as in comedy.

In England, tragicomedia coexists with a satirical comedy character. The didactic task does not cancel the possibilities of rampant entertainment; Mixedness and chaoticness of a new genre does not cancel the desire for ordering. Both trends arise on the basis of the Renaissance theater and the worldview. Renaissance heritage strongly and in Spain, but the character of the changes made there is more consistent, associated with one direction and one name - Lope de Vega.

Lope Felix de Vega Carpio (1562-1635) is an example of another renaissance personality. His father, gold master, amateur poetry, gave his son a good education: except for university knowledge, skill of dancer, possession of a sword and verse. However, in poetry, the burda had an improvisational gift, without which he simply would not have time to create more than two thousand plays (it was preserved about five hundred), not counting sonnets, poems and novels in verses.

From his youth, they owned the thirst for the feat of them, who forced together with the "Unbeatable Armada" in 1588 to go to conquer England. The fate of the Spanish fleet was sad. Lope de Vega, fortunately, saved. He returned to conquer the scene. In Spain, the theater is a popular spectacle. This is the last Bastion of Freedom, who could not break either harsh Spanish monarchs nor the threat of the Inquisition: the prohibitions resumed, but the theater lived. Troupes continued to play in the hotel courtyards - Corrals (so called theaters) and in the capital scenes. The performance cannot be submitted without music, dance, dressing, as it is impossible to introduce the Spanish drama challenged in the hard rules. She was born and continued to remain part of the carnival action.

Nevertheless, in the heyday of creativity, Lope de Vega writes the treatise "New Art to compose comedies in our time" (1609). This is not so much a set of rules, how much to justify the freedom of the Spanish theater with its addiction to the confusing-unpredictable intrigue, the brightness of passion. All this is quite close and Renaissance, about the ideals of which will not once again resemble the Lope de Vega, starting to the treatise with the aim of "... to keep them // Folk I want to lose the folk." However, it is not necessary to forget about Aristotle, who rightly taught that "the subject of art is likely ..." from Horace inherited the general principle of art - to teach, entertaining.

In Spain, the dramatic act is not divided into five acts, but for three parts - the Hornada (from the word day), and therefore in each Koreanade should not fit more than a day. The first Hornada - the tie, the second - complications, the third - the isolation. This gives the development of intrigue sequence and swiftness. Do you need to comply with unity? It is necessarily only one - the unity of action, and otherwise:

No need to observe the borders of the day,

Although the Aristotle is unwashed,

But we have already broken the laws,

Stirring tragic speech

With comic and everyday speech.

(Per. O.Rumer)

The difference between the comedy and the tragedy is preserved in the choice of material: "... the tragedy has a story, // Comedy fiction ..." The dignity of historical characters is higher than modern, this is determined by the dignity of each genre. Among the set of plays, written by Lope de Vegoy, there are many people who are supposed to have enough rigorous genre limits, but most of all remembered others - mixing high characters with low, history and modernity. Lope called them comedies. Later, based on the name of the treatise, they will talk about them as a "new comedy", although the term "tragicomedy" has already entered European languages \u200b\u200bwould be quite appropriate.

The genre that existed in Spain is also known as the "comedy raincoat and swords". This term has a theater origin - according to the necessary subjects of the props for the execution of these plays, where most characters were nobles, that is, there were the right to wear a raincoat and swords. However, in the most famous places, intrigue is just built around the one who has this right, and with him has a noble honor.

"Cobaby on the Seine" (Publ. 1618; The exact time for the creation of most plays Lope de Vegi is unknown) - the best work of this genre, to this day, not coming from the scenes of the whole world. Wit, the game of passions, carnival, secret dates - in their aggregate, the intrigue comedy is awesome. Theodoro must decide who he loves - his Mrs. (he is her secretary) Diana de Balflor, a young widow, or her maid Marsell. Crane in heaven or tit in hands? The play, however, is named on another proverb, which determines the choice of Mrs., who does not know how to deal with her - love or honor, tilling Himself with his secretaries, a man of ungivory origin. In the meantime, she is jealous of him to Marsell, he does not let go of himself and does not allow him.

Love triumphs, resorting to carnival techniques - dressing up and substitution. The servant Theodoro Tristan, the jester in his theatrical pedigree, finds old man of the graph, who had lost his son in the form of an overseas merchant many years ago, and then represents an allegedly discovered as the Son theodoro. The one who has human dignity is worthy of possessing and honor, this is the poetic justice of this final. Here it is achieved by inchurient intrigue, but in other cases it requires truly heroic efforts.

Along with the comedies, Lope de Vega created dramas. Based on their pathos, the genre is often called the heroic drama. Its most commemorative sample at the Lope is the "sheep source", or (according to the Spanish name of the town, in which the action occurs) "Fuente Ovlev" (Publ. 1619). The play is also an example of a tragicomic mixing. Its material, like the tragedy, is the story: the action is related to the events of reconquists (the liberation of Spain from Mavrov) in 1476. The main characters are peasants, that is, the characters are relevant in the low genre - in comedy.

Commander Order of Kalatravala (one of the spiritual and secular knight orders created during the reconquists) Fernando Gome de Gusman meets the resistance of the Laurenxian girl from the town of Fuente Ovelevon who liked him. On her side, all the peasants, one of which throws the commander: "We want to live, as so far, // what your honor and our honor" (Per. M.Lozinsky). Commander It is incomprehensible to the commander. He stubbornly pursues his goal, is increasingly angry, and finally he is at the head of the armed detachment, encouraging the peasants to the uprising. Commander killed. The investigation leads the king, but on the question: "Who killed?" - Even under the torture, the peasants say: "Fuente Oven".

The play, completing the readiness of people from the people to defend their dignity to the armed uprising, begins with the fact that one of them is Laurenxia - in response to recognition in the love of the young peasant Frondoso, laughing, answered that he loves only his honor. Are these miscalculated events related? Of course. Between the initial love of myself (for to love the honor - to love ourselves) and the final stage is the formation of the personality of the heroine. She loved the Frondoso, and their love was not silent pastoral, but the threat coming from the strengths of this world. On this formidable background in his previous Renaissance quality, a sense of love arises as a path to dignity, not in the sense of social privilege, but as an integral property of humanity.

Return to the Renaissance values, which did not leave the Lope de Vega, but who leave the modern world to him, replacing new, devoid of universal meaning. They are designed for a separate person, besides, not everyone, but only on who can confirm their right noble diploma. The former dignity is achievable only as the result of the heroic act.

Lope de Vega was not only the end of a certain tradition of Spanish drama, but also a person resembling the height of the Renaissance ideal, which in new conditions is subjected to new dangers and temptations. The previous values \u200b\u200bare rethought, sometimes distorting how it happens with love. One of those who are ranked with the "Lope School", - Tirsco de Molina (1583? -1648) introduced into world literature from the Spanish legend the image of Don Juan ("Seville Naughty, or Stone Guest"). This image - as if one of the projections of the Renaissance idea of \u200b\u200ba free, loving person. However, love is now, as applied from the name, - mischief, and freedom - toastor. The story of mischievous will immediately turn into one of the eternal (archetypic) images of world culture and in the XVII century will receive philosophical interpretation (see Moliere).

6.The Calderon P. Calderon in the context of L_Teaturi Baroque. Uzagalno-metaphoric zm_st call the creator "Life є Son". PROBLEM OF DOLI IN DRAMIA TA її RESER THE RESOLUTION OF THE DESIGN OF THE MAIN CONFLIKTU P "єSI. Filosophical Sens Drash.

"Life is a dream" P. Calderon. Jaw and sleep, illusion and reality here lose their definition and are like to each other: Sueno is Spanish not only a dream, but also a dream; Therefore, "La Vida Es Sueno" can be translated and as a dream is a dream. "

A great influence on his worldview was the teachings of Jesuitis - life and death, reality and sleep form complex interlacing. This complex world cannot be understood, but the mind can control the feelings and suppressing their person can find a way if not to truth, then to the soul.

The dramatic method of Calderon is to find the vital contradictions. He spends his hero through hostile circumstances and reveals his inner struggle, leads a hero to spiritual enlightenment. This product meets the laws of Baroque.

1) The action takes place in Polonia (Poland), but this is an abstract place, there is no time to concretize, the heroes are sketchy and express the idea of \u200b\u200bthe author, and not be a value image.

2) the hero is not static (varies and formed under external circumstances)

3) In the entry, the reflection of the idea of \u200b\u200bhostility, chaoticness of the world, about the suffering of man (monologue Rosaura)

The drama language is replete with decorations, especially often metaphors and allegories, complex syntactic structures. Multilayer composition: several plot lines (central: Love theme line).

Considering the problem of fighting the fate (traditional for this genre), the calderon in the process of development of the plot shows that the fatal prediction is executed precisely because it contributed to the blind will of the father-despot, which made him in the tower, where the unfortunate grew in wildness and, of course, not Could not scare. Here the calderon concerns the thesis on the freedom of will and that people only perform the will of heaven, playing the roles who are predetermined by him, and to improve and change fate can only be in one way - changing themselves and constantly struggling with the sinfulness of human nature. "Calderon's realization of the thesis of freedom of will is distinguished by extreme tensions and drama in the conditions of hierarchical reality, fraught in the understanding of the Baroque writers with contradictory extremes - mysterious, but inhumanly heavenly predestination and the destructive personary of the person or silent submission and humility, which suddenly turn out to be a tragic delusion (the image of Basilio ) "(3, p. 79). A baroque understanding of the world as a celebration of two opposite entities - divinity and non-existence - deprives a person of the honorable place that revived him. Therefore, the activity of the personality in the situation of predestination of her fate does not mean the goggleous deification of man, freedom of will acts as synonymous with the "identity of the individual who threatens to dissolve in the unmanaged elements of the higher forces and their own passions" (3, p. 79). The episode of the prince's test authorities makes it possible to understand the measure of moral responsibility, which Calderon imposes on the ideal ruler. In his understanding (characteristic of Baroque), a person who won a moral victory over himself has a higher value.

Calderon is building his philosophical drama, of course, into several pessimistic worldview, resulting from religious Christian mysticism. However, there is no true pessimism here - after all, there is always God next to a person, and a person endowed with freedom of will is always able to contact him. Calderon, although in a certain sense inherit the thoughts of the ancient Greek philosophers and moralists that life is only a dream, and all around a person - only the shadows of objects, and not the items themselves, but to a greater extent he follows the early Christian moralists who said that life - Sleep compared to the reality of eternal life. The playwright does not get tired to argue that eternal life is being built by the person himself, his actions, and that good certainly remains good, even in a dream. The controversy with the revived moralists in the issue of human freedom is clearly visible in the drama in the Shhismundo line and Basilio. The king, frightened by terrible signs, sharpes the prince to the tower to, as he thinks, overcome the fate of the power of mind and so rid the state from Tirana. However, one mind, without love and without faith, is not enough. Prince, having lived all his life in prison in dreams to be free, like a bird or like a beast, being free, and is likened to be a beast. So the calderon shows that the king, wanting to avoid evil, himself created him - after all, Shhimmundo missed the prison. Perhaps this is what predicted stars? And it turns out, the fate can not be defeated? But the playwright objects: no, you can. And shows how. His hero, again being imprisoned, realizes that "animal freedom" is actually false. And begins to look for freedom in itself, turning to God. And when Shhhimmundo comes out of prison again, it is more free than the beast - he is free precisely as a person, as he knows the freedom of choice given to him. And Sehimundo chooses good, and understands that he must constantly remember the choice and to go this way.

7. Simplicissimus was published in 1669 in the setting of mystery and mystics. The front site depicted a strange creature. On the title page, it is meant that it is "the life-in-law of the wagant Vagant named Melchior Sternfels von Fuxheim", and it is published in the light of a certain German train-Heimome von Zulsfort. Judging by the title leaf, the book was printed in the little-known city of Montpelnut in the unknown publisher Johann Phillion. In the same year, Continuatio appeared, or the sixth book "Simplisisus", which reported that this essay of Samuel Graphinzone von Hirschfeld, who for unknown reasons placed another name on the title page, for which "rearranged the letters" of his genuine. Labor is published posthumously, although the author's first five parts managed to pass into print. He partially wrote the book when he was still a Musketeer. The note was signed by mysterious initials: "N. I. S. V. G. R. ZU CERNHEIN. " In 1670, the novel "Slims-in-law, or the extensive and wonderful life-in-law-friendly cheaters appeared, and a bunner of Kurage ... dictated directly under the pen, this time called Philharch Grossus, a background by Tromemaim. Printed in utopia from Felix Passion. " In the same year, on behalf of the same author, the novel "Dicnic Springinsfeld, a sir of filled with tuning, ridiculous and very funny life-in-law-free, tested and brave soldier, now exhausted, stray, but the same impaired tramp and beggar ... Printed in Pafulad Felix is \u200b\u200ba passion. " Thus, the same publisher is indicated, but the place of publication is different and more obviously fictional. But in 1672 the first part of the novel "The Wonderful Bird's Nest" associated with the content with previous ones appears. The author of him is already named Michael Rehulin von Zesdorf. And when the last (second) part of the same novel was published (second), then the wrister is marked by the whole rank of letters from which it was proposed to compile his name. The author as if she had not so much under the mask, as he pointed out the ability to open it. And, apparently, for many it did not make a special secrecy. But he cleared, and as soon as historical circumstances have changed, the key to the riddle, which he fell into the hand of the reader, was lost. Meanwhile, a whole hail of books, no longer associated with the content called above the novels called above, but simply attached to the name of simplcyssimis. In 1670, a funny brochure "First Leisebeck" was published, which is the processing of a folk legend with the addition of the "Pocket book of Focus Simplessimism" - a series of engravings with the image of funny jesters, citizens, landscape, mythological creatures, images of a tent city, weapons, medals, cards and mysterious inscriptions. The author names himself with an ignorant and even an idiot. In 1672, no less remarkable book was published, complete fancy fiction and acute satire, - "intricate simplicissimus world the world." A few years after it appeared an essay, full of superstitious rasks and the legends of the magic root, allegedly growing under the gallows, is the "simplicissimosovsky beeble little man." And a little earlier, the intricate treatise on the socio-political themes "Judges of Pluto, or the Art of becoming rich," where the simplicissimus acts and his own relatives gathered at the trendy resort to take advantage of it. The treatise set forth in the theatrical form is not deprived of the caustic of satire, parodits the literary secular conversations common at the time. In 1673, some Senor Mesmal released a serious reasoning about the purity of the German language under the funny name "World-famous simplicissimus boasting and praise with her German Mikhem, with every other way who can only read without laughter." The post of publication is called a country where the printing machine (Nuremberg) is invented, and the year of the publication is not mercilessly classified by the selection of individual letters (as in the publication of some other books with the name of Simplisisus). And in the same year anonymous book was published - a comic New Year's gift - "War of beard, or abruptly unjust red beard from the world-famous black sylopcyssimism beard." The author of the author (or authors) of all these works was far from idle. In those days, they assigned names and works and very famous authors. There are several "simplisianccx" of folk calendars filled with economic councils and astrological predictions, funny jokes about simplcyssimius and even entire of the lifestations that serve the continuation of the novel attached to a later publication. As if at least these continuations should be attributed to one author. New chain of novels, then entertaining, then watery stories about the adventures of different vagrants, retired soldiers, jesters and passing, filled with the descriptions of hostilities, then the shitting tricks, such as "Simplicinian eye-eye-to-the-world adherence, or the adventure of Yana Rebhu in four parts "(1677 - 1679," Prepiction of the French voyage of the simplicissimus "(1682), in addition, released by the publisher in Phillion, whose name stands on the first editions of the" Simplisisus "," Hungarian or Danish Simplessimus "(1683) and, finally," Funny and intricate Malcolm von Libandus ... For rare envelope, it is composed by simplication simplicissimus "(1686). In 1683 - 1684. Nuremberg Publisher Johann Ionatan Felsaker has released a collection of symplice writings in three volumes with abundant comments by an unknown author. The preface to the first one was announced: "The high-speed reader will help that this, which rebelled from the grave of oblivion German simplicissimus is very improved, enhanced and decorated with an addition of excellent notes and harmonious poems, as well as many major reunificary and instructive things than ever previously" . The words about the "grave of oblivion" should be considered a publishing trick, designed for the fact that the "simplicissimus" was still well remembered, but it was already difficult to get it. Otherwise, there would be no two more collections of works, issued by the heirs I. Felsaker in 1685 - 1699. And 1713, the edition of Fel Semers includes poetic appeals to the reader and explanation of gramed title sheets. Two-decking chapter content was carried out through all edition. At the end of the novel "Springinsfeld" and "Wonderful Bird's Nest" also placed moralizing poems that are absent in the first editions. They fell into it and some little-known writings conjugate with the name of Simplessimis, relative to which for a long time could not be said with complete certainty, to whom they still belong. All works entered into this publication were printed under the same aliases that they appeared at one time. The biography of the author, reported by the commentator, as we will see, turned out to be a configuration and illusory. We can safely say that by the end of the century, the memory of him erased. Only the name of the hero remains. In 1751, the "Universal Lexicon of Scientists" Jochker reported under the heading "Simpcyus", that this is "the fake name of one satirist, under which in 1669" intricate sympl. Simplcyssimus ", shy for German cable; 1670," Eternal Calendar "," Honor Mother ", to which the notes wrote from Frochmidt or Yogi. Lyudv. Garthmann;" World of Sweat "; 1671 "Satyric Pilgrams"; 1679 "Eyes to the whole world" in 4o; And in 1681 German translation of Francis from Claustro "Bestia Civitatus". "Information these are fantastic. The author of the" simplicissimus "attributed the book to which it is not involved, and the most important, which are its continuation:" Kurage "and" Springinsfeld ". Israel FROMSMIDT is identified with the insignificant writer Johann Ludwig Garthmann (1640 - 1684). The compiler apparently did not see a single copy of the simplcyssimism, because she lowered the surname of Zulsfort, put on all publications of this book, and did not know that she did not know that she It was disclosed as a pseudonym Samuel Graphinzone von Hirschfeld. "Simplcyssimus" was interested in lescing and even going to recycle him for a new publication. He began to draw up a note about his author for "add-ons" to the dictionary of Jochra, where she was placed as an unfinished form: "Greifenson (Samuel) from Hirschfeld lived in the past century and in his youth was a musketeer. Nothing about him is unknown, although he wrote various works, namely: "Simplessimus" - a loved one in his time, which he initially published under the submersible name Germany Celesfue and which in 1684 was published again in Nuremberg in two parts In the 8th share of the sheet along with other other people's works. "Chaste Joseph" ... Also in two parts of the Nuremberg publication of the previous one. "Satyrian pilgraphs ... (from the handwritten heritage of the lesing)" ".

13. There is a large role in the poem landscape sketches. Nature is not just a background on which an action occurs, but a full-fledged face of the work. The author uses the taking contrast. The perfect nature surrounds the first people. Even rains there are warm and gracious. But on the change of this idyll, the other nature is surrounding, another nature comes - a grim landscape. The stylistic peculiarity of the poem is that it is written by a very pompous vestive style. Milton literally "bulky" comparison on a comparison. For example, Satan is simultaneously a comet, and a formidable cloud, and a wolf, and a winged giant. There are many stretched descriptions in the poem. At the same time, the author resorts to individualization of speech characters. This can be convinced, comparing between the violent Grozny, the appeal of Satan, the slow magnitude speech of God, the full advantages of the monologues of Adam, a tender Opening speech Eva.

15.European Lyrics Barochko

The seventeenth century is the highest stage in the development of poetry of the European Baroque. Baroque blossomed in the XVII century in the literature and the art of those countries where feudal circles in the end of the intense socio-political conflicts temporarily enthusiamely, slowing down the development of capitalist relations for a long time, that is, in Italy, Spain, Germany. In the literature Baroque reflects the desire of the court medium, crowding around the throne of absolute monarchs, surround himself with glitter and glory, taking their greatness and power. The contribution to the Baroque Jesuits, the Counter-Orders in Baroque, and representatives of the Protestant Church are very significant, and the Protestant Baroque and Protestant Baroque) are rich in the XVII century in the Western European literature. Baroque heyday in West's literature, as a rule, coincide with time cuts when the church forces are activated and the wave of religious sentiment (religious wars in France, the crisis of humanism, due to the exacerbation of public contradictions in Spain and England of the first quarter of the XVII century, the dissemination of mystical trends in Germany times of the thirty-year war), or with raising periods experienced by noble circles.

Taking all this into account, it is necessary to take into account the fact that the occurrence of Baroque was due to objective reasons that were rooted in the laws of public life of Europe in the second half of the XVI and in the XVII century.

Baroque was primarily the span of those deep socio-political crises, which were shaking in this time Europe and which were acquired in the XVII century. Music and aristocracy were trying to use in their own pleasures, arising as a result of these SD

The process of forming classicism gave tangible results in the late 1930s of the XVII century. The main genome of the new style was the classic tragedy, depicting idealized passions and sublime heroes.

The prominent representative of the classic tragedy at the first stage of its development was Pierre Cornel (1606-1684).

The life of Cornel is not well to external events. The main milestones coincided with the dates of its places, their successes or, on the contrary, failures.

Pierre Cornell was born on June 6, 1606 in Ruang, in Normandy. His father, rich bourgeois, a lawyer in the profession, prepared her son in this activity, but was mistaken in his hopes. When the young cornel, finishing, began to execute advocacy duties, it turned out that he not only did not possess oratory, but also was oblique; A trifle, about which contemporaries celebrates, so sharply, she contrasted with an oratorical, the declamination style of his tragedies.

Cornelel began his literary activities from small gallant verses, after which he saw the light of his first comedy "Melita" (1629). This was the beginning of his literary and theatrical career. This comedy, as well as the others written by Cornell for the course of 1631 - 1636 of the currently forgotten and does not constitute the glory of the poet, but at one time were warmly met by the audience.

The playwright experienced his strength in the genre of the tragedy, writing "Copper" (1635) (based on the tragedy of the ancient Roman playwright and philosopher of the Seneki), but this was not the beginning of his real glory.

The Piece of "LED" became a real milestone in the life and work of Cornel, was put at the end of 1636 or early 1637.

The success of the play was a huge. However, he and the other side: against Cornell acted as a union of second-class playwrights Tagmno was supported by the actual ruler of France-Cardinal Richelieu. The French academy recognized the tragedy of "wrong", insignificant and even harmful from the point of view of public morality.

While the discussion lasted around the "village", terrible accusations were poured on Cornel (often, not literary, and moral plan). The poet was courageously defended. When the French Academy in his decision was openly supported his enemies, he refused to be a further struggle and returned to Rouen.

This retreat was temporary: in 1640, Cornell brought two new tragedies to Paris - "Goruai" and "valuable", which, in content and in form, have already focused more oriented to the requirements of classical poetics. This time, luck was not overshadowed by evil criticism. It was already official recognition, even more fixed by the next tragedy "Polyevk".

Cornel's reputation as the first playwright of France remained unchanged until 1652, when his 22 pies - "pertright" - suffered a complete failure.

Firmily deciding forever to say goodbye to the theater, the playwright drove to Rouen. As once, 15 years ago. Here, for seven years, he from a secluded lifestyle, was engaged in translations and worked on the theoretical treatise on drama.

However, in 1659, receiving an order for a play for the court festival from Super Indian Finance, Cornell again agreed to return to Paris. Almost every year he put a new play on stage, but they were all the same type.

Since the mid-1660s, Cornnel felt particularly acutely felt his old-fashionedness: it was associated with the growing success of his younger contemporary Rasin.

Ten years have separated the last tragedy of Cornle "Surena" (1674) from his death. He spent these years in Paris, but further from literary and theatrical life. The literary merits of Cornell at that time were forgotten. Even the royal pension, they regards him in 1663, was taken away from him when he moved away from theatrical activity.

So, the poet survived his glory, but in the eyes of contemporaries, he remained the great Cornell.

Dramatic principles of Cornel:

Believable;

Historical accuracy:

Characters: kings or outstanding heroic personalities, which, in his opinion, better expressed universal features;

Conflict between mind and feeling, will and passion, duty and passion;

Preference has always remained for the will, mind and duty.

Used article Kozlova N. Classicism Pierre Cornelel + lectures

Pierre Cornel (1606-1684) he was a son of a lawyer and himself was a member of Rouen's lawyer corporation. Cornelel belongs to the pleiad of the greatest playwrights of the world, to the "true genius of the tragedy", as his Pushkin called him.

From the lecture:He appeared in the minds of many generations of readers and audience the exemplary creator of the tragedy of classicism. With the fact that in the work of Cornel, there was no period, whenever it was not valued - he was not a role model in the era of romanticism, but his literary talent was recognized - there are few writers who were so simplisticly interpreted, and sometimes they are interpreted by historians of literature . And is due to the fact that a strong idea of \u200b\u200bCornelism was established as a writer-teacher of morality and patriotism, since it creates apology of absolutism, this time, and two - Cornels are represented as a playwright that creates not tragic tragedies - but Natalia Tigranovna does not approve.

Cornell is often compared with Shakespeare, bringing them closer and at the same time opposing each other, because, being almost contemporaries, they boldly appeal to the acute problems of the era and brilliantly solved them under the universal eye angle of view, although at the same time they embodied their creativity very different art systems.

First of all, a significant difference in the approach of two playwrights to the image of peace and humans is noticeable: the naturalness of the pairing of the sphere of materially tangible being with the Renaissance versatility at Shakespeare and the degradation of the entities of life and their artistic re-creation in the light of the ideal, characteristic of the Cornl classicist.

Cornell is one of the ingenious writers who approved by their creativity the classic artistic system is not its discoverer.

Classicism in the French scene was approved by the efforts of the whole cohort of young playwrights, among which Cornell took first place.

Cornelel wrote that at the time of work on "Melita" (her no on the list of mandatory literature) did not know about the "rules", but common sense suggested to observe the unity of action and place. Looking back many years later on your debut, the playwright noted that he created a comedy of a completely new type, "which was not yet written in any language," and argued it primarily because the characters "Meliti" are not comic masks, but young people From the "decent society", whose speech is alive and directly recreate their real Manera to talk among themselves.

The first comedies of Cornell (up to the "Royal Square", 1634) are of an emborative nature. The playwright consciously opposes both the fancy fiction of the tragicomedy (with the exception of the "Cleandra", 1630), and the Buffonade of the farce close to this genre. With all the conventions of the storyline (as a rule, we are talking about a different kind of complications in the relationship between two pairs of beloved) Early comedies of Cornell are rich in observations over the nravami and ideas, indicative for the privileged secular environment. We must all reign money. Marriages are determined by the calculation, considerations of benefits. Sympathy of the playwright - on the side of the vines and the rights of the heart. Cornel Comediograph refers to the analysis of collisions, which arise in the soul of people encountered with obstacles erected by the inequality of the social situation and state. In some other plays, especially clearly in the "Royal Square", the image of a secular skiologist, libertine and a egoist, more expensive above all full of inner freedom is put forward to the fore. Arriving this freedom, he does not spare anyone, up to the closest people.

Comedy, however, were not the main genre in the work of Cornel. Glory to him as a writer bring him tragedy. The originality of Cornel, as the creator of the tragedy, is already manifested in his dramatic theory. Among his prefaces to their own tragedies, the "Nicomed" tragedy occupies a special place. The originality of the Cornelev tragedy is in her hero. He is not a victim of gods and fate, which was the hero of playwrights of the second half of the XVI - early XVII century. - Zhodel, Garnier, Monkeyene. The Hero of the Cornelev Tragedy is distinguished by the "greatness of courage", it has the resistance capable of causing surprise or, more precisely, admiration (admiration). It impresses what he "marchs out an open face," with contempt looks at the misfortune, you will not hear any complaint from him. The compassion for the hero is such that it "does not expire to tears," it is not a sense of pity. Cornev heroes are ready for self-sacrifice, they inspires the thirst for the feat. They are able to overcome with the Stoic hardness of the Spirit, any tests in the name of the sublime principles and public goods. Their life ideals are the source of the atmosphere of heroic rates and enthusiasm, which was wanders "LED", "Horace", "Qinna", "Polyevk" or "Nikomed".

The creation of characters from a series of outgoingThe exceptional explains the critical attitude of Cornels to the requirement of "believing" of images, which was put forward by the majority of the theoretics of the classic theater. Cornell motivated the persuasiveness of the characters created by them the concept of life truth and historical accuracy. At the same time, reproducing dramatic conflicts that are encountered and who are called upon to resolve his heroes, Cornelel expressed deep life contradictions.

For the first time, the specifics of the creative method of Cornel is fully manifested in his SID's play (1637). The way out of the tragedy conflict becomes possible because there is a free and confident person in their own. That is what Rodrigo, causing no compassion, but admiration. Of course, we are confronted in the "Side" and with obstacles standing on the path of the hero, and with victims. The hero of the play is the perpetrator of the death of Count de Gamasa, Father Jimene. It leads him to a rupture with the one who was until then his bride. It is important, however, that the death of Count de Gamas is not a catastrophe ending the play. From the plot conflict is planned, which is determined by the domestic advantage of Rodrigo himself.

Form man overcoming the fatal coincidence And himself, man, stronger than hostile destiny, retains its meaning and for "Horace", "Polyevkta", "Bornoguna", "Nikomeda". For them, the greatness of the hero, its superiority over the surroundings.

Hero of the Cornevian tragedy, such as Rodrigo, is depicted growing in our eyes. From anyone's not famous young man, he turns into a fearless warrior and a skillful commander. Rodrigo's glory is his hands. Glory does not take him by inheritance, not given from birth. He is far in this sense from feudal traditions and is the heir of the Renaissance.

For Cornel, as a representative of the culture of the XVII century. Characterized interest in human thought. The man acts from him after deep reflection. The main thing for Cornell is not that consciousness prevails over Genesis, but that consciousness belongs to a person, not God. Cornelel is not distinguished by his idealism, but his humanism. Exceptional importance in the drama of Cornelia acquires the principle of plan preceding the action. In his plays, Cornell focuses a great place to disputes and discussions, which are considered by him as the ways of ideological training of alleged actions. And in "Horace" and in "Zinne" and in "Nicomeda" and in "Bornogun" playing a huge role collision of different points of view.

Very great importance for Cornel discussion of the so-called "three unities" in drama, controversy regarding whether it is necessary to limit the response time with twenty-four hours, the location of the limits of one room and concentrate action. " The fight against the predominant image of the outside world assumed a more detailed disclosure of the human soul, the area of \u200b\u200bconsciousness, emotions, passions, ideas, which was a very significant step forward in artistic development. The soul of man seemed to the corner as if more voluminous and spacious. It opened a variety of feelings, desires, deposits. Rodrigo, Himen, infanta is not limited to Side in one passion, which would have fully owned each of them. Each hero is experiencing several sometimes contradictory feelings.

Cornell depicts the spiritual world of his heroes, highlighting it from the world around. Sincere life, with extreme yielding of external events, often remains unchanged. In the inner world, the heroes of Cornel concluded the opposing forces. The soul of his characters is revealed in a dramatic conflict. The image of the human soul, torn by collisions of various mental streams, retains the value for both "SIDE", and for "born", and for Niscius, and for many other Cornel tragedies.

Cornel's humanistic trends are combined in his consciousness with the recognition of royal power as the most authoritative public power of our time. With them in the first tragedies of the playwright coexist the topic of non-obstinate, disobedience, rebellion.

As for the "SIDE", in this work, the image of an independent, full pride of the central character is not mitigated; The image of Rodrigo, who organized independently of the king resistance to conquerors, spoke rather about the opposite. But the "LED" was not wonderfully rejected by Richelieu. A whole campaign was taken against the play, which lasted two years, a number of critical articles, and polemical notes were enraged. A special "Opinion of the French Academy O" Side ", edited by Shamplin and an inspired Richelieu, was also drawn against it. Cornel condemned for the fact that he did not comply with the requirements of three unity in his playand especially for the apology Rodrigo and Himena, for the image of Himena, full charm, despite the fact that in the end she marries the killer of her father. Attacks on the play to such an extent focused on the playwright, which he first silent for three more years, and then tried to take into account the wishes that he was expressed. This attempt failed completely, since "Horace" also did not like Richelieu.

In the creative path of Cornel, several stages are denoted. "Rodoguna" (1644), Irakli (1646), "NIKOMED" (1651) - tragedy "Second manner". In these tragedies, there is a much larger than before, interest in the events of the outside world, they are characterized by a big saturation of the incidents, the actions of the characters. Another feature that distinguishes the "second manner" tragedy is that the principle of ignorance or incomplete knowledge of the heroes of events coming next to them appears in them. The presence of the "second manner" tragedies of all these features allows to say that Cornell's work is increasingly penetrated by baroque trends. But Cornell does not cancel the principle of the priority of the inner world in these plays, does not reject the theory of three unity, does not refuse the category of heroic. Moreover, Cornell does not take to the end of the characteristic Baroque idea of \u200b\u200bthe irrationality of the objective peace and the powerlessness of a person and his mind before this world. He perceives this idea, but combines it with the concepts of classic.

The theme of the popular uprising plays an important role in the plays of 1646-1653. - Featured in "Nikomede", where only due to the support of the masses triumph is triumphant.

[Works "Third Manners" (1659-1672) (approx. - "Surena" in the list is not)

Opposition motifs in the works of Cornel's third period make the appearance of his tragedy "Surena" (1674), which is at first glance, a few mansion among the "third manners" plays. "Surena" emphasizes that the relationship of the playwright with the absolute monarchy and in the last period of his life were not smooth. Of this tragedy property anti-metatism. Surena is persecuted by the Parfyan Tsar Ood, for which the royal throne took away. Love of Surena and Euridic plays a big role in the tragedy. Hero has his love to defend from enemies, from the same king of the crate. It is curious the central hero of the work and the fact that it does not belong to the royal family that he himself won his high title of commander. Significant, finally, for tragedy the topic of resistance to the conqueror. Surena defended the independence of Parphics from Rome. In the fight against the conquerors, he is as if continuing the feats of Rodrigo and Nikomeda.]

Conclusion. Cornell's work is one of the largest achievements of French literature. It is in his work that the French tragedy, having achieved full artistic maturity, became the true ruger of the national life, He who smacking the unmearing ideals of courage, patriotism, citizenship. Deeply nationally in its origins and distinctive features of the formal structure of the tragedy of Cornelia: incendiary patience of their style, brilliant use by the playwright of a wide variety of oratory resources, the ability to combine the complexity and clarity of composite construction.