Sergey chuprinin. "The Robbers", analysis of Schiller's drama Werner sombart bourgeois sketches on the history of the spiritual development of modern man

F. M. is one of the most famous Russian thinkers and writers in the world. His outstanding works were loved not only by the readers of the 19th century, they are no less loved and read in our time. His work overcame many decades and remained interesting to the modern reader, and the problems that FM touched upon are still relevant now, which arouses even greater interest in this outstanding personality and his works.

No one will argue that the most famous work of FM Dostoevsky is the novel "Crime and Punishment". However, the novel "White Nights" is rightfully considered the most poetic. It describes in detail the relationship of a man who unrequitedly fell in love with the main character Nastenka, who, not counting on reciprocal feelings, helps the girl find her happiness with another person - with the one whom Nastenka sincerely loves.

This novel allows us to conclude that the feelings and thoughts of FM Dostoevsky, which found their embodiment in his works, including in the novel "White Nights", are inimitable and unique. I am sure that the originality of the plots, the most diverse problems, the solutions of which the writer seeks in his works, his attitude and thoughts to these problems, will always remain interesting to readers.

Undoubtedly, everyone has their own opinion about certain problems, but each of us can find something interesting in the works of F.M.Dostoevsky for himself. It is known that the great Russian philosopher and writer considered Jesus Christ his ideal. And no one is given to condemn him in this, because this is his own decision and his choice, and the writer did not impose his worldview, his thoughts and feelings on anyone.

FM simply talks about the people who lived in his world. Therefore, everyone, both young and old, believers and non-believers, is interested in reading his novels and recognizing their contemporaries in their heroes. In the darkest corners of Petersburg, you can always find a poor dreamer who hides from the sun and poverty, who feels guilty about everything, embarrassed, with stupid speech, with ridiculous manners, reaching the point of self-destruction. The author creates a generalized portrait of such a dreamer: "A crumpled, filthy kitten who, snorting, with resentment and at the same time hostility, looks at nature and even at the handout from the master's dinner brought by a compassionate housekeeper."

A great connoisseur of the human soul, FM with great skill describes the characters of the heroes of his works. For example, in the novel "White Nights" he managed to fully reveal the images of the main characters of the work through their monologues. Despite the fact that the author did not give specific characteristics, we received complete portraits of the characters, collecting them from pieces of a mosaic, each of which is a masterfully polished detail of the novel, separated from all that is superfluous.

For his works, FM chose wonderful subjects that made his books unforgettable and unique. All the events taking place in them seem to be as real and reliable as possible, and the finale of these works can never be predicted.

The skill and psychologism of F.M.Dostoevsky, the diversity of characters and plots, individuality, unpredictability and reliability - all this makes the thoughts and feelings of the outstanding Russian writer, reflected in his works, interesting to modern readers.

Shapovalova Irina Anatolyevna, teacher of Russian language and literature

gymnasium №3 in Belgorod

F. Schiller's romantic tragedy "The Robbers"

Lesson research

Target: help to form the social competence of students.

Tasks for the formation of students' competencies:

Educational and cognitive (to work out the skills of independent analysis of the text; to continue work on the development of the creative abilities of students);

Communicative (cooperate, help others, participate in a group, exchange information);
- informational (independently search, analyze and select information, structure, transform, save and transmit it);
- personal self-improvement (analyze your achievements and mistakes, detect problems and difficulties in the messages of classmates, provide mutual assistance and support in difficult situations, critically evaluate and overestimate the results of your activities)

During the classes

Long live the great Schiller,

noble advocate of humanity!

V. Belinsky

I.A. Good day! Dear guests, today we invite you to a study lesson. Our lesson will be held in the form of a meeting of the artistic council of the 7-B grade theater, since the conversation will not only be about a literary work, but about drama, where the art of speech and theater is merged together. We will talk about Schiller's romantic tragedy. It was in the era of Schiller that table rehearsals were first introduced into theatrical practice. We will try to stick to the foundations of theatrical romanticism aesthetics: imagination and feeling.

We will try to prove that the tragedy "The Robbers" by Friedrich Schiller can be attributed to a romantic tragedy.

Here is a cluster in which the features of romanticism and classicism are placed. In the course of the lesson, please note those features that are inherent in the tragedy under consideration, make notes about the characters of the heroes. During the lesson, we will try to answer the questions: What is a romantic work? What feelings did the main characters of the play evoke? Do we need Schiller's plays in our time, or have they become a deep history?

Well, we are opening an impromptu curtain. A word to the assistant director Kamenskaya Darina, who will remind us of the beginning of the drama. In the course of her performance, actors will join her, who will try to convey the overarching task of their image. Note that Schiller's tragedy is a romantic tragedy. Romanticism had a huge impact on the development of acting: for the first time in history, psychologism became the basis for creating a role. The rationally verified acting style of classicism was replaced by violent emotionality, vivid dramatic expression, versatility and contradictoriness of the psychological development of characters.

Darina. The action takes place in the contemporary author of the play in Germany. The plot unfolds over two years.

The plot is based on a family tragedy. In the ancestral castle of the barons von Moor live the father, the youngest son - Franz and the pupil of the count, the bride of the eldest son, Amalia von Edelreich. The opening is a letter allegedly received by Franz from the "Leipzig correspondent", which tells about the dissolute life of Karl von Moor, the eldest son of the Count, who is at the University of Leipzig. Saddened by the bad news, the old man von Moor allows Franz to write a letter to Karl and inform him that, angry with the behavior of his eldest son, the Count is depriving him of his inheritance and his parental blessing.

At this time in Leipzig, in a tavern, where students of Leipzig University usually gather, Karl von Moor is waiting for an answer to his letter to his father, in which he sincerely repents of his dissolute life and promises to continue doing business.

/ Reading an excerpt /

Schwartz(She runs to meet him.) Brother! Brother! Letter, letter! (hands him the letter. Moore hastily prints it out). What's the matter with you? You are whiter than chalk.

Karl Moor. My brother's hand!

Moore drops the letter and runs out like mad. Everyone jumps up.

Rollerball(after him). Moore! Where are you, Moore? What's the matter?

Grimm. What about him? What about him? He is as pale as death.

Schweitzer. There must be good news. Let's see!

Rollerball(picks up a letter from the floor and reads it). “Unhappy brother! I must briefly inform you that your hopes have not been fulfilled. Go, your father tells you to say, wherever your shameful deeds lead you. Further, he orders to convey that you do not hope to beg forgiveness on your knees if you do not want to feast on bread and water in the basements of his towers until your hair grows from eagle feathers and your nails become like bird's claws. These are his own words. Goodbye forever. I feel sorry for you! Franz von Moor ".

Schweitzer. Dear brother! Needless to say! Franz is the name of this rascal?

SPIEGELBERG (approaches them quietly). Are you talking about bread and water? A good life! I've got something better for you. (stands in the middle of them and speaks in the voice of a spellcaster). So, if you still have even a drop of the blood of Germanic heroes in you, follow me! We will settle in the Bohemian forests, gather a gang of robbers and ...

Rollerball. You are not the first con man to look over the top of the gallows. And yet, your truth is that we have no choice.<...>

M o o r(enters in great excitement and rushes about the room, talking to himself). People! People! Lying, insidious vipers! Their tears are water! Their hearts are iron! Lions and leopards feed their young, crows carry carrion to their chicks, and he, he ...

Rollerball. Listen, Moore! Do you think that robbery is better than sitting on bread and water in a dungeon?

Moore. And these are fatherly feelings? Repentance - and there is no forgiveness! Such gullibility, such unshakable confidence - and there is no mercy!

Rollerball. But listen, Moore, what I tell you!<...>

Moore. I loved him so incredibly! No son ever loved his father like that! I would have laid a thousand lives for him! (He stomps his foot in rage.) Oh, whoever gives me a sword in order to inflict a burning wound on the human tribe, he will become my friend, an angel, a god! I will pray for him.

Rollerball. We want to become such friends. Hear us out

Schwartz. Come with us to the Bohemian forests! We will recruit a gang of robbers, and you ...

Schweitzer. You will be our chieftain! You must be our chieftain!

Moore. As if a thorn had fallen from my eyes. What a fool I was, striving back into the cage! My spirit longs for deeds, breath for freedom! Murderers, robbers! With these words, I violate the law. People shielded humanity from me when I appealed to humanity. Get away from me, compassion and human mercy! I no longer have a father, no more love! .. So let blood and death teach me to forget everything that was dear to me once! Let's go, let's go! Oh, I will find a terrible oblivion for myself! Resolved: I am your chieftain! Become all around me, and let everyone swear allegiance and obedience to me until the grave! Let's shake hands!

Everyone (holding out his hands to him). We swear to you in loyalty and obedience to the grave.

M about about r. And my right hand will be a guarantee that I will faithfully and invariably, until my death, remain your chieftain!

Darina Now that Franz von Moor has managed to banish his older brother from his father's loving heart, he is trying to blacken him in the eyes of his bride, Amalia.

Franz. Do you turn away, Amalia? Am I not worth what a damned father is worth?

Amalia. Away! Oh, this child-loving, merciful father who gave his son to be devoured by wolves and monsters! Sitting at home, he indulges himself in expensive wines and rests his decrepit body on down pillows, while his great, beautiful son is in the grip of need! Ashamed, you monsters! Shame on dragon hearts! You are the shame of humanity! His only son ...

F r a n c. I thought that he had two of them ... I love you as myself, Amalia!

You think of Karl, but our brotherly hearts beat so in harmony!

Amalia. Oh no, it never happened!

Franz. We are so similar in inclinations! The rose was his favorite flower. What flower is dearer to me than a rose? He was incredibly fond of music. Heavenly stars, I call you to witness, in the dead silence of the night, when everything around was plunged into darkness and drowsiness, you overheard my playing on the harpsichord! How can you still doubt, Amalia? After all, our love converged at one point of perfection; and if love is one, how can those in whose hearts it nestles be dissimilar?

You don't know me, Amalia, you don't know me at all! You hate me!

A m a l and I... I hate you! Leave!

Franz (stamping his feet). You will tremble before me! Should I prefer a beggar ?! (Leaves.)

Amalia. Go, you scoundrel! Now I'm with Karl again. “Beggars,” he said? Everything has turned upside down in this world! Beggars became kings and kings became beggars. The rags worn on him, I will not exchange for the purple of God's anointed! His glance, when he asks for alms - oh, this proud, regal glance, turning to ashes the splendor, splendor, the triumph of the rich and the strong! Roll in the dust, a shiny necklace! (Tears pearls from her neck.) Wear it, rich, noble! Wear that damn gold and silver, those damn diamonds! Satisfy yourself with luxurious dishes, indulge your bodies on a soft bed! Charles! Charles! Now I deserve you!

I.A.... Thanks. Romanticism also enriched the palette of the theater's staging and expressive means. For the first time, the principles of the art of an artist, decorator began to be considered in the context of the emotional impact on the viewer, revealing the dynamics of action.

Costume designer Anastasia Bereznyak will introduce you to the make-up options and costumes for the characters. Actors will characterize their characters. Thus, we will be able to evaluate the artist's work by analyzing the super task of the image of each hero.

/Presentation/

Old Man Moore is honest, condescending. His home was an orphanage, a haven for mourners. He is about 70 years old, but he feels like an eighty-year old man.

Slide 3-5

Act one. Scene 2.

Tavern in Saxony.

Karl Moor received a letter from home that turned his whole life upside down.

Second act. Bohemian forests. Moore becomes chieftain of a band of robbers

Charles- the embodiment of a romantic outlook on life. He hates the squalor of life around him and treats with disgust and contempt the hypocrites who flatter powerful rulers while at the same time oppressing the poor. Karl does not want to live by the laws that deceivers and villains take advantage of.

In the depths of his soul, the young man remains a kind and pure person. Karl Moor, the count's son, plunders the rich and noble and helps the outcast and disadvantaged. Karl understands that high revenge and noble murder do not exist.

Slide 6.

Franz Moor- an egoist, a cynic, devoid of honor and conscience. He's not handsome. “It seems to me that nature has taken the vilest from all human breeds, mixed in a heap and baked me from such a dough.” “I will be the master and by force I will achieve what I cannot achieve with a good looks,” he says. It was Franz who was the reason that his father disinherited Charles. He dishonored and defamed his brother, having two secret goals: to get all his father's property and to marry Charles's fiancée. Franz's purpose in life is to satisfy his desires

Slide 7-9.

Amalia von Edelreich

An orphan, lives in the house of Count Moore. She is no more than 23 years old. Loves music, plays musical instruments, sings. She has been in love with Karl Mohr for a long time. She does not believe Franz's tales, believes that her “beloved is a reflection of the deity, and the deity is mercy and pity! He won't hurt a fly! His soul is as far from bloody thoughts as noon is from midnight. "

Slide 10

Spiegelberg was poor, traveled to Lepzig from Jordan, he is a thief. It is Spielberg who invites young people to become robbers. Arriving in any city, the first thing he did was to find out from the guards about the beggars, from the bailiffs and sentinels about swindlers, swindlers and other rabble, he looked for these young men and recruited them into a gang. Spielberg was a coward, they say about him that there is not a single scar on his body.

Ratzman. Spielberg's constant interlocutor. On this occasion, they say to him: And you, your godless soul, you were at the same time with him! His motto: take the young man, yes,

so that he has neither stake nor yard left.

Slide 11

Shufterle. Poor, dressed from someone else's shoulder. I wanted to conduct weekly instructive conversations. During the fire in the city he raged and showed himself as a scoundrel: he threw the baby into the fire and admired his deed. Moore kicked him out of the gang, saying that he would not leave the gallows. And so it happened: Shufterle was hanged in Switzerland.

Grimm... A weak-willed person: If everyone agrees, then I don't argue either. Spiegelberg's friend. He participated in dirty tricks in the monastery with Spiegelberg. His motto: whoever gives more, I will go for that.

Slide 12

Rollerball was devoted to Mora, and the chieftain always distinguished Roller.

Roller spent three weeks in prison, three times he was taken to interrogation, he was interrogated under torture where the chieftain was. He did not betray anyone.

Moore trusted him. In a fight in a Bohemian forest, Roller, Schweitzer and Moor fought in

the thickest. The rollerball died a heroic death.

Schweitzer. Loyal to Mora to the point of recklessness. Strong, dare. He split the skull of a Bohemian dragoon as he raised his saber over Mora. Schweitzer gives Mohr his word to bring Franz alive, but Franz suffocated, and Schweitzer is true to his word

shoots himself in the temple.

Slide 13

Kosinsky. Kosinsky heard about Moore and asked to join the gang. He is twenty-four years old, He is a Bohemian nobleman. The early death of his father made him the owner of a considerable noble patrimony. The young man was supposed to marry, but he is accused of treason.

He spent a month in prison. Kossinsky tries to kill the prince because he forced his bride to become his mistress

Slide 14

Hermann“A resolute fellow, a soldier's heart. The bastard son of a nobleman, poor.

Was in love with Amalia. Did a mean act for the love of Amalia. Having recognized Franz's intentions, he confesses what he had done.

Slide 15

Daniel- Servant of Count von Moor. He is seventy-two years old. He always honored

Karl Moor's parents .. He didn't take a penny from anyone by deception. He kept his faith honestly. Franz offers the old man to kill the count, but he refuses.

Pastor Moser has a heart-saving conversation with Franz.

I.A..Thanks. Do we approve make-up and costumes or not? Is the romantic style sustained? /Answer/

What scenes impressed you the most? Do they correspond to the romantic trend in literature?

Elena Shkuratova.

I liked the scene in which Franz persuades the bastard son of a local nobleman and on, Herman, change clothes and, appearing to the old man Moor, inform that he witnessed the death of Charles, who took part in the battle near Prague. For this, Franz promises Hermann to return Amalia von Edelreich to him.

Count von Moor blames himself for his son's death, and his heart seems to stop. Franz rejoices at the long-awaited death of his father. Herman, mon I am When Franz deceived him, he reveals to Amalia a "terrible secret" - Karl von Moor is alive and old man von Moor is also. I liked this scene because there is an intrigue in it, and the reader still has no idea what will happen next. We understand that the playwright in the image of Karl More, already at the beginning of the action, declares that the human personality is complex and deep. Karl has a view of life "through the prism of the heart."

Dasha. And I liked the scene in which, under an assumed name, Karl enters his ancestral castle. He meets his Amalia and is convinced that she is loyal to "the deceased Karl". In the gallery, among the portraits of his ancestors, he stops at the portrait of his father and furtively brushes away a tear. No one recognizes the eldest son of the Count, only the all-seeing Franz seems to guess his older brother is visiting.

Franz makes the old butler take an oath that he will kill the visiting count. By the scar on his hand, the butler recognizes in Count Karl that he cannot lie to the old servant who raised him, but now he must hurry to leave the castle forever. I loved the touching conversation between Daniel and Karl. I felt sorry for the old servant. Romantic features are also embodied in this scene: it reflects the "night" side of the movements of the soul, a craving for the intuitive and the unconscious.

Yana. And I think that the most vivid, emotional penultimate scene of the fifth act. Franz cannot calm down, he had a dream about the Last Judgment, at which he is sent to the underworld for his sins. The atheist begs Daniel to send for the pastor. Having received confirmation from the pastor that the most serious sins of man are fratricide and parricide, Franz is frightened and realizes that his soul cannot escape hell.

The robbers sent by Karl attack the castle, they set fire to the castle, but they fail to capture Franz. In fear, he strangles himself with the string from his hat. In this scene, the comic and the tragic are intertwined - this is a clear sign of romanticism.

I.A. Thanks. Thanks. And now I invite you to get acquainted with the sketches of the scenery. Chepeleva Nastya and Shevtsova Irina tried not to recreate, but to recreate reality

/Presentation /

Slide 1.

1. ACT ONE. SCENE ONE Franconia. Hall in the castle Moorov.

2. The stage set for the first is presented in golden-black tones. Franz and old man Moore are involved in this scene. We would like to emphasize the richness of the soul of Maximilian More and highlight the black thoughts, and, consequently, the black soul of Karl.

Slide 2.

1.SCENE TWO. Tavern on the border of Saxony.

2. This scene is also solved in orange and black tones. The orange color clears away unpleasant sensations, helps to accept negative events in life, helps to forgive another person, to let go of an insoluble situation.

1. Karl Moore is at a dead end and is afraid of change, his state corresponds to this color.

2. Why is there black in this scene? There is not much of it, but this color symbolizes the decision of students to become robbers, that is, to step on the wrong path.

Slide 3.

1.SCENE THREE. In the castle of Moora. Amalia's room.

2. There is a lot of light in this scene: white, gold, green. There are no dark tones.

Massive wooden furniture, many paintings, an open bed without canopies - all this emphasizes the character of Amalia. She adheres to the laws of honor, is pure as white, faithful to ancient traditions, she is open, appreciates art.

Slide 4.

1 ACT TWO

SCENE ONE. Franz von Mohr's room.

2. Light walls are almost invisible. In the foreground is a bed in black and red tones. A four-poster bed indicates a closed, closed character. As you know, red is the color of aggression, passion, struggle, anger, emphasizes fear and self-doubt.

1. Dark fireplace, dark ceiling. We placed the fireplace in Franz's room, it is cold, and the fireplace, perhaps, will help him thaw out, his black deeds, like the dark ceiling, press on him.

2. In this room there is a conversation with Herman. And Herman agrees to do mean things.

Slide 5.

1.SCENE TWO. Old Man Moore's bedroom.

2. This scene is oversaturated with colors. Old Man Moore embodies various character traits. He is soft, kind, compassionate, but also weak-willed, capricious.

Slide 6.

1 SCENE THREE Bohemian forests.

2.The back is made in light - green tones. It is known that the color green is intermediate between black and white, therefore it is considered a neutral color.

Slide 7.

1 ACT THREE

SCENE ONE. Garden

2. Against the background of the "Garden" backdrop, Amalia plays the lute. Lots of Lilac color. Lilac is the color of inspiration, characteristic of creative individuals, helps to calm the soul and nourish it with the energy of inspiration, unites body and mind

Slide 8.

1.SCENE TWO. The robbers are positioned against the background of the "Forest" backdrop.

Slide 9

1 ACT FOUR

SCENE ONE.

2. Backside "Terrain near the castle." The predominant color is pale yellow. sets feelings in motion, frees from negativity, gives confidence in their abilities. The desperate robber Moore, under an assumed name, decides to appear before Amalia and his father.

Slide 10

1.SCENE TWO.

2. The back of the "Gallery in the castle" is made in light gray colors. It is in this scene that the robber Moore talks to Amalia. The inner world of Amalia is expressed in white tones, but there are more gray shades, since Moor's soul no longer contains that purity of feelings, his actions are terrible. Yes, he still loves Amalia, but his heart turned cruel, gray.

Slide 11

1SCENE THREE Another room in the castle.

2.Room in gold colors. Obviously, this is Karl's former room. It remains the same, it breathes the same beautiful Karl, with a heart of gold. This is where Karl and his old servant Daniel are talking.

Slide 12

1.SCENE FOUR... Moore and Amalia.

2. Back garden "Garden". Moore as Count von Brand talks about his love for a girl named Amalia. Amalia confesses to an imaginary stranger that she still loves her Karl. She believes that her Karl is a reflection of the deity, and the deity is mercy and pity.

Slide 13

1.SCENE FIVE

2. Backside "Forest". The robbers are waiting for their chieftain. They are alarmed, quarreling. Moore returns. He delivers his confession speech.

Slide 14

1. ACT FIVE. SCENE ONE. Enfilade of rooms.

2.Lots of blue. Blue color develops mental abilities, clears thinking, frees from anxieties and fears, allows you to hear the inner voice, make the right decision.

1. This scene is the culmination: Daniel talks to Franz about God's retribution. Franz admits that there is emptiness in his heart. Franz dies

Slide 15

1.SCENE TWO. The scenery for the last scene of the fourth act is the basement of the castle.

2. There is no reference to the basement in the drama, but it seems to us that this place is most appropriate in this scene. Basement pit, death. This pit consumes everyone. The ending is obvious.

I.A.... Thanks. I think I liked the scenery. Now I want to announce the start of the game. In every literary work, the text is very important. Do you remember the text well? Now we will test your attention, memory, intelligence.

1.Where is the castle of Counts von Morov located? / In Franconia /

2. How long does the action take place? / During 2 years /

3. What historical figures admired Karl Moor? / Julius Caesar, Alexander the Great /

4. Who said it: "The law makes that which should fly an eagle to crawl." / Karl Moor /

5. Who said it: “I will be the ruler and by force I will achieve what I cannot achieve with a disposable appearance” / Franz Moor /

6. Who said it: “I have the courage to go barefoot through hell.” / Schweitzer /

6. Whose motto is this: take the young man, so much so that he does not have a stake or a yard left. / Ratsmana /

7. Who is it about: He spent three weeks in prison, three times he was taken to interrogation, he was interrogated under torture where the chieftain was. He did not give anyone away. / Roller /

8. Who was a soldier, was a member of the expedition to the East Indies / Kossinsky /

9. How many years did Daniel serve in the house of the Counts of Moore? / Forty-four years /

10. What amount was appointed as a reward for the capture of the robber Mora? / A thousand louis /

I.A. Let's sum up the game. Thank you. Now let's approve the sets, the costumes. Who agrees? Who is against?

Critic./ Shpakovsky / No, of course everything is fine. But somehow boring. Vasily Barkhatov chose Schiller's "The Robbers" as his debut play. As befits a modern director, he shortened, altered and transferred the action to Europe in the 21st century. In addition, he added live music. In addition to the actors, Schubert's piano works are played by a pianist.

So, daddy Maximilian von Moor, a wealthy retired soldier, has two sons, one (Karl Moor) studies at a prestigious university, the other (Franz Moor) hangs at home. Both belong to the "golden youth" and both from boredom arrange art provocations, which gradually turn into real crimes. “Karl and Franz are so different, but the result is the same - a mountain of corpses,” says Vasily Barkhatov. By the way, he considers himself a robber, because he acts with old Schiller - just like Franz - with old Moore.

I.A. Thank you for your opinion. An unusual reading of the play by the modern director Vasily Barkhatov separates the viewer from the classics. Yes, "The Robbers" is a rebellious drama, its hero Karl is a noble robber, and Franz is a low, vile man. Friedrich Schiller, when characterizing characters, uses the technique antitheses: the appearance of the brothers, their inner world, their actions are contrasting. It seems to me that you cannot do with the classics the way the 24-year-old director did. He obviously had a different task. The theme of the riot is shown, but its hero is not a noble robber, but a criminal. Of course, Barkhatov did not adhere to the laws of romanticism.

The theme of the noble romantic robber found a continuation in the novel by A.S. Pushkin "Dubrovsky", with whom we met in the last quarter. At home, you were asked to compare the hero of Schiller's play with the famous hero of A.S. Pushkin, Vladimir Dubrovsky.

Voloshin Violetta: The theme of rebellion and a noble robber is presented in the novel by A.S. Pushkin's "Dubrovsky". Vladimir Dubrovsky - Russian noblemen and n, fed with a sense of revenge for the insult and death of his father, is forced to burn down the family estate and go into the forest as the leader of the robbers.

Dubrovsky and Karl Moor are united by the similarity of their destinies. Nobility, honesty, generosity unites these heroes Karl kills not for robbery, but the sire distributes his legal share of the spoils O there. The characteristic is suitable for both of them - noble. Their inner world and character is incompatible with the environment (a gang of robbers) into which they both find themselves: The actions of Vladimir Dubrovsky, his desire for revenge and refusal of it coincide with the path of the hero Schiller, only he, unlike Vladimir, surrenders to justice, and does not hide behind border.

I.A. .Thanks. So let's summarize. Pay attention to your clusters. What features are more inherent in our tragedy: features of realism or classicism.

Yana. In my cluster, I noted more signs of romanticism than classicism. It:

the proclamation of the human personality as complex, deep, the assertion of the inner infinity of the human individuality;

a look at life "through the prism of the heart";

interest in everything strong, bright, sublime;

the tendency to reflect the "night" side of the movements of the soul, craving for the intuitive and the unconscious;

gravitation towards a mixture of high and low, comic and tragic, ordinary and unusual;

a painful experience of discord with reality;

the individual's striving for absolute freedom, for spiritual perfection, for an unattainable ideal, combined with an understanding of the imperfection of the world.

Manifestations of classicism: the language is pompously solemn.

Output. Schiller's tragedy "The Robbers" belongs to the romantic direction in literature and art.

IA Creativity of Friedrich Schiller to this day continues to cause controversy and judgments, some of which were presented in our lesson. The works of the great German poet did not go unnoticed by the musicians.

Burmakina Katya. In 1824, already seriously ill, Beethoven wrote the last - the 9th symphony. It was a song of freedom, a fiery appeal to posterity. The concluding part of the symphony sounded especially solemn. The composer put the music to the words of Schiller's ode To Joy. In one impulse, the great composer and the great poet urged everyone: "Hug, millions!" (Expressive reading of an ode to a student.)

Mishustina Katya:Joy, unearthly flame,
The heavenly spirit that flew to us,
Intoxicated by you
We entered your bright temple.
You pull together without effort
All scattered by enmity
Where you spread your wings
People are brothers among themselves.
Hug, millions!
Merge in the joy of one!

(Beethoven's 9th symphony sounds, an ode to Joy.)

I.A. Thanks. Could the heroes of the drama take the ode to Joy?

I.A. Years pass, the director's interpretations and actor's costumes change, certain accents are shifted, but the fiery pathos of the tragedy remains unchanged. Schiller and his hero continue to passionately appeal to the human conscience, and readers and viewers continue to search for the truth to this day.

Homework: Write a small essay-reflection on the topic "What is close to the modern reader of Schiller's drama" The Robbers "?"

So the curtain is closed. It is worth taking stock.

"The Robbers" was finished in 1781. Schiller had just finished his course at the Military Academy in Stuttgart, and he wrote the drama while still studying there. The young writer had to publish the drama at his own expense, because no publisher in Stuttgart wanted to print it.

But the director of the Meingham Theater, Baron von Dahlberg, undertook to stage it. The premiere took place in Meingheim in 1882. Schiller immediately became famous.

Genre and direction

Young Schiller is an ideological follower of Storm and Onslaught, an association close to sentimentalism. The Storm and Onslaught participants carried the educational ideology on German soil. Rousseau's works are very important for Schiller, especially his literary work. The Robbers reflects the idea of ​​a “natural man”, the rejection of modern civilization and doubts about progress. Schiller shared Rousseau's religious concept (one of the qualities of Franz Moor's negative hero is godlessness). Schiller puts Russo's ideas into the mouths of his heroes.

The genre of the work "The Robbers" is a drama. In the finale, all of Karl's relatives die, and he himself goes to surrender to the authorities. The contradictions in his life are insoluble. He is morally broken and expects physical retribution. Some researchers concretize the genre, calling the work a robber drama.

Topics and problems

The theme of the drama is enmity and hatred between loved ones, capable of killing; the responsibility of a person for his choice and his actions, for moral obligations.

The main idea is pronounced by the priest: there is no greater sin than parricide and fratricide. Karl echoes him in the finale: "Oh, I am a fool who dreamed of correcting the world with atrocities and keeping the laws of lawlessness!"

In the foreword, Schiller admits that his goal as a playwright is "to spy on the innermost movements of the soul." The problems raised in the drama are human passions: revenge and betrayal, the slander of the eldest son, the grief of the deceived father, the choice of Amalia, the loyalty of the robbers and Charles to the word.

Social problems are associated with the omnipotence of the feudal lords (the story of Kosinsky, whose beloved became the mistress of the prince, and he took away the lands of Kosinsky and gave them to the minister). One of the epigraphs of the drama is “On Tyrants”.

Women in drama make a choice between honor and love. Amalia (Kosinsky's bride) chooses love (while losing her lover). And Karl saves his Amalia from such a choice by returning home on time.

Plot and composition

The plot is borrowed by Schiller from Shubart's story "Towards the History of the Human Heart". The plot was influenced by stories about noble robbers fighting against feudal lords. Robbery was a common social phenomenon in Schiller's time.

The youngest son Franz slandered the elder Karl in the eyes of his father, and then declared him dead. He wanted to inherit his father's wealth and marry his brother's bride. He declared his sick father dead and locked him in the family crypt.

Karl, a noble robber, but also a murderer, feeling anxiety for the bride, decides to secretly sneak into the family castle. He finds his barely alive father, who spent 3 months in the crypt, still loving him Amalia. Karl wants to take revenge on his brother for the suffering of his father, but he himself strangles himself with a lace. The father dies after learning that Karl is a robber, and Amalia asks to stab her, so as not to part with him again. Karl fulfills Amalia's request and surrenders himself to the hands of justice, along the way doing a good deed for the father of 11 children.

Heroes and characters

Old Man Moore wants only one thing: that his children love each other. He is too soft, which Franz uses and pulls out of his mouth the curse directed at Karl. It was the father's refusal to accept his son in his castle that prompted Charles to become a robber. The father then curses his son, then calls him a pearl in the crown of the Most High and an angel. The old man is not ready to accept his son Karl as a robber and a murderer; he dies from this news.

Franz Moor, the youngest son, is cunning and deceitful. His goal is to take possession of his father's estate. In his own words, he was mired in all mortal sins. Franz suspects that all people are like him. Franz considers a person to be dirt, and he himself is completely devoid of conscience.

The priest calls Franz a tyrant. Franz is an atheist, but deep down he is afraid of meeting God. He is tormented by the sin of parricide, which is reflected in the dream of the Last Judgment. His death is correlated with sins: he strangled himself like Judas.

The elder brother Karl Moor is a noble robber. He himself does not consider himself a criminal or a thief, calling his craft retribution, and his craft - revenge.

Charles is devout, but with contempt for the churchmen, calling them Pharisees, interpreters of truth, monkeys of the deity.

Karl, according to the father, is consumed by pride. Indeed, Karl treats robbers with contempt, calling them godless villains and the instrument of his great plans.

Karl is a natural person who acts according to common sense. Upon learning of his brother's treachery, Karl is ready to flee so as not to kill him in anger. He is generous and generous, gives Daniel a wallet. At the end of the tragedy, Karl decides not only to surrender to the authorities, but also to help the poor man by giving him money for his capture.

Moreover, Karl is a robber and a murderer. He would like to forget the screams of his victims, trying to find an excuse for his actions in his pedigree and his upbringing.

Karl has a keen sense of justice. He himself rebelles against human laws, considering them unjust, but is outraged that Franz violates God's laws when he kills and tortures his father: “The laws of the universe have been turned into dice! The connection of nature has disintegrated ... The son killed his father. "

From Karl's point of view, revenge justifies his robbery and the murder of his brother. And yet he does not consider himself entitled to be happy and to love if he has killed so many.

Daniel, a seventy-year-old servant, is exceptionally honest. He does not console Franz, who told a terrible dream about the Last Judgment, but only promises to pray for him. Franz calls this sincerity the wisdom and cowardice of the rabble. Daniel refuses to stab Franz when the hour of retribution approaches, unwilling to commit a sin.

Outlaw Skins

They are loyal to their chieftain and do not agree to hand him over to the authorities even for a signed pardon. Karl calls the robbers punishing angels. Obligation to them forces Karl to kill Amalia.

Amalia

The girl is faithful to her lover, idealizes him. Amalia is ready to go to a monastery after learning about the imaginary death of Karl and his father, but does not agree to become Franz's wife, wants to stab herself when her younger brother harasses her by force.

Amalia cannot imagine her life without her beloved. When the girl finds out that her fiancé is a robber, she calls him both a demon and an angel at once. She herself becomes a victim of the duty of her lover.

Conflict

The conflict in the drama is external and internal. External social conflict: rebellion against feudal arbitrariness. He encourages Karl to become a robber, and Franz - to plot against his father and brother. At the end of the novel, the conflict is resolved by Karl's recognition of the fallacy of his path.

Karl's internal conflict is a contradiction between the right to protest and the criminal ways of its implementation based on violence. This conflict is insoluble.

Internal conflict is inherent in every hero. Amalia resolves the conflict between her love for Karl and her sympathy for the disguised Karl. Franz's internal conflict is about the existence of God. The father cannot decide whether to forgive or curse each of his sons.

Artistic identity

For young Schiller, the main thing in the drama is to convey his ideas to the reader and viewer. The plot is not based on facts of life, but comes from ideas. Schiller's character of the hero is conditional. He builds it rationally, based on his meager knowledge of society and the world, subordinates it to the idea.

Schiller created a new type of drama. It has a political component, pathos, emotionality and lyricism.

Songs are of great importance in drama. Karl and Amalia are singing, restoring their strength by playing the lute and pouring out longing. The songs reveal the true feelings of the heroes, for example, Karl sings about Caesar and the traitor Brutus, having learned about his brother's betrayal.

For work on the play, I assign two lessons, the third is a generalizing lesson-reflection. In the first lessons, there is a detailed work on the text of the play, reading by roles.

In the process of preparing for the final lesson, the children were divided into creative groups with tasks: the "Actors" group was preparing for staging the third scene of the second act "Bohemian Forests"; the group "Designers" prepared the playbill for the play, portraits of the main characters - Franz Moor and Karl Moor; the group "Researchers" worked on the novel "Dubrovsky" by Alexander Pushkin; group "Art Critics" worked on the history of the creation of the 9th symphony of L. V. Beethoven.

Registration: Theatrical screen, portrait of the writer, poster for the drama, illustrations for the work.

Musical accompaniment: L. V. Beethoven. 9th Symphony, Ode to Joy.

Epigraph:“I really can be amazed” (Karl Moore).

Introductory speech of the teacher

In the previous lessons, we met you with the famous classic drama of the German poet and playwright Friedrich Schiller (1759-1805) "The Robbers", a writer whom Alexander Pushkin put in a row with the greatest figures of different eras - Homer, Dante, Shakespeare, Racine ... Today the last page of the play has been turned over, so there is an impromptu curtain in the classroom, since the conversation will go not just about a literary work, but about drama, where the art of speech and theater are merged together. “Let's talk about the stormy days of the Caucasus, about Schiller, about glory, about love,” we will say after Alexander Pushkin.

Today's lesson is a meditation lesson on what you have read. We will try to answer the questions: How did we, pupils of the 8th grade, understand the pages of the great work? Do we need Schiller's plays in our time, or have they become a deep history? What is a classic, a classic piece? What feelings did the main character of the play evoke in you?

Conversation with the class

The play "The Robbers" is set in 18th century Germany. Its plot is based on the enmity of two brothers. What can you say about the main characters of the play?

Student responses

The main characters are brothers Karl and Franz Moore. One of them - the younger brother Franz - is a heartless, hypocritical, low man. He does everything to discredit his older brother in the eyes of his father - Count von Moor. Treacherous, despotic, outwardly ugly, Franz pursues only one goal - power and money.

Another - noble, fiery, heroic, daring Karl Moor, by the will of fate, turned out to be the leader of a gang of robbers.

What is the artistic technique underlying the construction of the characters of the brothers? Justify this.

When characterizing the characters, Schiller uses the technique Antitheses. The appearance of the brothers, their inner world, their actions are contrasting.

One hypocritically pretends to be a meek and loving son, although in fact he is ready for meanness to discredit Karl. The other is generous, capable of lofty feelings. In characterizing the brothers, antonyms are used: vile - generous, shameless - honest, immoral - noble.

Look at the portraits of these characters by the Artists group. How do you think they managed to convey the main character traits of the characters? Support your answers with quotes from the text. (Expanded student responses.)

“Who now dares to come and pull me to an answer or tell me in my eyes:“ You are a scoundrel! ” Now down with the onerous mask of meekness and virtue! Look at the real Franz and be horrified! .. Ironing and caressing is not in my customs. The pallor of poverty and slavish fear is the color of my livery. I will dress you in this livery! ” (Characteristic of Franz; Act 2, Scene 2.)

“Amalia. The faded colors cannot repeat the lofty spirit that shone in his fiery eyes ...

Old Man Moore. This friendly, affectionate look. " (Characteristic of Karl; Act 2, Scene 2.)

Teacher. As a result of Franz's intrigue, Karl Moor becomes a criminal, his desire for freedom turns into hatred of all mankind as a whole. Wanting to restore justice and take revenge on his brother, Karl becomes the leader of a gang of robbers. However, the life of robbers is far from the ideal of a "moral world order." One of the key scenes in the play is the scene in the Bohemian woods. Let's turn to a fragment of the 2nd scene of the 3rd act.

Group "Actors" presents a fragment of this scene from the words of the father: “So this is it - the dragon's lair! With your permission, judge me, I am a minister of the church, and there are seventeen hundred people over there, protecting every hair on my head ... "to the words of Moore:" Now we are free, friends ... "

Conversation with the class

Why is a priest brought to the camp of robbers?

Answer. The playwright takes his hero through a test of conscience.

What better helps us understand the character of the protagonist?

Answer. Schiller in "The Robbers" was able to show the most intimate movements of the soul through the monologues and remarks of the hero. Karl Moor's monologues help us understand what an internally contradictory path from hatred and revenge to the realization of the horror of death and repentance is the hero's journey. He takes upon himself the right to execute and pardon, but the atrocities and atrocities of the robbers do not give him the opportunity to become the same. The hero's monologue shows how deeply he experiences discord with his conscience.

“Moore. How do you know that I do not see bad dreams at night, that I will not cover myself with pallor on my deathbed? How many things have you done that you would be responsible for? Know, ambitious youth: laurels turn green not for murderers and arsonists! Not glory meets robbery victories, but curses, dangers, death, shame! "

Teacher."The Robbers" is a rebellious drama, and its hero is a noble robber. What a rich topic! Schiller was not the first to discover it, and in Russian literature it found its continuation in the novel by Alexander Pushkin "Dubrovsky". I suggested comparing the hero of Schiller's play with the famous hero Vladimir Dubrovsky to a group of literary scholars.

What can you say about the life goals of these heroes? What qualities of the characters do you think are similar?

The answer from the "Researchers" group. The theme of rebellion and the noble robber is presented in the novel by Alexander Pushkin "Dubrovsky", written in 1832-1833. Vladimir Dubrovsky, a Russian nobleman, fueled by a sense of revenge for the insult and death of his father, is forced to burn down the family estate and go into the forest as the leader of the robbers. The scene in the Bohemian woods resembles a scene from Chapter XIX: “In the middle of a dense forest, on a narrow lawn, stood a small earthen fortification, consisting of a rampart and a ditch, behind which there were several huts and dugouts ... The robbers took each a certain place. At this time, three sentinels ran to the gate. Dubrovsky went to meet them. "What?" he asked them. "The soldiers in the forest," they answered, "are surrounding us" ... "

Dubrovsky and Karl Moor are united by the similarity of their destinies. Karl does not kill for robbery, but distributes his legal share of the spoils to orphans. The characteristic is suitable for both of them - Noble. The actions of Vladimir Dubrovsky, his desire for revenge and refusal from it coincide with the path of the hero Schiller, only he, unlike Vladimir, surrenders to justice, and does not hide abroad. Considering these images of world literature, we see a similarity in the depiction of a rebel hero in Pushkin and Schiller. Nobility, honesty, generosity unites these heroes. Their inner world and character is incompatible with the environment (a gang of robbers) into which they both find themselves: “I am not a thief, tell them that my craft is retribution, my craft is revenge” (Karl Moor).

Teacher. For two hundred years, the finale of the play has been interpreted in different ways. The main question of the final always arises before us:

What did the main character condemn himself for? Why is he surrendering to justice?

Based on the analysis of the last act, the guys show the protagonist's awareness of the fatality of his path and the desire to retaliate for the death of Amalia, father and brother. A person is responsible for his actions both to himself and to society: “Oh, I am a fool who dreamed of correcting the world with atrocities and observing the laws by lawlessness! I called it revenge and right! .. Ruined by me - ruined. Never recover a defeated one! But I can still pacify the outraged laws, heal the wounded world ... ”With bitterness and shame, Karl Moor admitted that he had gone the wrong way. With the sword, he tried to restore justice to the world, but his good intentions were accompanied by dishonorable atrocities.

Why did the words of Karl Moore “Yes, I really can cause amazement” as an epigraph to the lesson?

Did the protagonist surprise you? How do you feel about his act? (Answers of students.)

Teacher. F. Schiller remains popular in Russia in the 21st century, just as he was popular in the 19th century. His plays do not leave the stages of Russian theaters: the Moscow Pushkin Theater, Maly Theater, BDT and others. Viewers and readers of our time continue to look for an answer to the question: is it possible to remain a person without repentance? The act of the protagonist of the play Karl Moor continues to cause controversy and judgments to this day, some of which were presented in our lesson. The thoughts of the great poet about the extent of a person's responsibility for their actions were close to the great Russian writers of the 19th century (for example, A.S. Pushkin and F.M.Dostoevsky).

The description of events in the novels and other works of the great German poet did not go unnoticed by the musicians.

Group "Art Critics". In 1824, already seriously ill, Beethoven wrote the last - the 9th symphony. It was a song of freedom, a fiery appeal to posterity. The concluding part of the symphony sounded especially solemn. The composer put the music to the words of Schiller's ode To Joy. In one impulse, the great composer and the great poet urged everyone: "Hug, millions!" (Expressive reading of an ode to students.)

Joy, unearthly flame,
The heavenly spirit that flew to us,
Intoxicated by you
We entered your bright temple.
You pull together without effort
All scattered by enmity
Where you spread your wings
People are brothers among themselves.
Hug, millions!
Merge in the joy of one!

(Beethoven's 9th symphony sounds, an ode to Joy.)

Compare Schiller's ode-song to his "The Robbers". Could the heroes of the drama accept it? (Answers of students.)

Closing remarks from the teacher. Years pass, the director's interpretations and actor's costumes change, certain accents are shifted, but the fiery pathos of the tragedy remains unchanged. Schiller and his hero continue to passionately appeal to the human conscience, and readers and viewers continue to search for the truth to this day.

Homework. Write a small meditation essay on the topic "What is close to the modern reader of F. Schiller's drama" The Robbers "?"

Literature History of German Literature: In 3 volumes.M .: Raduga, 1985.Vol. 1. Libenzon Z.E. Friedrich Schiller. M .: Education, 1990. Materials of the lessons of I. Arkin: Literature at school, 1998.

FRIEDRICH SCHILLER

The theme of moral obligations in the dramaF. Schiller "; The Robbers";

Friedrich Schiller once said that he knew how to keep people from falling. To do this, you need to close your heart to weakness. The depth of this saying becomes more transparent if you look at the image of the German romantic poet Friedrich Schiller. He was a famous humanist, he thought a lot about the meaning of human life. Schiller's contemporaries completely lost sincerity and openness in relations with neighbors and no longer lived by faith, but by calculation, seeing in people not friends, but almost enemies. Schiller opposed the flourishing of such blatant individualism and disbelief.

Drama "; The Robbers"; is Schiller's first dramatic work. The young genius managed to create a very interesting play, which is still relevant today. The drama shows the confrontation between the sons of Count Moore - Franz and Karl, who are carriers of two diametrically opposed worldviews. Karl is the epitome of ro-

mantic outlook on life. He hates the squalor of life around him and treats with disgust and contempt the hypocrites who flatter powerful rulers while at the same time oppressing the poor. Karl does not want to live by the laws that deceivers and villains take advantage of. Karl Moor says this: "; The law makes that which should fly an eagle to crawl"; But in the depths of his soul, the young man remains a kind and pure person. Upon learning that Count Moore is depriving him of his paternal inheritance, Karl falls into despair and perceives this personal insult as another manifestation of universal injustice. The young man leaves society, hides in the Bohemian forest and becomes the leader of the robbers. Karl Moor, the count's son, plunders the rich and noble and helps the outcast and disadvantaged. The behavior of the young man brings to mind the heroes of folk ballads about noble robbers.

Franz Moor, Karl's brother, adheres to different principles. Schiller paints a rather unpleasant image of an egoist, a cynic, devoid of honor and conscience. It was Franz who was the reason that his father disinherited Charles. He dishonored and slandered his brother, having two secret goals: to get all of his father's property and to marry Karl's fiancée. Franz's goal in life is to satisfy his desires. This person believes that honesty is the lot of the poor. Franz Moor is hungry for money and power, believing that there are no obstacles to achieving these goals. If necessary, he is ready to doom his own father to death by starvation. But in every offense there is a punishment. Franz begins to be haunted by terrible visions, which become retribution for cruelty and crime. Franz Moor cannot survive the pangs of conscience. Fearing imminent retribution, he lays hands on himself. It may seem that Karl's philosophy of life has won, but this is not entirely true.

In the finale of Karl Moor's drama, grave doubts are gripped. He asks the question: did he choose the right path? Karl realizes that he was wrong. For his noble robbery, he has to pay with the death of his father and Amalia. Karl realizes that high revenge and noble murder

does not exist. Finally, he sees that the robbers are greedy and cruel. Karl Moor decides to voluntarily surrender to the authorities.

Friedrich Schiller portrayed the confrontation between the two brothers, Karl's clash with the law, in order to raise a serious question: if violence is fought with violence, then will the noble avenger become a noble criminal. The playwright comes to the conclusion that retribution is inevitable for everyone who violates the unwritten moral laws and the motives of the crime do not matter. In the drama "; The Robbers"; Schiller demonstrated a sharp contradiction between the inalienable right of every person to protest and the criminal content of all violence. This contradiction is a real tragedy for many thinking people. According to Friedrich Schiller, in real life this contradiction is insoluble.

GEORGE GORDON BYRON

Features of the poetic world of Byron

(Based on the works of George Gordon Byron "; Prometheus"; and "; Belshazzar's vision";)

Byron is one of the most famous representatives of the romantic movement in the poetry of the 19th century. The life of this extraordinary person is, as it were, a word-for-word to his work, poetry. If a noble Englishman, a lord, though from an impoverished family, dies in a foreign land, tired of fighting for the happiness of a foreign people, that already means something.

Despite the fact that Byron is considered a typical representative of the romantic direction in Western European literature, his poems differ markedly from, say, the poetry of his fellow countryman Southey or the Frenchman Hugo. Byron's romantic hero does not run away from the troubles of life, but enters a struggle

boo with hostile the world. Yes, the poet chose heroes for himself who entered into confrontation - one on one - with the whole world,

In the poem "; Prometheus"; Byron refers to the famous mythological character - the titan Prometheus. The hero was banished by the gods for disobedience. The poet describes the titan as a fighter for the happiness of people:

The darkness of alienation, disobedience,Confrontation between misfortune and evil,When, strong by oneself,He will give battle to all black forces.

Prometheus received a terrible punishment for his generous act. Byron enthusiastically notes that Prometheus showed his own will, disdaining the instructions of the gods, for which he was doomed to torment.

Byron's Zeus the Thunderer appears as an almost blind and angry force capable of strangling all free and living things. Let Prometheus be punished with grievous torments, but humanity does not forget about who gave people fire, taught crafts and writing. According to Byron, every conscious person should follow the example set by Prometheus in antiquity, "a proud spirit"; and whose rebelliousness did not break evil.

Another important feature of Byron's poetic worldview is a sincere hatred of tyrants and oppressors of all stripes. In "; Belshazzar's vision"; Byron, by means of poetic language, retells the biblical legend about the last Babylonian king - the terrible and cruel Belshazzar. During the feast on the magnificent wall of the palace, an invisible hand draws out mysterious and ominous letters. The frightened king orders the secret of these words to be explained, but neither the Magi nor the priests are able to do this. And only a stranger solves the ominous mystery: "; the grave, not the throne"; waiting for Belshazzar, and Babylon will perish.

Bora. By the way, the same theme sounds in the famous Russian revolutionary song "; Let the despot feast in a luxurious palace";

A special genius like no one else - so you can say about Byron. This is a genius who never found a common language with society. When enlightened Europe was read by the poetry of the rebellious lord, the ashes of Byron, who died from illness in a foreign land, was buried in a small church near Newsted on his family estate. Byron took place as one of the leading figures in European literature, but in life he was lonely and not too happy.

AMADEY HOFMAN

Where Tsakhes are taken

(Based on the tale of Hoffmann "; Little Tsakhes";)

The most prominent representative of German romanticism is Ernst Theodor Amadeus Hoffmann. Peru of this writer owns many works that are included in the golden fund of world literature. One of the most interesting satirical works of Hoffmann is "; Little Tsakhes";

In this tale, Hoffmann develops a popular folk motif about miraculous hair. The good fairy out of pity gives the little freak three magic hairs. Thanks to them, everything significant and talented that happened or uttered in the presence of Tsakhes is attributed to him. But the nasty actions of the baby himself are attributed to the people around him. Tsakhes is making an amazing career. The kid is considered a genius poet. Over time, he becomes a privy councilor, and then a minister. It is scary to think of what heights little Tsakhes could reach, but the timely intervention of a kind wizard puts an end to his chimeric career. Having lost three magic hairs, Tsakhes became who he was in fact

le - a pitiful likeness of a man. Now those who obeyed the baby with delight make fun of him. Fleeing from former admirers, Tsakhes falls into a chamber pot and tragically dies.

With great satirical force, Hoffmann creates the image of Tsakhes. The kid is the person who appropriates the results of someone else's work, other people's merits and honors. According to Hoffmann, three scarlet hairs donated by a fairy are a symbolic image of gold (money), their unlimited power over society. Where do people of this sort come from, who can be called Tsakhes? Hoffmann gives several of his versions of their origin: a blind society, which in complete selflessness creates an idol for itself; the power of the wallet; the intervention of otherworldly forces and just human madness. Hoffmann also traces the entire path of worship of the fake idol. From admiration and fanaticism to mortal horror in front of another tyrant. One should not think that the author makes fun of only the worthless and deceitful nature of Tsakhes. Above all, the target for satirical arrows is a society stricken with imaginary greatness. With his work, Hoffman brilliantly shows that the Tsakhes live and prosper only thanks to the worthlessness of society, which brought them to the pinnacle of life. Therefore, it is not surprising that in a country ruled by little Tsakhes, love, generosity, and morality are lacking. Of course, it is a pity that the author, having managed to make an accurate diagnosis of a sick society, does not give prescriptions for how to cure it. However, it also seems to the reader that a superficial treatment cannot fix the matter - a serious surgical intervention is required.

Hoffmann also brings to the public arena the antipode of the crumb Tsakhes, a student of Balthazar. This is a typical romantic hero. First of all, he is a creative nature that opposes a rotten society. But the author sneers at this character too: Baltaear quickly ceases to be interested in social problems, being content with the easy happiness of a philistine. He marries his beloved, the young family settles in a quiet village

SKOM house, and the souls of Baltaaar and the beautiful Candida fall asleep forever.

It's time for a fairy tale "; Little Tsakhes"; sounds very sharp and sharp. In real life, there are no sorcerers and wizards, but Tsakhes hold high positions, and it's time to smoke them from there. It is the Tsakhes who marry the beautiful Candids, they are the ones who buy for themselves "small"; quiet houses on other continents for public money. But Bal-Tazarov expects something completely different - contempt, shame, imprisonment, death.

Today, young people should think about "; Little Tsa-khes"; since it is she who will have to live further in our country and rule it. One thing is absolutely certain - it is better to ridicule the poor in spirit of the Tsakhes than to grovel in front of them, it is better to destroy the Tsakhes than to submit to their despicable authority.

VICTOR HUGO

Quasimodo how an example of spiritual beauty

For a long time mankind has been solving the question of the compatibility of spiritual beauty and physical perfection. The ancient Greeks came closest to solving this issue. But later on, physical perfection was somehow forgotten - the Middle Ages began.

Victor Hugo's novel "; Notre Dame Cathedral"; talks about Paris in the Middle Ages. With his characteristic encyclopedic knowledge and a bias towards rhetoric, Hugo creates several interesting characters, each of which can be devoted to whole volumes of research. One of the main characters of the novel is Quasimodo, the bell ringer of Notre Dame Cathedral. Translated from Latin "; Quasimodo"; means "; as if" ;. Indeed,

the bell ringer resembles one of the sculptural chimeras that still adorn the pediment of the Cathedral of Notre Dame de Paris, with a huge head covered with red stubble, a hump between the shoulders and terribly crooked legs. Thanks to his ugliness, Quasimodo even became "the father of jesters"; during folk fun.

Quasimodo, closed in himself because of his ugliness, sometimes resembled a beast. But when he gently and purely falls in love with a girl of unearthly beauty Esmeralda, this feeling is striking and causes some kind of painful surprise. Quasimodo saved Esmeralda's life and hid her in the Cathedral. During this time, their relationship turns into a real spiritual understanding and unity, associated with the famous fairy tale "; The Scarlet Flower"; Esmeralda understood the feelings of Quasimodo the freak and involuntarily got used to her gentle and sad savior. And the ringer's craving for beauty should be sought not in external manifestations, but in the very depths of his being. Hugo could not unequivocally answer the question of why fate acted so cruelly and at the same time wisely with Quasimodo. Throughout the novel, the hunchback Quasimodo looks more spiritually handsome the further he goes. The hunchback's devotion to Esmeralda is almost insane, incomprehensible, for her sake he could jump from the tower of the Cathedral without hesitation. The realization of his own ugliness until his death does not give rest to Quasimodo, and fate allowed him to connect with his beloved only after death.

Quasimodo is not a model of sobriety and poise. He is tormented by a variety of feelings, sometimes he is seized by anger, which can be considered a consequence of the attitude of the people around him. He could not resist his thirst for revenge on the priest Claude Frollo, whom he threw from the height of the Cathedral. After the death of Esmeralda and Frollo, Quasimodo said: "This is everything I loved"; He truly loved the beauty embodied in Esmeralda and the God that Frollo personified. It may seem that for Quasimodo there is nothing else left in the whole world. But, in my opinion, the hunchback had something that he did not understand: the Cathedral. He could become part of this magnificent structure, which

the swarm directs the towers like hands to the empty sky. But this is only a guess.

In his novel, Victor Hugo embraced both the meaning and the cruelty of life, and death, and our addictions, and the despair of love. Quasimodo embodies the versatility of the human character. On re-reading "; Notre Dame Cathedral"; the reader discovers all new features in this most interesting hero, whose name has become almost a household name in our time.

Cathedral image

(Based on the novel by V. Hugo "; Notre Dame Cathedral";)

Notre Dame Cathedral, or Notre Dame de Paris, is probably one of the most famous monumental buildings of the Middle Ages. Such widespread popularity of the Cathedral, not least of all, should be "blamed"; Victor Hugo. The writer's contemporaries recall how Hugo spoke many times, showing the Cathedral that the shape of this building resembles the first letter of his surname ("; Hugo"; - in French, it begins with the letter "; H";). And you can forgive the writer for such a rather innocent bombast, as "; Notre Dame Cathedral"; is a truly talented and interesting novel. And always, looking at the majestic towers and walls of the Cathedral, people will remember the loving freak Quasimodo and the divinely beautiful gypsy woman Esmeralda.

Notre Dame de Paris is a typical Gothic building. This architectural style left its mark on the social development of medieval Europe. The Gothic style is characterized by a striving upward, to spiritual heights, combined with the concept that the sky is inaccessible without an earthly support. Gothic structures seem to float in the air, they seem so weightless. But this seems only at first glance. In fact, the Cathedral was built

hundreds of unknown masters endowed with a truly popular, exuberant imagination. Hugo is captured by the amazing works of the Middle Ages, which simultaneously have originality, and originality, and unsurpassed craftsmanship. But architectural buildings in the Gothic style are not only the embodiment of folk genius, but, as Hugo noted, are "; stone books of the Middle Ages, from which decorating bas-reliefs and sculptures, illiterate commoners studied Holy Scripture. The most famous architectural element of Notre Dame de Paris are chimeras - three-meter sculptural figures located on the pediment of the Cathedral. Chimeras are a symbol of dark, but not always hostile forces. It is fascinating that these devilish creations have been grinning predatoryly under the domes of the Catholic Cathedral for about seven hundred years. Hugo masterfully created the image of the ugly bell ringer Quasimodo, who seems to be one of the these sculpted monsters.

Above all, the Cathedral is the center of the Parisians' religious and popular life. Commoners also gather around him, who are able to fight to improve their future. Also, the Cathedral is a traditional refuge for the exiled: no one has the right to arrest a person while he is outside the walls of the Cathedral. At the same time, Notre Dame Cathedral becomes a symbol of oppression - religious and feudal. Quasimodo appears here as the one who is oppressed by the infinite grandeur of the Cathedral, and as "; the soul of the Cathedral" ;. The hunchback bell ringer can be considered an embodied image of the Middle Ages and, naturally, of the Cathedral. The beauty Esmeralda, with whom Quasimodo is in love, on the contrary, is the embodiment of bright vitality. The girl dancer can be considered the embodiment of the Renaissance, which is going to replace the Middle Ages. It should be said that these two cultural and historical eras have passed, but Notre Dame de Paris still rises under the Parisian sky.

Victor Hugo's novel seems to flip a sheet of the calendar from the past to the present. From their positions

tion writer spoke out against political reaction and social injustice. The novel is full of echoes of the revolutionary events that Hugo witnessed. It was this involvement that influenced the portrayal of ordinary townspeople in the work. The people, according to Hugo, are not a dark crowd, but filled with an unbridled will to fight and unrealized creative ideas. But the time of the commoners has not yet come. The author describes the storming of Notre Dame de Paris, which is, as it were, a rehearsal for the storming of the Bastille in 1789, when the long reign of the French monarchy was ended. When will the time of the people come? Hugo answers the question: "; When the alarm is sounded from this tower, when the cannons rumble, when the walls fall with a terrible roar, when the soldiers and the crowd rush at each other with a growl, then this time will come."

Hugo did not idealize the Middle Ages. The novel contains a high poetry, an ardent love for France, its history and art, depicts the dark sides of feudalism. Notre Dame de Paris is an eternal Cathedral, outwardly indifferent to the endless vanity of human life.

10. 800 soir. Op. in Russian and peace. lit. 5-11 HA.

COMPOSITIONS ON A FREE TOPIC

Only in work is a man great

(essay-reasoning)

Not every person can feel the joy of work. Some people were simply born contemplators, not doers, and work for them is a burden that takes away strength, time, eats up strength. Others were unlucky: the type of activity chosen by them does not correspond to the abilities, inclinations, character, psychological data. For them, labor is torture, slavery, hopeless captivity without the prospect of liberation! Such people are pulling the strap, some docilely, some angrily, just for the sake of a piece of bread.

There are people who are not adapted to systematic work. They are impetuous, work on inspiration, periods of recovery are interspersed with periods of apathy.

Would they all agree that the greatness of man is in work? Unlikely. Even popular ideas about a happy life presuppose idleness. Let's remember fairy tales - Russian, Ukrainian, German, French, Japanese. They often feature a self-assembled tablecloth or a cooking pot, milk rivers with jelly banks, a wonderful tree that bears fruit all year round - symbols of abundance without difficulty. Even the Bible speaks of labor as a curse of God for the sins of Adam and Eve: "In the sweat of your brow you will earn your bread"; All legends mention the Golden Age, when people were carefree and happy, the land gave ten harvests a year, the fish itself swam in the net.

All this suggests that labor is not initially the desired share for unconscious humanity.

On the contrary, people have always looked for an opportunity to enjoy the fruits of other people's labor. With the development of civilization and the deepening of specialization, the possibility of exchange appeared: I make dishes, and you make clothes. Now it is possible to knock out

to develop a profession, to achieve mastery, to gain experience. In European countries, the master is respected, work is almost a religion.

Russia lingered for an embarrassingly long time at the prehistoric stage of development, only recently got rid of slave labor. Perhaps that is why it is so hard for our minds to taste and love for work, what is called work pride. To catch, cheat, get more than you deserve - often these desires are much stronger than the desire to work honestly, having the opportunity to account for every penny, boldly saying: everything that I have, I owe only myself. Amazing Russian literature has long sounded the alarm: - Inability and unwillingness to work ruins the country. Dostoevsky in "The Teenager"; wrote that Russia has no practical people, Leskov, like no one who knew the Russian people, noted with bitterness the loss of crafts.

And along with this, with what respect the masters wrote about the people of labor; as they knew the true poetry of activity: "; He endured restless work and resolute exertion of will; feeling that it becomes easier and easier for him as the harsh ship broke into his body, and the inability was replaced by habit ... all work was torture , requiring close attention, but no matter how hard he breathed, with difficulty unbending his back, a smile of contempt did not leave his face. He silently endured ridicule, bullying and inevitable abuse until he became in the new sphere "; his own"; .. . "; (A. Green, "; Scarlet sails";).

Bless every work, good luck. To the fisherman - so that the net with the fish, To the plowman - so that his plow and the nag get bread for years.

S. Yesenin

Writing in sweat, plowing in sweat, We know a different zeal:

Light fire dancing over the curls, Breath - inspiration.

M. Tsvetaeva

And yet, can labor be made a measure of a person's greatness? Humanity - for sure. We all stand on an endless staircase that goes back into the centuries, where each step is the fruit of the labor of an artisan, farmer, scientist. Whether this staircase will continue to the future depends on our attitude to work, on how our society treats the working person - all the same, a bricklayer, a philosopher, a cook, a teacher. It is sad to think that so far we are only using what was invented and done by other people in other countries, where the price of labor has long been known.

Want, to be understood

(essay-reasoning)

I can confidently say that my classmates and I dream of being understood. By understanding l I mean the ability to hear. I can explain to my parents ten times what I want, but they cannot hear me. I can explain or prove something to the teacher - he does not hear me. My point of view may differ from theirs, it needs to be listened to, understood, and then challenged, and not categorically denied. I am learning to listen to people. This is very difficult for me. A lot of ideas, a lot of thoughts, I want to interrupt the interlocutor, I catch myself interrupting, I don't listen well, so I don't understand.

On a semi-free topic. The theme of these essays... a literary work. Creative writing. Essays this kind most often ...