The division of the Creative Path of Shakespeare as a playwright on certain periods is inevitable is a large extent conditional and approximate. So, for example, already in 1594 in Romeo and Juliet, Shakespeare touched the topic, essentially related to his later tragedies. Conditionally, it is possible to designate three main periods: the first 1590-1601, the second 1601-1608. and the third 1608-1612

For the first period, the Creative Path of Shakespeare is particularly characterized by bright, cheerful paints of his comedies. During these years, Shakespeare has created a brilliant comedy cycle. It is enough to mention such plays as the "Taming of the Shrew", "Sleeping in the Summer Night", "a lot of noise from nothing", "How do you like it", "Twelfth Night", which seems to be a leitmotif of the first period, which can be called optimistic. Let a heavy proportion threatens in love with the comedy "Sleep in the summer night" - on day of May Day, on the feast of the folk hero Robin Hood, the cheerful forest elf "Robin Good Small" leads their misadventures to a happy junction. In the comedy "a lot of noise from nothing" the image of a slander hero is almost tragic, but Don Juan is exposed, the innocence of the hero triumphs. The misfortunes of exiles hiding in the Ardenian forest ("How do you like it"), are wary of cloudless happiness. Let the Way of Viol ("Twelfth Night"), but in the end she acquires the reciprocity of Orsino and the lost brother.

True, during the first period, Shakespeare writes and "historical chronicles", full of gloomy events and blood poured. But if we consider the "historical chronicles" as a part of the work on the topic, and in the order, in which Shakespeare wrote them, it turns out that they, in the end, lead to a happy outcome. In its last time writing the "Chronicle" ("Heinrich V"), Shakespeare draws a celebration of the hero's genetic. "Chronicles" tell about how England from the country, fragmented by the authorities of feudal lords, turns into a unified national state.

The mansion among the works of the first period is only the tragedy "Julius Caesar". If Shakespeare had not written two comedies after this tragedy ("How do you like" and "twelve night"), then with Julius Caesar should be considered the second period of his creativity.

The comedy "Sleep in the Summer Night" (a midsummer-night "s dream) occupies a special place among the works of the first period. This comedy, as suggested, was written on the occasion of the celebration of one aristocratic wedding. At first glance, we have an elegant epitulam - and only. Alignment in itself and the plot. The main role in the comedy is played by a flower who possesses the pack and which is called "love from idleness." The whims of a love passion, finding surprise and besides the will with a mastering heart, is the main content of the play. But, as usual Shakespeare, the first impression turns out to be incomplete. First of all, we note that under the conditional "Athenian" costumes distinguishable the English reality surrounding the Shakespeare. In Tezay, boasting his hunting dogs, it is not difficult to notice the features of important English velmes; Lovers "Athenian" in many ways probably reminded those Young gentlemen and ladies whom Shakespeare could watch at least in the house of Southampton Count. Even the elves quarrel, love and p Energet, like people. Before us appear Oberon, Titania, Pak. As if in a children's fairy tale, human beings are the flower of fragrant peas, a web, a moth, mustard grains. Fantasy Shakespeare is realistic. Elf - the same people. But, at the same time, Titania is no more similar to the notable lady of Elizabethan England than a light pack - on a real jester of that era. Shakespeare elves are magical creatures, although they have nothing "otherworldly." They are free of people, and at the same time are full of interest only to people, because they belong to them: these are dreams and dreams of human; Without them, the heroes of the play would not have achieved happy harmony, finalizing the long rumor.

It is significant that even in this "aristocratic" comedy, Shakespeare's fiction chose the images of the English folk fairy tale: the conditional Cupid place took a well-known folk belief of a cheerful and crazy pack, he is "Robin Good Small". And finally, as if as accompaniment to Fabul, there was a noisy group of eccentric artisans led by a weathered basis.

The atmosphere of this comedy is not so cloudless and radiant, as it seems first. Lyzandra's love and Hermia can not enthusiame in Athens. It is blocking the way embodied in the face of the old Egea an ancient cruel law, giving parents the power over the life and the death of his children. For young people, one way out remains: escape from "Athens" on the Lono of Nature, in the forest school. Only here, in the blooming forest, the age-old chains are broken. It should be noted that the action takes place on day of May - that day, when the people around the cities and villages of England celebrated their hero's memory, Robin Hood. Not only about the "whims of love", but also about the victory of a living feeling over the old-fashioned and cruel feudal law narrates "subtext" of this comedy.

But why did Shakespeare artisans needed? Of course, not only for comic contrast to a lyrical topic. The artisans are funny, and they are ridiculous because they have a lot of old, who has already exhausted, it is typical guild masters, and still imbued with medieval. But at the same time they are attractive. Shakespeare loves them because they are from the people. These artisans are actively engaged in preparing for the play, which should be played at the Tezay's wedding. Of course, the performance turns out to be ridiculous. It is possible that Shakespeare has paroded the execution of mysteries by masters and apprentices of the guild workshops. Seeing Mysteries on the stage Shakespeare could still as a child in the province. But we have a matter here not only with caricature. Gorky motives are also sounding in this laughter. The story of the pyrome and fesbe in his string echoes the fate of Lizandra and Hermia. "In the world around me, everything is not always ends so well, as in my comedy," this is the hidden remark of Shakespeare. The expressives of this truth are clumsy, inexpical, but truthful artisans. No wonder and Pak, speaking in an epilogue, reminds the audience about the "lions roaring from hunger," about the pahar, extended labor, about a seriously sick, who thinks about the funeral Savane in this wedding night. From observations over the lively reality, the topics have already grown, which were subsequently embodied in stunning collisions of the great tragedies of Shakespeare.

In Romeo and Juliet, Shakespeare used the plot and a number of details from the poem of Arthur Bruk. In this tragedy; For the first time, Shakespeare is the formidable power of fate. On a poetic background, among plane groves and blooming pomegranate trees, under the "blessed" sky of Italy, two young people loved each other. But the path of them, fortunately blocked the mutual feud of those noble births, to which they were destined to belong. According to the expression of the prolobe, they were "tilted" by this hostility. So in the play of Marlo "Maltese Jew", the daughter of warrava and a young Spaniard, her beloved, are victims of hate and hostility reigning around them. But if Garlo speaks about the destructive power of gold and creates the image of the "Machiavelist", the predator of the initial accumulation, Shakespeare draws an old feudal crossbought. And yet it would, of course, would incorrectly reduce the content of the work to the criticism of the patriarchal despotism of the feudal family. The meaning of this tragedy is of course much wider. Juliet not only "dismissed" his parents. She preferred a "advantageous" bridegroom, brilliant Paris, the disadvantaged exile Romeo. She rebelled not only against the "tradition" of his family, but also against the bourgeois practical "common sense", embodied in the Soviets of the Kormilites.

The epigraph to the play can serve as the words of the naturalist and scientist, the Humanist in the monastic Ryas - Fra Lorenzo. The same flower, "he says, - contains in itself and poison and healing force; It all depends on the application. So loving happiness love leads in the circumstances described by Shakespeare to death, the joy appeals to tears. Lovers are powerless before the fate, as powerless to her and the scholarship of Fra Lorenzo. This is not a mystical rock, but fate, as the personification of the circumstances surrounding the person, from which he cannot break out. Romeo and Juliet are dying in the surrounding "cruel world", how to die in it Hamlet, Othello, Dzemmeron.

Already in the prologue, Shakespeare calls Romeo and Juliet "doomed". Having entered into unequal struggle with others, they are aware of their doomed and lovers themselves. "I am a jester in the hands of fate!" - exclaims in despair Romeo. Above in love with the consciousness of the inevitable catastrophe, reflected in the pursuit of their premonition of death (scene of their last separation). Nevertheless, the death of Romeo and Juliet is not meaningless and not fruitless. It leads to reconciliation of hostile childbirth. Above the grave of the dead erected a gold monument. Shakespeare as it may indicate the audience that the memory of them will continue, as if leads the audience to the future. In this - the life-affirming motive "story, sad that is not in the world."

At the end of the tragedy, we hear about a folk crowd running with a cry to look at the dead. This is the most popular crowd, which during the whole tragedy hated the cutlery and montecs and now so much sympathizes in love. Their light images go to the legend. Against the background of a folk crowd, a sad story acquires a heroic sound.

Shakespeare showed images of his heroes in live development. Juliet from the girl - "God's Cow" calls her Kormilitsa - grows into the heroine, Romeo - from the dreamer young man, languidly sighing about Rosaline, in a courageous, fearless person. At the end of the tragedy, he calls Paris, who maybe, and older than his years, "young men", and - "husband". Lovely love Juliet looks at life with different eyes. She comprehends the truth that goes against all the traditions of her upbringing. "What is the montext?" She says; "This is not a hand, not a leg, not a face, not any other part that is a person. Oh, call for a different name! What's in the name? What we call Rosa would be so much. Sorely, if you were another name. " Turning to modern Shakespeare of philosophy, we will find the same idea of \u200b\u200bFrancis Bacon, the generic team of English materialism. We also note that Shakespeare here rejects and created by the centuries of feudalism dogmate - faith in the real meaning of a notable generic name. "You're - you yourself, not a montext," Juliet thinks about his beloved. Shakespeare entered the Juliet not only with purity and heroic dedication, not only hot heart, but also by the mind, bold and insightful.

Wonderful in this tragedy and the characters of the "second plan". Brilliant, witty Mercutio is a genuine carrier of the cheerfulness of the Renaissance. In everything opposed to him "Fire Tibald", the immediate culprit of misfortunes, the image of which deeply leaves the roots in the dark feudal past. The criticity of criticism did not fall without reason "Falstafa in the skirt".

In the era of Shakespeare, Romeo and Juliet used, an emerging, great success of readers. About its popularity among the student says the next fact. During the XVII century, an instance of the first Folio of Shakespeare was attached to the reading room of the Oxford University library. This book, as seen on its pages, was read a lot at that time. The most rubbed students of the page of the text of the text "Romeo and Juliet", especially - the scene of a night date in the garden of cabins.

III. Stages of creativity.

The creative path of Shakespeare is distinguished by three stages. From the first chronicles, early comme-di and poems to Romeo and Juliet and Yulia Caesar (1590--1599); Then from "Hamlet" to "Timon Athens" (1600--1608) - tragic time, covering the vertices of Shakespeare Dramaturgia, and, finally, late Peri-OD - before leaving (1609--1613), fabulous Or romantic dramas, among them a farewell - "storm", and the last, somewhat odd chronicle "Henry Yiii", written, as some researchers believe, not one Shakespeare. There are more fractional divisions. They capture additional shades, without changing the total line of Shakespi-rovsky creativity.

In the first stage experiments, Shakespeare has rolled to the past of England, relatively for those times recently. At first, Shakespeare walked behind the story, then, however, he moved to reversed, turned to times earlier, representing the troubles of the century of war.

If you disrupt the procedure for the appearance of Shackspie-rivov chronicles and arrange them in accordance with the historical sequence: "co-role John" (1596), Richard II (1595), "Gen Rich IV" (part 1-and 1597- 1598), "Heinrich V" (1598), "Heinrich VI" (part of G - III, 1590-1592), "Richard III" (1592), "Heinrich VIII" (1613), then from the time of the king of John the landless Before the board of Henry VIII, the Queen of the Queen of the Eli-Covenants, in other words, close to the Shakespeare Epoch, the picture of the rise of Ang-Lii will unfold, the growth of its state monolithic and greatness.

Feudal distinctions, enmity of the scarlet and white rose, glorified by the battle of Asinkur, the war in France, the rebellion of Jack Keda, the battle of Bosworth - important milestones of domestic history and, of course, the largest figures - co-roles, veelmazb, commander, folk heroes: Jeanne Dark or Jack Ked - all this in lively movement is captured by Shakespeare Chronov.

Shakespeare applied with historical facts freely. The plays took the basis of not so much facts as a prevailing idea of \u200b\u200bthese facts, about the history events and leaders. Shakespeare was faithful to history. It is accurate when it comes to time trends, about where the English story moved at that time. Special truth and expressiveness Shakespeare reaches in the types of the past, in the image of the characters of former time. This is not a restoration, but in fact - the types of the past, which has been preserved, however, from the past centuries to the shek-spear era. In the direction of the era, the movable idea of \u200b\u200bhistorical time, when the old world was revived and on the background of him is conscious of a new time, as well as overseas opened a new light, Shakespeare embodied in historical Xuests and situations, and especially in characters, the nature of the time. This is artistic historicism. The time of the Shex-Pera is the answer to the main historical and social issues. In Shakespeare's chronov, feudal oppositions and say that they abolish them without the will of the king, and time. And they themselves, resisting the centralized authority, is aware that they are trying to stop history.

Shakespeare covered the whole country, a whole nation, people in historical movement. View of Shakespeare has a huge length in space and time. Milestone Results led Shakespeare in his chronicles, Nab-Lyuda and showing the formation of English statehood. Shakespeare Power is pro-is in the ability to convey and "time" as an era forming "contemporaries", and the scale of historical times.

At the very beginning of the Chronicle "Heinrich IV" says that the British should perform a debt, which is already on them already four-ten-cable centuries. Then the king reports that "two-dead months", as it was decided to fulfill this debt. Finally, he moves to the regulations of the State Council, attendant "yesterday". So, in a living and direct connection, as something close and tangible, the story is comprehended. Characters, and with them Shakespeare and his viewers felt themselves by the participants of the process, stretching almost one and a half thousand years: the centuries are experiencing, it is also real as what was "yesterday".

In the very first chronicle of Shakespeare, the image of a patriarchal life, peaceful and non-duration with the "Vod-Corny," arises as a misfortune, despite the despicuousness of the recreation of the elements of the permisses, the refuge, but unattainable. The feeling of the historical course of time-meni is found in the turns of the event and personal destination, it is found at the very beginning of the creative path of the playwright. And immediately, in a lively form, the need is the need of Rav-Nov Asia, and it is possible to catch its social pro-image and real soil.

With a cycle, the chronicles in the work of Shakespeare, a series of comedies is interspersed - all ten Shakespeare's "cheerful comedies" were created in the first period of his dramaturgical activities. Contrast in a social, moral and emotional atmosphere of these groups of works is obvious: "Bloody days" in chrona and "fun days" in the comedies - "Comedy of Errors" (1592), "Sleeping in the Summer Night" (1595) "Many noise from nothing" (1598), "How do you like it" (1599).

Shakespeare Chronicles and Comedy are self-precade spheres of dramatic creativity, taking into account different tasks of theatrical spectacle and the peculiarity of genres, but not isolated, but related. "Merry comedies" relate to saturated drama chronicles, but not because they are able to serve as a comic discharge of the dramatic voltage and not in the functions of a com-mentoring, exciting the good state of the spirit.

Early tragedies contain motives predicting the "Hamlet" tragedy and King Lira. The active participation of Brother Lorenzo in the fate of Romeo and Juliet, incentive, and Os-viscous Renaissance Humanism, it is not completed by the celebration of his humane design, but the death of heroes. Circumstances are stronger than inspired effort and good science. The confluence of the events, which prevented their use, does not soften the tragedy of the situation, does not exempt the active humanist from the sense of personal guilt and indicates the tragic inconsistency of the ideal representations of the humanists of the very remote reality.

Among the Pieces of Shakespeare, the special group is the composition of the four "antique" drams - "Julius Tse-Zater" (1599), "Anthony and Cleopatra" (1606), "Coriolan" (1607), Timon Athens (1608).

"Julius Caesar" is a play of "turns of centuries", a periodic phenomenon in the work of Shakespeare. She follows nine chronicles from English history, for the unfinished cycle of national chronicles, expanding the historic horizon of Shakespeare's drama. It precedes great tragedies and is a "tra-gedhy-chronicle", mixed and transition genre. It focuses on the political history of the turning point and the tragic fate of her great figures, exposing the objective basis of the movement of historical time, the non-worst of the historical process and the real consequences of subjective aspirations and will.

As in other plays, deploying an action in other people's countries and in other times, Shakespeare depicts the modern Ang-Liu. However, the ancient Rome in Julia Cesar is not a pseudonym London, it retains the National-Nali, and historical features. In Yulia Cesar, the political and civil climate and the characters of the political figures of ancient Rome are obvious. In Yulia Cesare, the action is associated with the city, with urban problems, and this drama is actually a "urban", with velvety lushes under the "Tree Green" action and forever transferred to the urban stone. The same city-Sky atmosphere in Coriolan, and in the actual British tragedy "King Lire" in the mental state of the characters, the same "ka-change" cruelty is manifested.

Shakespeare transmits a specific and paradine state: when comprehensive pro-gers, the expansion of the horizons is reduced in the submissions of the person the universe, the world is stamped narrow and small. The city crowd in Yulia Cesar is acting as a formidable force, such a power of historical movement, which was not in the chronicles from the history of England. Shakespeare will deeply sympathize with the urban poor, especially benno if it turns out to be in the power of degrees, as in the "Coriolian" tragedy, he gives justice to the requirements of the city worship, is ready to understand her extreme despair and bits when it is determined to go on the riot

And outside the ancient dram Shakespeare's tra-gism, like everything, the shakespeare is inherent, is characterized by scale. The modern approach based on historicism sees in the Shakespeare Pieces of TR-GIFI in the development of large processes, revealing through the characters and their struggle. The way of a lot or even different times, on top of each other and become coming together, is the leading line Shakespeare's tragedies.

At the decisive stage of his work, Shakespeare rose to the tragedy, which has accompanied the revival.

Each of the Shakespeare tragedies is a tragedy Diya "His Time", which occurred from the pro-fatigus of the history of the story in the Renaissance Epoch. Opening a new light and - loss of illusions about some lands of promised

It is important to indicate the Shakespiere contemporary on the fact that the Gam-Years have become "full-fully" years ten to the appearance of the Shakespeare tragedy: the type, perpetuated by Shakespeare. The claims, the "loneliness" of Gamlet, began to be conditional. Hamlet himself does not quite understand what "I remember" in it. Hence the "mysteriousness" of his state, his replica, paradoxes.

The new beliefs in the consciousness of the GAM-Summer and all other tragic heroes of Shakespi-ra are not in "pure form", but in different connections and plexus with the convictions of traditional. Heroic characters in Shakespeare tragedies are a complex alloy, created by the influence of different forces - half-ricker medium and its brushing, transition time with its stormy fermentation, akin to the spiritual takeoff, and the bourgeois variation, which served and the basis of change, and the cause of the crisis.

In the "King Lira" (1605), the material of the tragedy is a tangle of historical on-plasteen. People in her fear of witches - and exactly nothing in the world is afraid, they still believe the stars - and they do not believe any at all. A person feels like a two-legged animal, and the author's own destiny. Time caused, conflicts were determined. " And this is not only a conflict between the two generations, this is the disintegration of the centuries-old epoch. The scale of what is happening: the story is not in the sense of the distant past, similar to modernity, and the story itself is like a process: one comes out, the other is coming.

A dispute with a daughter because of the suites - the king wants to leave a retinue as a shell, where his world would have been maintained, decreasing, but still the world. The world of valoring Lira is the world of coarse valor, brutal youth.

Shakespeare shows, and how the people are tightly held for "their time", and how they take them together with it. Time is emitted in people. Keywords of this tragedy are root, blood, seed, genus and especially nature. With these words, in which time and place are woven - history, Shakespeare's text is saturated. For the words - the concepts, for concepts - a look at things, way of life, the one that dilapidated and cracks on the seam under pressure.

The distinction of people in the tragedy occurs according to how they understand the nature, which is looking for it - in themselves or on themselves. No matter how great the self-conceit of Lira, he still considers himself only a part of nature, meanwhile, the Edmund is much more daring in his pride, but he sees the middle-education in nature.

Shakespeare, who painted the Starina, Pat-Riarhaloy is so interested that he was suspected even in the "aristocratic" addiction to the past, in the "King Lira" this predictation almost does not discover. Rather, on the contrary, sharp strokes makes it clear that the older time was quite aware of himself. Past leaves. Shakespeare shows it definitely and concise. But for the onset of new times, he follows in detail and from different sides. Spear creates a limit tragic on-branch or even a tragic balance of forces.

It is impossible to withdraw from Shakespeare a certain one-centered "idea", but Shakespeare has its own special wiseness. He expresses her in the "King Lare" briefly, in the essence of one phrase: "Maturity is all."

Shakespeare is occupied by the analysis and human, and society separately, in mediated and direct connections. It analyzes the sensual and spiritual nature of man, the interaction and boring of feelings, mental states in their movement and transitions, the development of affects, their self-bilizing and destructive power. It co-centers analysis on the turning states of consciousness, for the causes of the spiritual crisis, the causes of external and internal, subjective and objective, surface and depths. He reveals incentives and logic of the behavior of the man-age in its immediate and mediated relationships with society. Such inclusion, psychological and social insights, the accuracy and content of the analysis of the properties of the Venna in the English literature of Renaissance only Shakespeare, its tragedies - the top is not only English, but also the entire European Renaissance literature.

The "Othello" (1604) was not naked, on the contrary, as if emphasized the dependence of the tragic consciousness of the hero and his death from the social medium. Othello was raised with her efforts, but she was ruined with his own hands, glory, love and life, robs not one herself, but both Dzentemon - the embodiment of the Renaissance ideal of femininity, anonymous, spiritualized and real-terrestrial. In this feature of the nature of the chief hero and the plot of the tragedy. For the time being, the aspiration of Othello and Yago did not, nodded, but the moment came - and the collision was inevitable. This is not a clash of a new one with old, both, and Othello, and Yago, not-day in themselves, of course, in different proportions and in different forms, and the features of the old one, both raised by revival, but each on their own way: one - expresses His ideas and partly make them to a broad life practice, the other - uses Renaissance norms with energy and an AMO-Ralism, unleashed during the onset of the medieval transcendental ethics.

Yago was released not only from Prejudo, he overcame all internal obstacles, the striking flexibility of nature is achieved in it with a complete disregard for public standards. This is not the freedom of mind when a person understanding the relativity of moral news, conscious of their historical meaning, and if it takes responsibility to be the judge of his actions, it relies on the mind, not by abusing them. For Yago, freedom is freedom of arbitrariness, pursuing personal you-year.

The integrity, immediacy and noble character - the fundamental feature of the hotel, it is highlighted by Shakespeare as a distinguishing for a person who meets the humanistic ideal. The question of the meaning of supernatural forces in the Shakespeare Drama, in the development of its plots and characters, in the concept of tragic pro-returns to occupy Shakespires, especially in connection with the problem of the realism of the work of the neck of the shek-spiral.

In the last tragedy of Shakespeare, in Timon Athensky (1608), on the contrary, the connection of the tragedy of the hero with the moral state of the social environment, and the moral Cree-Zis, with the influence of material social forces. If the transition from the first to second period seems sharp, but explained by law-dimensional, then the Shakespeare of the last period looks unrecognizable. The transition here is not even so contrasting as the difference between the optimism of the chronicle, comedies, on the one hand, and the gloom of tragedies - on the other. At the posterior stage, Shakespeare becomes like a different playwright, although continues to develop the same topics. The development of the same motives, but in a completely different key, it emphasizes the principle of change. The overall impression of the last plays of the neck of the neck, shared by many critics, so that this Shakespiest situations, the pictures, like not Shakespeare, and the playwright of another school, although there are no doubts about the shek-spear authorship: the plays entered Shakespearean " Canon ", and" storm ", which concluded Shakespeare's path, opens up a meeting of 1623, Shakespeare himself significantly changed and not only within the borders of his own evolution, but against the background of a completely different literary tour era.

This Shakespeare is a senior contemporary Donna and Webster, a young and fundamentally new generation in the literature. The generation that recognized his duty to Shakespeare's time, in front of Shakespeare and which, at the same time, specifically attributed Shakespeare to the past. Shakespeare for its part makes an attempt to move with a new stage a characteristic feature of the late work-Deniya Shakespeare was all aggravated "anatomy" of human psyche, man-proofs. In the plays of Shakespeare, the numbers of Russia and Russian are growing in proportion to the participation of the relationship between England and Russia, the relationship, which is raised on the state basis in Shakespeare's times.

The "storm" as it may return to a more traditional Shakespeare environment, in a circle of typical, but Shakespeare characters and at the same time contains a distinct motif of "farewell." According to the plot of the play, he was directly responding to the event, which was the maliciousness of the day, when a major English expedition suffered a croal from the coast of America, near the Bermuda islands, which Shakespeare also made the place of "storms".

Conclusion

Primary in value and strength among giants put forward by revival, Shakespeare compared to them possesses a number of particular stey. Shek-spire did not differ in external versatility, so characteristic of Renaissance figures, including for poets close to him. On the path of Shakespeare, there was no significant rejection from literary and theater activities, within which Shakespeare also held one channel, above all and mainly dramaturgy.

A new stage is associated with Shakespeare in the acquaintance of the reality and its ideological-aesthetic assessment, a merciless assessment of the Skala-breathing bourgeois society and the Abso-Luminous arbitrariness, as well as sober Sumy-Denia on the Humanism of Renaissance, about his grandeur and tragedy. This was the realism of Shakespeare as a look, imbued with historians-Mom, sometimes spontaneous, and sometimes deeply conscious.

Shakespeare is the highest expression of English renaissance literature, moreover, all the English literature: equal to him on the creative majority, the significance and life of his heritage is not in the literary history of England. National Genius, Shex-Day belongs to the geniuses of the European and Miro literature, to a small number of writers who have provided and have an intensive impact on the development of many national literature and on the entire spiritual culture of the world.

Shakespeare view on things unusually but real. They are all grapted, the actual price is given to everything. In this feeling, in this real and sobriety of perception and transmission of action, the essence and the basis of its realism.

BIBLIOGRAPHY:

1. DRAC G.V. Culturalology: studies. Manual for students of universities. - Rostov N / D: Phoenix, 2005.- 608 p.

2. DRAC G.V. Abstract lectures. - Rostov N / D: Phoenix, 2003.-87 p.

3. Markova A.N. Culturalology: studies. Manual for universities. - M.: Uniti-Dana, 2005.- 319 p.

4. Gurevich P.S. Culturalology: studies. Manual. - M.: Gardarians, 2002 -288 p.

5. Bagdasaryan N.G. Culturalology. Publishing for students of technical universities.: Higher. School, 2003.-680 s.

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The entire Creative Path of Shakespeare is a gap from 1590 to 1612. Usually divided into three or four periods.

I (optimistic) period (1590-1600)

The overall nature of the works of the first period can be defined as optimistic, painted by the joyful perception of life in all its diversity, faith in the triumph of smart and good. During this period, Shakespeare writes a comedy for mostly:

• - "Comedy of errors",
• - "The Taming of the Shrew",
• - "Two Verona",
• - "Besleful Efforts of Love",
• - "A dream in a summer night",
• - "Windsor Ramaznitsa",
• - "Many noise from nothing",
• - "How do you like it",
• - "Twelfth Night".

The theme of almost everyone comedies Shakespeare Love, its occurrence and development, resistance and intrigue surrounding and victory of a bright young feeling. The action of works occurs against the background of beautiful landscapes, filled with lunar or sunlight. Such a magical world of Shakespeare comedy, seemingly far from fun. Shakespeare has a great ability, talented to combine comic (fights in Benedict's wit and Beatrice in "Many Noise from Nothing", Petruccio and Catarina from "Taming Shot") with lyric and even with tragic (treason of a protest in "Two Veronatsa", Sheiloka "Venetian merchant"). Shakespeare's characters are strikingly multifaceted, their images are embodied, characteristic of the Renaissance Age: Will, the desire for independence, and vitality. Especially interesting female images of these comedies are equal to a man, free, energetic, active and infinitely charming. Shakespeare comedies are diverse. Shakespeare uses various comedy genres - a romantic comedy ("Sleeping in the Summer Night"), the comedy of characters ("Taming of the Shrew"), the comedy of the provisions ("Comedy of Errors").

In the same period (1590-1600), Shakespeare writes a number of historical chronicles. Each of which covers one of the periods of English history.

On the time of the struggle of the scarlet and white rose:

• - "Heinrich VI" (three parts),
• - Richard III.

About the previous period of struggle between feudal baronia and absolute monarchy:

• - Richard II,
• - "Heinrich IV" (two parts),
• - "Heinrich V".

The genre of dramatic chronicles is peculiar only by the English Renaissance. Most likely, it happened because there were mysteries to secular motives with the beloved theatrical genre of early English Middle Ages. Mature revival playwright was formed under their influence; And in the dramatic chronicles, many mystery features are preserved: a wide coverage of events, many characters, free alternation of episodes. However, unlike the mysteries, the chronicles present is not a biblical history, but the history of the state. Here, in essence, he also appeals to the ideals of harmony - but harmony is the state that he sees in the victory of the monarchy over the medieval feudal cross-pass. In the finals of the play triumph; Evil, no matter how terrible and bloody is his path, will overtake. Thus, in the first period of Creativity of Shakespeare at different levels - personal and state - interpreted the main renaissance idea: the achievement of harmony and humanistic ideals.

In the same period, Shakespeare writes two tragedies:

• - "Romeo and Juliet",
• - "Julius Caesar".

II (tragic) period (1601-1607)

It is considered the tragic period of Shakespeare's creativity. Deals mainly tragedy. It was during this period that the playwright reaches the tops of his creativity:

• - "Hamlet" (1601),
• - "Othello" (1604),
• - "King Lear" (1605),
• - "Macbeth" (1606),
• - "Anthony and Cleopatra" (1607),
• - Coriolian (1607).

There is no longer a trace of the harmonious sensation of the world, the everlable conflicts are revealed here and unresolved. Here the tragedy is concluded not only in the collision of personality and society, but also in the internal contradictions in the soul of the hero. The problem is derived to the overall philosophical level, and the characters remain unusually multifaceted and psychologically voluminous. It is very important that in the great tragedies of Shakespeare there is a completely lack of fatalistic attitude towards rock, which predetermining tragedy. The main focus, as before, is put on the identity of the hero who form his fate and the fate of others.

In the same period, Shakespeare writes two comedies:

• - "End - the case of a crown",
• - "Measure to measure."

III (Romantic) period (1608-1612)

It is considered a romantic period of Shakespeare's creativity.

Works of the last period of his work:

• - "Cymbelin",
• - "Winter Tale",
• - "Storm".

These are poetic fairy tales, who lead from reality to the world of dreams. A full conscious rejection of realism and care to a romantic fantasy is naturally interpreted by Shakespearers as disappointing playwright in humanistic ideals, recognition of the impossibility of achieving harmony. This path is the entire worldview of the Renaissance from the triumphase-uncomfortable faith in harmony.

Shakespeare has the author of the chronicles - there were predecessors and teachers, but the poet here from the very beginning took its special place. And his reception is not only original for the poet of the XVI century, but is exceptional in general in the field of historical drama.

Prologue to Heinrich VIII promises the public to portray in the chronicle for the truth and genuine history, do not resort to the "spectacular scenes" and "nonsense battles" ... Heinrich VIII does not fully belong to Shakespeare, but the prologue completely characterizes him as the author of the Chronicles. The poet with an amazing selflessness and tact to be subordinate to its sources, often literally binds scenes and monologues from cholinshed cholinshed and only an inspired creative process reports scenes with dramatic life and strength, in monologues reflects the fullness of the soul of actors. This art is quickly improved with each chronicle, and after the epic, fragmentary dialogues of Heinrich VI follows a number of exciting scenes of Richard II and King John, until finally in Richard III is not a real drama with the deep psychology of the hero and the exemplary sequential development of the action. A dramaturg-psychologist increased from the dramatizing chronicler for several years, in the near future the author of the Great Tragedies. And again, as in comedies, the poet managed to merge an unusually skillful response to the requests of the modern public with the fruitful results of personal creativity.

We know that the chronicles on theatrical scenes were the result of the patriotic sentiment of the era and, of course, had in mind exactly these moods. Naturally, Shakespeare hurried in full to satisfy the feelings of the public and his personal at the same time. The poet could not remain indifferent to the glory of his fatherland and, maybe, really welcomed the death of "Armada" in verses: So, at least, some think. But this fact is not significant: the chronicles were given to the poet of any kind of exposure for patriotic libraries, and he took advantage of them with all the swiftness and sprouting his inspiration. The slave patriotism of Shakespeare should be considered a reliable feature of his moral personality. You can not be counted for the patriotic intentions of the poet's unworthy role of the Orleans Virgin: and the Chronicle of Heinrich VI itself is unknown, as far as Shakespeare belongs, and the identity of Zhanna D "ARC in the XVI century could be less common in the true light, not even patriots and not the British, and finally , the author did not hide the passionate patriotic inspiration of Zhanna, the main fact of its biography. But quite certainly authentic Shakespeare Chronicles to appreciate the national instinct of the poet.

We have the heroes of different public situation - kings and simple lords; different political parties - supporters of Lancaster and Yorks; Different characters - a frivolous despot Richard II and the knightly duke of Ghent, his sacrifice and an opponent - and all the enthusiastic adorations to their native England are equally executed, everyone becomes sensitive and poets, only only comes to the power of the motherland or her misfortunes, about separation from her.

Richard, returning to England after a short absence, as if the in love welcomes the "cute edge" and "seeks to press him to his chest", as the mother of his native son - "and crying and laughing." Ghent before death speaks an enthusiastic speech "Nice Island", "the country of magnifies, Mars's depth, earthly edge", "the brilliant diamond imparted to the Silver Sea." One of the most independent and harsh heroes chronicle - Norfolk, - going into exile for disobedience Richard, the last words performed by longing turns to England. Do not hear the native language for him flour, equal death; Lose homeland - lose the "light of the eyes". In the sad times of the King of John Lords, bitterly complain about a thunderstorm, gathering over the "native people", and Prince Philipp encompaces drama with a real national anthem:

"At the proud feet of the warrior of others

Britain in the praha did not lie.

And not lying in a battery never

So far she herself does not waste ...

And let the fighters from all ends of the earth

Go to us - we will push them away!

Kohl England to be England knows

No one overpower us in the world. "

The poet clearly sympathizes such moods. He and the Chronicles makes the same anger and mockery over imitators in foreign fashion, which we heard in the comedies. Prince Philip "Modest Ministry" identifies with poison lies. One of the defects, thickening Richard II, is inize Italian modes: this is an explicit anachronism for the XIV century English history, but it is necessary for a poet in patriotic purposes.

They are the more important that Shakespeare's policy is limited. We would be in vain to search in his chronicles of the principles and ideas that caused English civilians. General policies have played a big role in Richard II and John the landless. Richard II, counting on marriage with the French princess, hesitated the French etiquette at the court and declared claims to unlimited self-deficiency in the example of the French sovereign. It was for these claims that the parliament accused the king in violating the constitution and lowered. English historians this struggle consider the first constitutional struggle in English history. Events at King John are well known: the great efforts of the Lords, the clergy and London citizens were created by the Great Charter of Valibilities, that is, the legal basis of British freedom. In the Shakespeare Chronicles there are no political issues about the power of the king and the rights of his subjects: the poet even misses the era in the chronicle the creation of the Great Charter and is not engaged in the constitutional crimes of Richard. Its attention is focused on the moral shortcomings of figures, on psychology, and not on politics. Regarding Richard, a passion is mentioned about heavy taxes and unpopularity of the king in the people, and King John, not as an example of the usual, strictly historical, truth of Shakespeare Chronicles, even much embellished relatively with the real personality of this sovereign. Undoubtedly, with such a formulation, the chronicles of Shakespeare are far from complete, do not exhaust all the phenomena of historical eras. Truthful in facts and characters, they omit a lot of significant events and are looking for primarily people in heroes, and not political figures. It is true abbreviated and often one-sided. It is very characteristic of Shakespeare - the poet indifferent to social movements relatively with the psychological development of individuals. But here quite naturally affected the poet playwright, which requires mainly in strong central figures, and a contemporary of even almost primitive chronicle historiography. And Shakespeare precisely the incompleteness of his chronicles proved only all the same good faith in using sources. In the second part of Heinrich Vi, he could simply rewrite humorous scenes from the chronicles with folk conspirators and on this to end the Ked's uprising, in fact incomparably more important and serious. Subsequently, he will also go with the plebeians in Coriolan, borrowing and here is the aristocratic spirit from the source. And we cannot demand an insight and interpretations from the poet of the XVI century, which even in our time becomes affordable not all scientists.

In the favorite area, - psychology and moral logic of events, - Shakespeare extracts everything that it was possible to extract from the history of English civil engineers. Starting from Richard II, we are indifferent to the motives, which will have brilliant development in the most mature creatures of the poet.

In facts, genuine reality is convinced of the irresistible power of moral law, managing human life. The victory or drop is always and everywhere the inevitable result of the personality, more or less adapted to the fight against external conditions. No miracle is required, so that the crime suffers a deserved punishment, and no exceptional heroes are not necessary so that weakness pays for their failing and media. One of the heroines and victims of the cruel community for several special cases expressed the general philosophy of human destiny:

"Edward went to pay for Edward

And death covered mortal debt

Platagenet for the planagenet "...

And this belief shares all witnesses and the culprits of bloody events. Only the culprits are too late come to the Great Truth that

"The Lord does not commit secret executions

Above those who perched him "...

So says Brother Richard III people sent to kill him - and the truth is carried out at the very harmonious and courageous representative of evil. This idea passes through the binding thread through all the troubles and entangle the intent strong intent, it does not pass the weak, unworthy of their high position. If the strong must remember the speech of the King John:

"Super supports do not build blood,

Alone else's death - life will not save "...

for the weak and unworthy great lesson - the fate of the kings of Heinrich VI and Richard II. One at the highest responsible post for the peaceful shepherd's life and idyllic happiness, the other indulges will not hear the pans of the people, and his state garden "stamped under mass herb"; Both will lose power, and Richard II, full of chance and self-adequacy, knows the poverty of human nature and is bitterly laugmented over the ascension of the Lysta and the mercy of the rulers. It will raise the painful hard work of thought, before it is unknown, and he will be in vain to seek the spiritual world. Highly Epicurian will turn in almost Hamlet and will have time to go through the illuminating breath of the tragedy of the Lira ...

Yes, the chronicles are buried grains and the bright segments of the later creation of the poet are often green. The fifth act of Hamlet stands before his eyes whenever the circle of dramatic events and the Duke of York, together with Richard II and Richard III, unanimously recognize the truth, conquered by the Danish Prince so numerous tests and disappointments: "There is a force leading to the goal, whatever way We chose "...

It is not fatalism, but faith in a constant world order, where the human will is as valid link, as well as an external life, such as the phenomena of nature. Of it, the consequences corresponding to its moral content imply as natural and insurmount. The impact of such a world view on dramatic creativity is obvious. The poet will not resort to miracles and exclusive accidents for the sake of the play of the play, but it will not retreat but also before the hardest outcome of the tragedy, will not allow compassion and sensitivity to intervene the fate of virtuous and innocent, since the logic of life and events requires victims. This logic, we know, eliminates from the stage of reality not only criminal, but also weak, not capable of external forces to oppose our and stay at the height of their vocation in the whirlpool of hostile currents - and we will see not only the execution of Claudia, Edmund, Macbeth, but also The death of Ofelia, Dzentemon, Cordelia, Juliet ...

Crown of Shakespeare Chronicle of the early period - Richard III. The personality and history of the main character for us is extremely important. The poet first presented the psychology of the villain is infinitely criminal and gloomy. Subsequently, she will repeat in the characters of Edmund and Yago. At first glance, these figures can impress cruel-melodramatic. They are on stage with ready-made villains and go to their goals, everything is mercilessly eliminating on the way, using any means, as if inborn natural offenders. In fact, they have their own psychological history, their stages of gradual and logical development. For the first time, Shakespeare showed it on the fate of Richard.

Duke Gloucester is unusually smart, darisitis, dips and energetically - all qualities, elevating a person to height. But at the same time, it is an exceptional freak, stamped by nature from minute of birth. The deformity highlighted it from the human environment, turned first into a rejection, then in an embittered twist and finally in the natural enemy of all the lucky. And the enmity of Richard will be more persistent than these lucky below it in the um and talents; Their privileged position is a blood insult for its pride and claims based on the deep consciousness of its superiority. Richard himself exactly explains his position among relatives and the rest of humanity; Do not forget to emphasize his lonely suffering in peacetime, when others enjoy life and love. Once "Lying Nature" separated his impassable precipice from the rest of the world and embodied in it a clear horror for people, - he "curses idle fun" and "rushes in villainies." This is a completely understandable impulse of insulted vagueness and is unknown for which poisoned existence. And Richard steadily and designed to take revenge and feed their egoism and malice. In addition to the power of the will and perfect indifference to good and evil, the mind will tell him the most reliable means to catch the weak and unreasonable - hypocrisy. This is a common feature of all villains of Shakespeare: a snake heart in a pigeon shell. The combination of huge excerpt, the cold calculation with artificial openness, sincerity and even the lyricism of feelings is creating wonders. And each new victory only aggravates the despise of the hero to their victims - the past and the future - and strengthens the highest idea of \u200b\u200btheir own forces. The villain becomes a fatalist on the basis of all the same egoism, that is, it begins to consider himself a gun of higher power and attributes his atrief with fate: "The unfortunate star ruined them," says Richard about two young princes, they ruined. Edmund, identifying themselves with nature, and Yago, who does not distinguish their will from world power, will also look at their enterprises.

All three heroes act on a majestic tragic scene, and, of course, the scope of activity is striking with breadth and power. But the essence of psychology does not become less vital and real. Forced reneguance and blood offended by pride of strong natures create a heavy precipitate in unbearable bitterness and covered bite, blatant about satisfaction. And in such epochs of the moral and public turmoil, which richard lives, they directly lead to violence and crimes.

It is clear what depth of psychological ideas reached the poet, studying the native story. The most, apparently, exceptional phenomena in the field of human spirit and external life are invariably constructed on the basis of consistent development, and the greatest dramas on a par with everyday facts represent the links of the same world order.

In the first years of the XVII century, a noticeable change occurs in Shakespeare's work. Cheerful motives are inferior to deep thinking about the most painful contradictions of life, and it creates works filled with tragic maidos.

Such a change of sentiment in no way means a decline in Shakespeare's creativity. On the contrary, it comes the time for his greatest accomplishments as an artist. He creates Gamlet, "Othello", "King Lira" and "Macbeth" - these four masterpieces, thanks to which Shakespeare and received recognition as an artist of world importance, stepped from the limits of his era to eternity.

A change in the work of Shakespeare occurred gradually. The chronology of its works shows that there was no sharp face between the second and third period. Almost at the same time Shakespeare creates cheerful comedies "How you like it" and "Twelfth Night" and the tragedy "Julius Caesar". If the dating "Windsor mocks", approved by Chembers (1600-1601), is true, then, it means, by creating a "Hamlet", Shakespeare was able to write another part of the Falstafada.

This is the actual picture of Shakespeare's creativity in 1598-1601. Works created by Shakespeare at this time, allow us to talk about the gradualness of the playback transition to a new genre and to a new issue.

The third period of Creativity Shakespeare covers eight-nine years. Its beginning is taken to date "Hamlet" (1600-1601), and the end is "Timon Aphinsky" (1607-1608). The works created by the playwright during these years are heterogeneous, and within the third period you can distinguish at least three stages.

The first was transitional. Tragic motifs characteristic of this pore are found already in Julia Cesar (1599). Therefore, in order to concentrate consideration of the ideological evolution of Shakespeare, we consider this tragedy together with the tragedies of the third period. In a storyline, it is close to such plays as "Anthony and Cleopatra" and "Coriolian". It is similar to them and in style. These three dramas form the cycle of the Roman tragedies of Shakespeare, to which the early "Tit Andronicus" belongs.

In ideological terms, some motives are relative to "Julia Caesar" with "Hamlet" *. Before Brutom, as before Prince Danish, is the same problem of choosing effective means in the fight against evil. Like "Hamlet", "Julius Caesar" is a tragedy of socio-philosophical.

* (For parallel motifs of both tragedies, see: C. Fisher, Gamlet Shakespeare, M. 1905, p. 159-162.)

Both tragedies have their subject not an image of passions, which is the content of other Shakespeare tragedies. Neither Bruut nor the Hamlet is driven by the motives that characterize the behavior of Othello, Lira, Macbeth, Anthony, Coriolan or Timon. Men mind, not passion, they face the need for ethical solutions to the most acute vital issues and themselves are aware of the principled nature of their task. These tragedies with full right can be called problematic.

For them, three plays are followed, not belonging to the genre of tragedy - "Troil and Cresan", "End - the case of a crown" and "Measure to measure". The first of them is close in character to the tragedy, but there is no traditional tragic junction for Shakespeare. The hero who is experiencing a mental crisis, no less deep than Hamlet, however, does not die. You can consider "Troil and Crasress" tragicomedia, but even closer this play to the fact that the later poetics identified as a drama, that is, the play of serious content without bloody junction.

Two other formal plays are comedies, but they differ from the other comedies of Shakespeare. With the exception of the "Venetian merchant", no comedy did not go beyond the problems belonging to the sphere of personal relations. In the "End - the case of a crown", a personal topic was delivered to a direct connection with the social problem (the love of Elena to Bertram and the inequality of their social status), and in the "least for the measure" the personal destinies of the heroes are directly dependent on the whole complex of problems of public morality. The seriousness of the questions raised in them, as well as the secondary importance of comic elements in the plot filed the basis of calling these plays with "dark" or "problematic" comedies. They truly form a special group of plays. They are united by wealth and significance of ideological content, the public importance of issues put forward in them. The name of the problem is therefore most suitable for this three plays. Together with the tragedies "Julius Caesar" and "Hamlet", they form a large group of Shakespeare's problem drama.

This is the first stage of this period.

The second one includes three tragedies - "Othello", "King Lear" and Macbeth, written in three years of 1604-1606. This is the greatest tragedy of passion, imbued with that deep moral and philosophical and social meaning. It has long been recognized that "Hamlet" and these three dramas are the greatest of the tragedies created by Shakespeil. "Great tragedies" is a term in shakespiece that denotes these four plays. They constitute the peak of the tragic from Shakespeare and, at the same time, in all world dramaturgy.

"Hamlet", according to the above reason, we consider somewhat separate from the other three great tragedies, closer to the dramatic motifs and ideological and emotional impacts produced by them.

"Othello", "King Lear" and "Macbeth" - truly heartbreaking tragedies, which you can not say about the "gamlet". The glow of the passions of heroes reaches the highest limit, the suffering of their immense, and if the "Hamlet" tragedy burning from the mind *, then "Othello", "King Air" and "Macbeth" - tragedy, where the suffering of heroes are called, on the contrary, the fact that their mind It was dimmed and they acted under the influence of passions.

* (See G. Kozintsev, our contemporary William Shakespeare, L.- M. 1962, p. 210-270.)

Great tragedies are full of bitter life. They are the most classic samples of tragic in art after antiquity. Here, Shakespeare has reached the highest synthesis of thought and artistic skills, for dissolved his world around in the images so solid and organic that their vitality does not cause any doubt.

At the third stage, "Anthony and Cleopatra", "Coriolian" and "Timon Athens" were created. About the first of these tragedies, Karridge said that on artistic advantages it costs not lower than four great tragedies. Coriolan, who always interested in his political issues, did not excite the big enthusiasm, perhaps because the spiritual dryness of the hero did not cause desires to enforce into his mental world. "Timon Athens" Shakespeare was not completed. Although thinking is a very significant work, it is deprived of perfectures inherent in Shakespeare's tragic masterpieces.

However, not aesthetic estimates encourage these three tragedies into a special group. Their feature is that the center of gravity of the tragic action here is somewhat shifted compared to the great tragedies. There are contradictions of life, society, states, morality revealed the most common in the characters of heroes and through their mental world. Here the center of tragic contradictions becomes the outside world. "Anthony and Cleopatra" in this respect occupies an intermediate, transitional position. But already "Coriolian" and "Timon Athens" are fully in its structure. Not the most psychological process, but only its external result we see here. And this also applies to "Anthony and Cleopatra", where the variability of the feelings of the triumvir and the Egyptian queen was filed by a dotted line, and we sometimes left for the arbitrariness of guessing to establish the motives of their behavior. Coriolan and Timon characterizes an excessive simplicity of emotional reactions, elementary extremes of them. But the fact that art is losing in the disclosure of the dialectics of the human heart is compensated by discoveries in the field of dialectics of social relations.

The creative path of Shakespeare is distinguished by three stages. From the first chronicles, early comedies and poems Romeo and Juliet and "Julia Caesar" (1590--1599); Then OT. "Hamlet" to "Timon Athens" (1600--1608) - tragic time, covering the vertices of Shakespeare's drama, and, finally, late period - before leaving (1609--1613), fabulous or romantic dramas, among them a farewell - "Storm", and last, a few lonely standing chronicle "Heinrich Yiii", Written, as some researchers believe, not one Shakespeare. There are more fractional divisions. They capture additional shades, without changing the total line of Shakespeare Creativity.

In the first stage experiments, Shakespeare turned to the past of England, relatively for those times recent. At first, Shakespeare walked behind the story, then, however, he moved back, turned to the times earlier, representing the troubles of the century of war.

If you disrupt the procedure for the appearance of Shakespeare Chronicles and arrange them in accordance with the historical sequence: "King John" (1596), Richard II (1595), "Heinrich IV" (Part 1-and 1597-1598), "Heinrich V "(1598)," Heinrich Vi "(Part G - III, 1590-1592), Richard III (1592)," Heinrich VIII "(1613), then from the time of the king of John the landless to the Board of Henry VIII - The father of Queen Elizabeth, in other words, close to the Shakespearen era, the picture of the rise of England will unfold, the growth of its state monolith and greatness.

Feudal disengques, enmity and white rose, famous battle during Asinkur, Wars in France, the rebellion of Jack Ked, the battle of Bosworth - important milestones of domestic history and, of course, the largest figures - kings, veelmembrants, commander, folk heroes: Zhanna d "ARC or Jack Ked - all this in lively movement is captured by Shakespeare Chronicles.

Shakespeare addressed the historical facts freely. The Pieces took the basis of not so many facts as the current idea of \u200b\u200bthese facts, about historical events and leaders. Shakespeare was faithful to history. It is accurate when it comes to time trends, about where the English story moved at that time. Special truth and expressiveness Shakespeare reaches in the types of the past, in the image of the characters of former time. This is not a restoration, but in fact - the types of past, preserved, however, from the past centuries to the Shakespearean era. In the course of the era, the movable idea of \u200b\u200bhistorical time, when the old world was revived and against the background of it is conscious of a new time, as well as overseas opened, Shakespeare embodied in historical plots and situations, and especially in characters, the nature of the time. This is artistic historicism. The time of Shakespeare serves as a response to the main historical and social issues. In the Shakespeare Chronicles, the feudal oppositions are also said that there is no will of the king, and the time. And they themselves, resisting the centralizing power, are aware that they are trying to stop history.

Shakespeare covered the whole country, a whole nation, people in historical movement. View of Shakespeare has a huge length in space and time. Millennial results led Shakespeare in his chronicles, watching and showing the formation of English statehood. Shakespeare Power manifests itself in the ability to convey and "time" as an era forming "contemporaries", and the scale of historical times.

At the very beginning of the chronicle "Heinrich IV" It is said that the British should be made to fulfill the debt, which is already over the ages of fourteen centuries. Then the king reports that "twelve months", as they decided to fulfill this debt. Finally, he moves to the regulations of the State Council, adopted yesterday. So, in a lively and immediate connection, as something close and tangible, the story is comprehended. Characters, and with them Shakespeare and his audience felt themselves by the participants of the process, stretching almost a half thousand years old: the centuries are experiencing as real as what was "yesterday".

In the very first chronis of Shakespeare, the image of patriarchal life, peaceful and unassuming existence is opposed by the "court bustle", it arises as a misfortune, the desired refuge from the playful elements of the bloody ambition, the refuge desired, but unattainable. The feeling of the historical course of time is found in the turns of events and personal destinies, it is found at the very beginning of the creative path of the playwright. And immediately, in a lively form, the need for equilibrium is manifested, and it is possible to catch its social prototype and real soil.

With a cycle chronicles in the work of Shakespeare, a series of comedies is interspersed - all ten Shakespeare "fun comedies" were created in the first period of his drama activities. The contrast in the social, moral and emotional atmosphere of these groups of works is obvious: "Blood days" in the chronicles and "fun days" in comedies - "Comedy errors" (1592), "Sleeping in the summer night" (1595), "Many noise from nothing" (1598), "How do you like it" (1599).

Shakespeare Chronicles and Comedies are independent areas of dramaturgical creativity, taking into account different tasks of theatrical spectacle and the peculiarity of genres, but not isolated, but related. "Merry comedies" relate to rich drama chronicles, but not because they are able to serve as a comic discharge of dramatic voltage and not in the comment function that excites the good state of the spirit.

Early tragedies contain motives predicting tragedy "Hamlet" and "King Lira." The active participation of Brother Lorenzo in the fate of Romeo and Juliet, prompted and consecrated by Renaissance Humanism, ends not with the celebration of his humane design, but the death of heroes. Circumstances are stronger than inspired efforts and good intentions. The confluence of events that prevented their execution does not soften the tragedy of the situation, does not exempt the active humanist from the sense of personal guilt and indicates the tragic discrepancy between the ideal ideas of the humanists of a very remote reality.

Among the pies of Shakespeare, the special group is made up four "Antique" drama -- "Julius Caesar" (1599), "Anthony and Cleopatra" (1606), "Coriolian" (1607), "Timon Athens" (1608).

"Julius Caesar" - Piece "Rowing of Century", transitional phenomenon in Shakespeare's work. She follows nine chronicles from English history, behind the unfinished cycle of national chronicles, expanding the historical horizon of Shakespeare's drama. It precedes great tragedies and is a "tragedy-chronicle", mixed and transition genre. It concentrates attention to the political history of the turning point and the tragic fate of her great figures, exposing the objective basis of the movement of historical time, the inflexibility of the historical process and the real consequences of subjective aspirations and will.

As in other plays, deploying an action in other people and in other times, Shakespeare depicts modern England. However, the ancient Rome in Yulia Cesar is not a pseudonym London, it retains both national, and historical features. In Yulia Cesar, the political and civil climate and the characters of the political figures of ancient Rome are obvious. In Yulia Cesare, the action is associated with the city, with urban problems, and this drama is actually a "urban", with velvety lushes under the "Tree Green" action and forever transferred to the urban stone. The same city atmosphere in "Coriolan",and in the actual British tragedy "King Lear" In the mental state of the characters, the same "stone" cruelty is manifested.

Shakespeare transmits a specific and paradoxical state: when comprehensive progress, the expansion of the horizons is reduced in the representation of the person the universe, the world becomes narrow and small. The city crowd in Yulia Cesar is acting as a formidable force, such a power of historical movement, which was not in the chronicles from the history of England. Shakespeare deeply sympathizes the urban poor, especially if it turns out to be in the mercy of degrees, as in the tragedy "Coriolan", he gives justice to the requirements of the urban mass, is ready to understand its extreme despair and embositance when it is determined to go to the riot.

And outside the antique drama Shakespeare tragedy, like everything, the shakespeare inherent, is characterized by scale. The modern approach based on historicism sees in Shakespeare's plays to the tragedy in the development of large processes, revealing through the characters and their struggle. The way of a lot or even different times, in each other in place and encountered among themselves, is the leading line of Shakespeare tragedies.

At the decisive stage of his work, Shakespeare rose to the tragedy, which has accompanied the revival.

Each of the Shakespeare tragedy - tragedy "His time", What occurred from the contradictions of the main stroke of history in the Renaissance era. Opening a new light and - loss of illusions about some lands of promised

It is important to indicate the Shakespiere contemporary on the fact that the gamlets have become "full-fully" years ten before the appearance of Shakespeare tragedy: a type was formed, perpetuated by Shakespeare. The exception, "loneliness" of Gamlet, began to be conditional. Hamlet himself does not quite understand what "I remember" in it. Hence the "mysteriousness" of his condition, his replica, paradoxes.

New beliefs in the minds of Gamlet and all other tragic heroes of Shakespeare are not in the "pure form", but in different connections and plexuses with the beliefs are traditional. The heroic characters in Shakespeare tragedies are a complex alloy, created by the influence of the various forces - semi-patriory medium and its crash, transitional time with its stormy fermentation, causing a spiritual takeoff, and bourgeois development that served and the basis of change, and the cause of the crisis.

IN "King Lather" (1605) The material of the tragedy is a tangle of historical outstanding. People in her fear of witches - and exactly nothing in the world is afraid, they still believe the stars - and they do not believe any at all. A person feels like a two-legged animal, and the Lord of his own destiny. Time caused, conflicts were determined. " And this is not only a conflict between the two generations, this is the disintegration of the centuries-old epoch. The scale of what is happening: the story is not in the sense of the distant past, similar to modernity, and the story itself is like a process: one comes out, the other is coming.

A dispute with my daughter because of the suites - the king wants to leave a retinue as a shell, where his world would be preserved, decreasing, but still the world. The world of valoring Lira is the world of coarse valor, brutal youth.

Shakespeare shows, and how the people are tightly held for "their time", and how they take them together with him. Time is emitted in people. Keywords of this tragedy are root, blood, seed, genus and especially nature. With these words, in which time and place are woven - history, Shakespeare's text is saturated. For the words - the concepts, for concepts - a look at things, way of life, the one that dilapidated and cracks on the seam under pressure.

The distinction of people in the tragedy occurs according to how they understand the nature, which is looking for it - in themselves or on themselves. No matter how great the self-conceit of Lira, he still considers himself only a part of nature, meanwhile, the Edmund is much more daring in his pride, but he sees the middle-education in nature.

Shakespeare, who painted ancient, patriarchality is so interested that he was suspected even in the "aristocratic" addiction to the past, in the "King Lira" this addiction almost does not discover. Rather, on the contrary, sharp strokes makes it clear that the older time was quite aware of himself. Past leaves. Shakespeare shows it definitely concisely. But for the onset of new times, it monitors in detail and from different sides. Spear creates a limit tragic stress or even a tragic balance of forces.

It is impossible to withdraw from Shakespeare a certain one-centered "idea", but Shakespeare has its own special wisdom. He expresses her in the "King Lare" briefly, in the essence of one phrase: "Maturity is all."

Shakespeare is engaged in analyzing both a person and society - separately, in indirect and direct connections. It analyzes the sensual and spiritual nature of man, the interaction and combustion of feelings, mental states in their movement and transitions, the development of affects, their mobilizing and destructive power. It focuses on the test states of consciousness, for the causes of the spiritual crisis, the causes of external and internal, subjective and objective, surface and depth. He reveals incentives and the logic of human behavior in his immediate and mediated relationships with society. Such comprehension, psychological and social insights, accuracy and content of the analysis are characterized in the English literature of Renaissance only Shakespeare, its tragedies - the top of the English, but also the entire European Renaissance literature.

IN "Othello" (1604) Not naked, on the contrary, as if emphasized the dependence of the tragic consciousness of the hero and his death from the social medium. Othello was sublined with his efforts, but she ruffles his valor, glory, love and life, robs not one of himself, but also Dzentemon - the embodiment of the Renaissance ideal of femininity, an elevated, spiritual and real-terrestrial. In this feature of the nature of the chief hero and the plot of the tragedy. For the time being, the aspiration of Othello and Yago did not come across, but the moment came - and the collision became inevitable. This is not a clash of a new one with old, both, and Othello, and Yago, carry, of course, in different proportions and in different forms, and the features of the old one, both raised by revival, but each on their own way: one - expresses his ideas And partly makes them to broad life practice, the other - uses Renaissance norms with energy and immoralism, unleashed during the new ones on transcendental ethics of the Middle Ages.

Yago was released not only from Prejudo, he overcame all internal obstacles, the striking flexibility of nature is achieved in it with a complete disregard for public standards. This is not the freedom of mind when a person understanding the relativity of moral establishments, conscious of their historical meaning, and if it takes responsibility to be the judge of his actions, it relies on the mind, not abusing them. For Yago, freedom is freedom of arbitrariness, pursuing personal benefits.

The integrity, the immediacy and nobility of the character is a fundamental feature of Othello, it is highlighted by Shakespeare as distinctive for a person who meets the humanistic ideal. The question of the meaning of supernatural forces in Shakespeare district drama, in the development of its plots and characters, in the concept of tragic continues to occupy Shakespearemov, especially in connection with the problem of the realism of Shakespeare's creativity.

In the last tragedy of Shakespeare, in "Timon Athens" (1608), on the contrary, emphasized the connection of the tragedy of the hero with the moral state of the social environment, and the moral crisis with the influence of material social forces. If the transition from the first to second period seems sharp, but explained by natural, then the Shakespeare of the last period looks unrecognizable. The transition here is not even so contrasting as the difference between the optimism of the chronicle, comedies, on the one hand, and the gloom of tragedies - on the other. At the last stage, Shakespeare becomes like a different playwright, although continues to develop the same topics. The development of the same motives, but in a completely different key, it emphasizes the principle of change. The overall impression of the last Pieces of Shakespeare, shared by many critics, such that this Shakespeare's situations shown like Shakespeare, but the playwright of another school, although there are no doubts about Shakespearevsky authorship: the plays entered the Shakespearean "Canon", and "Storm", The Shakespeare Path, reveals the meeting of 1623 G. Shakespeare himself significantly changed and not only within the borders of his own evolution, but against the background of a completely different literary era.

This Shakespeare is a senior contemporary Donna and Webster, a young and fundamentally new generation in the literature. A generation that recognized his duty to Shakespeare's time, in front of Shakespeare and which at the same time specifically attributed Shakespeare to the past. Shakespeare for its part makes an attempt to move with a new stage a characteristic feature of the late works of Shakespeare was all aggravated "anatomy" of human psyche, human relations. In the Pieces of Shakespeare, the number of references to Russia and Russians is growing in proportion to the participation of the relationship between England and Russia, the relationship made on the state base is in Shakespeare times.

"Storm" As if returns to a more traditional Shakespeare environment, in a circle of typical Shakespeare characters and at the same time contains a distinct motif of "farewell". According to the plot of the play, he was a direct response to the event that made an angry of the day, when a large English expedition failed off the coast of America, near the Bermuda islands, which Shakespeare and made a place of action "storms".